Performance Thursday, March 26, 2015 | 7:30 PM

Richard Goode and Friends

Zankel Hall
Pianist Richard Goode’s “fluid, often tempestuous performances had the twin virtues of fidelity to the scores and the sense of freshness that comes of an in-the-moment approach to phrasing,” said The New York Times. Goode anchors an ensemble that explores the expressive power and vivid color of music by three early–20th-century French masters. Debussy’s Cello Sonata in D Minor has a compelling, austere beauty, while abundant melody flows and passion roils throughout Fauré’s Second Piano Quartet.


  • Richard Goode, Piano
  • Ieva Jokubaviciute, Piano
  • Itamar Zorman, Violin
  • Kyle Armbrust, Viola
  • Brook Speltz, Cello


  • DEBUSSY Six épigraphes antiques
  • DEBUSSY Cello Sonata in D Minor
  • FAURÉ Andante from Violin Sonata No. 2 in E Minor, Op. 108
  • RAVEL La valse
  • FAURÉ Nocturne in D-flat Major, Op. 63
  • FAURÉ Piano Quartet No. 2 in G Minor

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.


  • Richard Goode

    Richard Goode has been hailed for music making of tremendous emotional power, depth, and expressiveness, and has been acknowledged worldwide as one of today's leading interpreters of Classical and Romantic music. Through regular performances with the major orchestras, recitals in the world's music capitals, and acclaimed Nonesuch recordings, he has won a large and devoted following.

    Mr. Goode began his 2014-2015 season by opening Lincoln Center's Mostly Mozart Festival with a performance of Mozart's Piano Concerto in A Major, K. 488. He features in five appearances at Carnegie Hall: in a recital in the main hall, as a soloist with the Boston Symphony Orchestra and conductor Andris Nelsons, in two chamber music concerts with young artists from the Marlboro Music Festival, and as a leader of a master class on Debussy piano works. He appears as soloist with orchestras that include the Los Angeles Philharmonic, as well as with the St. Louis, Milwaukee, and San Diego symphonies. In addition, this season includes recitals at The Concertgebouw in Amsterdam, Wigmore Hall in London, the Celebrity Series of Boston, Cal Performances in Berkeley, the Philadelphia Chamber Music Society, University Musical Society in Ann Arbor, Shriver Hall in Baltimore, The Royal Conservatory of Music in Toronto, The Schubert Club in Saint Paul, Spivey Hall in Atlanta, Yale School of Music, Dartmouth College, Duke Performances, Middlebury College, and in other major series in the US and Europe. In addition, Mr. Goode presents master classes at top conservatories and universities around the world.

    Mr. Goode is an exclusive Nonesuch artist and has made more than two dozen recordings, including the complete Beethoven piano sonatas; the complete partitas by J. S. Bach; and solo and chamber works of Brahms, Schubert, Schumann, Chopin, Busoni, and George Perle. His four recordings of Mozart concertos with the Orpheus Chamber Orchestra were received with wide critical acclaim, including many "Best of the Year" nominations and awards. His recording of the Brahms sonatas with clarinetist Richard Stoltzman won a Grammy Award.

    Mr. Goode is married to violinist Marcia Weinfeld; when the Goodes are not on tour, they and their collection of some 5,000 volumes live in New York City.

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  • Ieva Jokubaviciute

    In 2006, Lithuanian pianist Ieva Jokubaviciute was honored as a recipient of a Borletti-Buitoni Trust Fellowship. With regular recitals in major American and European cities, she has also performed as a soloist with the Chicago Symphony Orchestra, The Chamber Orchestra of Philadelphia, and the Lithuanian National Symphony Orchestra. She made her concerto debut in Rio de Janeiro.

    Ms. Jokubaviciute released her recording, Returning Paths: Solo Piano Works by Janáček and Suk, in fall 2014, as well as a critically acclaimed Alban Berg tribute recording released on Labor Records in 2010. Her piano trio, Trio Cavatina, won the 2009 Naumburg International Chamber Music Competition and made its Carnegie Hall debut the following year. She regularly appears at the Marlboro, Ravinia, Bard, Caramoor, Chesapeake Chamber Music, and IMS Prussia Cove music festivals. Earning degrees from the Curtis Institute of Music in Philadelphia and Mannes College The New School for Music in New York City, Ms. Jokubaviciute's principal teachers include Seymour Lipkin and Richard Goode. 

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  • Itamar Zorman

    Recipient of the 2014 Borletti-Buitoni Trust Award, violinist Itamar Zorman is the winner of a 2013 Avery Fisher Career Grant and the 2011 International Tchaikovsky Competition in Russia. His previous awards include first prize at the 2010 Freiburg International Violin Competition and the Juilliard Concerto Competition.

