oria milano

Richard Goode pianist


“There are brillant young things among pianists, and there are wise old birds, who show their wisdom naturally in everything they do, without grandstanding or elaborate highlighting of details.

Richard Goode is one of the latter sort.”

The Telegraph, February 2012

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. In regular performances with major orchestras, recitals in the world’s music capitals and acclaimed recordings, he has won a large and devoted following.

A native of New York, Goode studied with Nadia Reisenberg at the Mannes College of Music and with Rudolf Serkin at the Curtis Institute. His numerous prizes over the years include the Young Concert Artists Award, First Prize in the Clara Haskil Competition, the Avery Fisher Prize, and a Grammy award. His first public performance of the complete cycle of Beethoven sonatas at New York’s 92Y in 1987/8 was hailed by the New York Times as “among the season’s most important and memorable events” and was later performed with great success at London’s Queen Elizabeth Hall in 1994 and 1995.

Goode continues to perform at the highest level across Europe and the USA and highlights of his 2011/12 season included concerts with Los Angeles Philharmonic/Dudamel, Boston Symphony/Morlot and recitals in London’s Royal Festival and Wigmore Halls, in Paris, Madrid, Budapest as well as across the US. Goode’s 2012/13 season includes performances with the Budapest Festival Orchestra/Langrée, Tonhalle Orchestra/Zinman, Danish National Symphony/Schonwandt, Bergen Philharmonic/Sir Mark Elder and a US tour with the Orpheus Chamber Orchestra. In recital, Goode returns to London’s Wigmore Hall, Glasgow Royal Concert Halls, Berlin Konzerthaus, Bridgwater Hall Manchester, De Singel Antwerp and the major halls across the US, including Carnegie Hall.

An exclusive Nonesuch recording artist, Goode has made more than two dozen recordings over the years, ranging from solo and chamber works to lieder and concertos. His latest recording of the five Beethoven concertos with the Budapest Festival Orchestra/Iván Fischer was released in 2009 to exceptional critical acclaim, described as “a landmark recording” by the Financial Times and nominated for a Grammy award. His 10-CD set of the complete Beethoven sonatas cycle, the first-ever by an American pianist, was nominated for a Grammy and chosen for the Gramophone Good CD Guide. Other recording highlights include a series of Bach partitas, a duo recording with Dawn Upshaw and Mozart piano concertos with the Orpheus Chamber Orchestra.

Richard Goode is co-Artistic Director with Mitsuko Uchida of the Marlboro Music School and Festival in Vermont (USA). He is married to the violinist Marcia Weinfeld and, when the Goodes are not on tour, they and their collection of some 5,000 volumes live in New York City.

St-Louis Post     January 18, 2015 

Music review: Robertson, SLSO start the new year off right

On Saturday night at Powell Symphony Hall, most of the seats were taken. It was small wonder, given the program and its participants.

Wolfgang Amadeus Mozart, represented by his Piano Concerto No. 17 in G major, K. 453, and by the Symphony No. 41 in C major, K. 551, “Jupiter,” provided the draw for much of the audience. Robertson, as is his wont, found two other pieces to complement the master’s work, and started each half of the program with one of them.

The richest treat was the performance by pianist Richard Goode. One of the greatest American pianists of his or any generation, Goode performs with deceptive ease; he plays with complete mastery of his instrument and the score, and without histrionics.

Goode’s is the kind of pianism that makes the listener lean forward in her seat, so as not to miss any aspect of his performance. His quiet energy, sensitivity and understated confidence, and a delicacy that underlined his consummate skill, made this a performance not to be missed.

He had solid support and understanding from Robertson and the orchestra. There was great work from the woodwinds, and from principal flute Mark Sparks, in particular. A sense of the pleasure of making great music flowed from all concerned.Sarah Bryan Miller


Richard Goode beautifully navigates late Beethoven

 "If Goode’s choices underscored Beethoven’s audacity, the magnitude of his technique reaffirmed Beethoven’s grace. Goode’s touch was unfailingly deep, solid, and resonant even in soft passages, lending definition and intent to every note. And his virtuosity was invisibly profound, making Beethoven’s most awkward passages feel natural. It is no small feat to have such knotty music seem to fall effortlessly into place."    Matthew Guerrieri

Financial Times  -July 30, 2014

Mostly Mozart Festival, Avery Fisher Hall, New York

An all-Mozart programme was dominated by pianist Richard Goode

With the inimitable music-director Louis Langrée manning the podium - a post he eventually shares with various guests of varying repute - the hum-along agenda began with the Don Giovanni overture and ended with the Jupiter Symphony. ....In between came the A-major Concerto, K.488, an extraordinarily rewarding vehicle for that most poetic of pianists, Richard Goode.

....Still, the evening was dominated by Richard Goode at the keyboard. In an exquisitely nuanced performance of the joyful concerto, he sustained warmth and tension, also beguiling restraint within a persuasive aura of spontaneity. Never succumbing to interpretive flash or indulgent mannerism, he savoured precious detail here and, in comparable, compatible measure, a grand, heroic line there. Ever subtle and ever supple, he maintained a fragile fusion of virtuosity and introspection. Langrée and his cohorts provided remarkably sympathetic support.

 Long, long ago, Goode studied with two uniquely expressive masters of the old school, Rudolf Serkin and Mieczysław Horszowski. Obviously he learned their lessons well.

Martin Bernheimer


Partita nr.5  Praeambulum                                 

oria milano di denise petriccione via savoia cavalleria 10 -  20145  milano - tel +39 02 46 62 16  
e mail : info@oriamilano.it - Part IVA  06428560962 - Associata A.R.I.A.C.S.