Those who know Richard
Goode’s recorded work through his Mozart
concerto series with the Orpheus Chamber
Orchestra, or for that matter his Beethoven
sonatas or Bach partitas, will know
that there is no more stylish or tasteful
a pianist working today. His playing
never draws attention to itself through
sensationalism, distortion or inappropriate
rubato and what it may lack in
visceral excitement is more than made
up for by long term staying power and
sheer unaffected musicality. Here is
another example.
This may not be the
most generous Mozart piano disc around
(another sonata would have easily fitted)
but no buyer is likely to be disappointed,
such is the intelligence and beautifully
proportioned pianism on offer. It’s
also nicely planned, the two sonatas
framing a well-picked miscellaneous
collection which contains some interesting
stuff.
The dynamic A minor
Sonata is a favourite recital opener
for many players; I’ve encountered it
at least three times in the last twelve
months on radio, and it’s easy to see
why. The work comes from a period tinged
with frustration and personal grief
for Mozart, and is filled with bold,
defiant gestures and big sonorities
that belie its short length. As ever
with Goode, structural clarity is paramount,
and he makes more of the harmonic frictions
in the first movement than one usually
encounters, without underplaying the
obvious surface tensions. Even the songful
slow movement is laced with some striking
dissonances that Goode makes the most
of. The fiery presto finale, despite
some A major calm midway, ends the work
in the tense manner of the opening.
The F major Sonata
makes an excellent contrast. It is invested
with some richly varied and brilliantly
contrapuntal writing, clearly reflecting
Mozart’s ongoing explorations into the
music of Bach and Handel. Once again,
Goode is not just content with surface
brilliance, though there is plenty of
that, but is determined to delve deeper
into Mozart’s subtle textures and voicings.
It’s a truly marvellous performance,
capped by a finale that shows a master
composer being interpreted by a master
keyboard craftsman.
The shorter items are
all of interest. Indeed, listening to
them through as a whole gives the impression
of almost encountering a Bachian Partita
or Suite. We have a brilliant March
to open, two short dances as ‘filling’
and a big Rondo finale. In fact,
this Rondo is quite often performed
in concert as it is almost a sonata
in itself, with dance, drama and song
sitting alongside each other, all the
elements worked out with exceptional
skill and brilliantly brought off here
by Goode.
It goes without saying
that there are many fine Mozart discs
in the catalogue, including an increasing
number of complete Sonata cycles. But
if you are a Richard Goode fan, or just
fancy wallowing in a well programmed,
superbly recorded concert hall-style
recital, you really will enjoy this.
I might add that the ever-reliable Michael
Steinberg contributes one of the fullest,
most intelligent and entertaining liner
notes I’ve come across for some time.
Tony Haywood
Richard Goode (piano) 