    Mr. Zorman has performed as a soloist with the Mariinsky Orchestra, Israel Philharmonic Orchestra, Tokyo Symphony Orchestra, German Radio Philharmonic Orchestra, Utah Symphony, and American Symphony Orchestra in venues such as Avery Fisher Hall, Carnegie Hall
    ,Suntory Hall, and The Concertgebouw. In these performances, he has collaboratedwith conductors Valery Gergiev, Zubin Mehta,David Robertson, James DePreist,and Yuri Bashmet. 

    Mr. Zorman has been invited to the Verbier, Marlboro Music, and Radio France festivals. He is a member of the Israeli Chamber Project and the Lysander Piano Trio; the latter ensemble won the 2012 Concert Artists Guild Competition and the grand prize at the Coleman Chamber Ensemble Competition.

    Mr. Zorman studied atthe Jerusalem Academy of Music and Dance, The Juilliard School, Manhattan School of Music, and the Kronberg Academy. He graduated with an artist diploma from Juilliard, working with Sylvia Rosenberg, and from the Kronberg Academy, studying withChristian Tetzlaff. He plays a 1745 Pietro Guarneri violin from the collection of Yehuda Zisapel.

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  • Kyle Armbrust

    Kyle Armbrust started playing the viola at age three. He gave his New York solo debut with Kurt Masur and the Juilliard Orchestra in Avery Fisher Hall. Mr. Armbrust has also performed as a soloist with the Academy of St Martin in the Fields and the St. Petersburg Philharmonic.

    A dedicated chamber musician, Mr. Armbrust spent five summers at the Marlboro Music Festival, and has performed at festivals in Aix-en-Provence, Caramoor, Charlottesville, Moritzburg, Ravinia, Schleswig-Holstein, Stillwater, and Verbier. He has worked with artists of many different styles, including Elliott Carter, Herbie Hancock, Lauryn Hill, and John Zorn.

    Mr. Armbrust is a founding member of The Knights and a member of the International Contemporary Ensemble (ICE). He is a substitute member of the Mahler Chamber Orchestra, The Saint Paul Chamber Orchestra, and The Philadelphia Orchestra. He joined the Lucerne Festival Orchestra with Claudio Abbado in 2012 and 2013, and is currently principal viola of the Westchester Philharmonic. He was previously the assistant principal violist in the New Jersey Symphony.

    Mr. Armbrust studied with Misha Amory, Heidi Castleman, and Michael Tree while completing three degrees at The Juilliard School. He plays a viola made in Milan in 1752 by Carlo Antonio Testore.

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  • Brook Speltz

    Born in Los Angeles to a family of musicians, cellist Brook Speltz has performed to critical acclaim across the US and abroad. Following his concerto debut with the Houston Symphony after claiming first prize in the Houston Symphony Ima Hogg Competition, other solo engagements have included performances with the International Contemporary Ensemble (ICE), Curtis Symphony Orchestra, Manhattan School of Music chamber orchestra, Brentwood Westwood Symphony Orchestra, and Music Academy of the West Festival Orchestra.

    Mr. Speltz is honored to have participated at the Marlboro Music Festival for the past three years-a community he is humbled and grateful to be a part of. As a recitalist and chamber musician, he has performed with the Omega Ensemble, Israeli Chamber Project, Kronberg Academy, IMS Prussia Cove, ECCO, and Pacific Serenades, among others. His summers at Marlboro and other festivals have led to collaborations with such esteemed artists as Richard Goode, Peter Wiley, Kim Kashkashian, Samuel Rhodes, Itzhak Perlman, Dénes Várjon, and Lucy Chapman. Mr. Speltz is a graduate of both the Curtis Institute of Music and The Juilliard School, as a student of Peter Wiley and Joel Krosnick, respectively. He makes his home in New York City. 

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At a Glance

This evening’s program surveys a formative period of French musical history, as represented by three composers who spearheaded the transition from the Romanticism of the late 19th century to the modernism of the 1920s. Born in 1845, Gabriel Fauré displayed a strong iconoclastic streak that made him an outlier in France’s notoriously conservative musical establishment. But by the time Maurice Ravel—his junior by 30 years—enrolled as Fauré’s pupil at the Paris Conservatoire in 1897, the older composer was well on his way to being eclipsed by Claude Debussy, whose revolutionary approach to form, harmony, and sonority began to be widely felt at the turn of the 20th century.

If there was no love lost between Fauré and Debussy—Debussy dismissed Fauré as a “master of charms,” while Fauré deplored Debussy’s “disastrous” influence on the younger generation—their attitude toward Ravel was marked by mutual respect. Indeed, many common threads run throughout the three men’s works. Echoes of the waltz-like finale of Fauré’s early Piano Quartet in G Minor can be heard 35 years later in Ravel’s La valse. The innovative approach to the piano illustrated by Debussy’s Six épigraphes antiques owes a debt to techniques that Fauré had brought to fruition two decades earlier in his Nocturne in D-flat Major. And the sonatas for cello and violin that Debussy and Fauré wrote, respectively, during World War I reflect the composers’ unwavering allegiance to the traditional French virtues of clarity and refinement.
Program Notes
This performance is part of Chamber Sessions II.