Sunday, April 8, 2018 - 3:00 PM
WILLIAM BYRD 2 Pavians and Galliardes from My Ladye Nevells Booke
BACH English Suite No. 6 in D minor
BEETHOVEN Sonata No. 28 in A Major, Op. 101
DEBUSSY Preludes Book II
Also making his fourth appearance with the Chopin Society is Richard Goode, one of the world's most treasured musicians, whose profound connection to the music and magical quality at the keyboard have earned him a large and devoted following. A native of New York, he first trained with Elvira Szigeti, Claude Frank, and Nadia Reisenberg at Mannes College of Music, and then with Rudolf Serkin and Mieczyslaw Horszowski at the Curtis Institute. He received the Young Concert Artists Award, First Prize at the Clara Haskil Competition (1973), and the Avery Fisher Prize. Early in his career, now spanning more than fifty years, he focused mainly on chamber and other collaborative performances, partnering with many well-known artists, such as Benita Valente, Dawn Upshaw, and Richard Stoltzman. From 1999-2013, he served with fellow-pianist Mitsuko Uchida as co-director of the renowned Marlboro Music Festival, which he first attended as a 14-year old. He has played in virtually all the world's major concert halls and with its premier orchestras and conductors. Goode's lengthy discography on the Nonesuch label includes the complete Beethoven Sonatas (considered by many the crown jewel of his recordings) the complete Partitas by J.S. Bach, and solo and chamber works of Brahms, Schubert, Schumann, Chopin, Busoni, and George Perle. His Mozart Concerti with the Orpheus Chamber Orchestra earned several 'Best of the Year' nominations and awards, and his CD of the Brahms sonatas with clarinetist Richard Stoltzman won the 1983 Grammy Award for Best Chamber Music Performance. An excellent literary profile of Goode that originally appeared as an article in The New Yorker is included in David Blum's 1999 book Quintet: Five Journeys toward Musical Fulfillment (Cornell University Press).
"It is virtually impossible to walk away from one of Mr. Goode's recitals without the sense of having gained some new insight, subtle or otherwise, into the works he played or about pianism itself."
- The New York Times
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