click photo to enlarge Richard Goode pianist

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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 the music of Beethoven. In regular performances with major orchestras, recitals in the world’s music capitals, and acclaimed recordings, he has won a large and devoted following. His performances of Bach, Mozart, Brahms, Schubert, Schumann, Chopin, Debussy, Janacek, and others have received equal accolades.

Catherine Petherbridge Artist Manager/
Promotions Manager

Stephen Chamberlain
Assistant to Artist Manager/
Promotions Assistant

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 with clarinetist Richard Stoltzman. His first public traversal of the complete cycle of Beethoven sonatas at New York’s 92nd Street Y in 1987-88 was hailed by the New York Times as "among the season’s most important and memorable events." More recently he performed the cycle in London’s Queen Elizabeth Hall in 1994 and 1995.


Newsletter/Spring 2001:
Orchestral Touring Highlights

Newsletter/Autumn 2000:
Festival favourite Richard Goode

Newsletter/Autumn 2000
Record Shelf

Newsletter/Autumn 2000:
Intermusica at the Proms

Newsletter/Spring 2000:
Goode news for Marlboro Festival

Newsletter/Spring 2000:
Record Shelf

Newsletter/Spring 1999:
Richard Goode goes back to Bach

Newsletter/Autumn 1998:
BBC Proms 1998

Newsletter/Autumn 1998:
Record Shelf

Newsletter/Spring 1998:
Record Shelf

In recent seasons, Goode has appeared with all the major American orchestras (New York, Philadelphia, Boston, Chicago, Los Angeles, San Francisco and Cleveland). In Europe, he has appeared with the Orchestre de Paris, Zurich Tonhalle Orchester, Berlin Radio Symphony, Vienna Symphony, Finnish Radio Symphony, Deutsches Symphonie Orchester, Stuttgart Radio Orchestra, Academy of St Martin in the Fields, Bamberg Symphony, Hamburg Philharmonic, Hallé Orchestra, Gothenburg Symphony, Orchestre National de Toulouse and on tours of Germany and the UK with the Budapest Festival Orchestra/Fischer. He appears regularly at the Edinburgh International Festival and BBC Proms, and recital engagements have included Vienna’s Konzerthaus, Paris’ Cité de la Musique and Theatre de Champs-Elysées, Amsterdam’s Concertgebouw, the Salzburg Festival, Klavierfest am Ruhr, Piano aux Jacobins, Bad Kissingen, Brussels, Lisbon, London’s Barbican Centre and Queen Elizabeth Hall, New York’s Carnegie Hall and in Philadelphia, Chicago and Los Angeles.

In August 2002 Goode had a five-concert residency at the Edinburgh International Festival including concerto performances with the Orpheus Chamber Orchestra and three contrasting recitals. He will also appear at the BBC Proms and in recital at major piano festivals in Toulouse, the Ruhr and La Roque d'Antheron. Engagements in the 2002/2003 season include performances with the London Philharmonic/Belohlavek, Rotterdam Philharmonic/Vonk, Tonhalle Orchester Zurich/ Zinman, New York Philharmonic/Colin Davis and San Francisco Symphony/Peter Oundjian. Goode will be giving recitals across the US and Europe including the South Bank Centre in London, Milan, Munich, Venice, Nurnberg, at the Bergen Festival and Symphony Hall Birmingham.

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 concerti. In 1993, Nonesuch released a 10-CD set of his complete Beethoven Sonata cycle, the first-ever by an American pianist. The Grammy-nominated set met with widespread critical acclaim and was chosen for the 1995 Gramophone Good CD Guide. Other recording highlights include a duo recording with Dawn Upshaw, and a series of Mozart piano concertos with the Orpheus Chamber Orchestra. His most recent recital discs are of the music of Chopin, and Bach Partitas.

Richard Goode is co-Artistic Director with Mitsuko Uchida of the Marlboro Music School and Festival in Vermont (USA).

October 2002

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"His playing wears its heart on its sleeve, openly rejoicing in Beethoven's inventiveness rather than internalising and consciously spiritualising it. Yet this music admits either stance, and a pianist of Goode's intelligence, vision and inspiration finds enlightenment at every corner and, moreover, projects it. His belatedly achieved high reputation on this side of the Atlantic is thoroughly deserved."
"It is music making that satisfies essentially because everything seems so right: quite how he manages to rivet the attention in the way he does without resorting to mannerist quirks remains a mystery, but it is the secret of great piano playing."
The Times (London)

"No contemporary pianist, not even Alfred Brendel, makes Beethoven the centre of his musical world more completely and convincingly than Richard Goode... every one of his performances communicates a shared commitment to discovery. There is no flamboyance or opulence about his playing, just a remarkable attention to detail, to the energy of every texture and harmonic shift, and above all to the way in which the music creates a unique world of sensibility."
The Guardian (London)

"Goode’s detailed engagement with the music, which produces fresh and telling insights into phrasing and structure at every turn, possesses an expressive directness that successfully negotiates a route between the reefs of pedantry and eccentricity. Chopin’s ambiguities have seldom been made to seem more edifying, nor his bejewelled momentum more newly yet naturally minted."
BBC Music Magazine

"Mr. Goode gave his account a distinctly Mozartean accent, with a light touch, a tone that alternated between crystalline and gently singing, as needed, and with currents of courtly elegance and playful subversion intertwined."
"Mr. Goode has thought long and hard and cares deeply about what he plays, and he has much to say that is provocative and moving....Perhaps his most important gift is a clarity and soundness of expression, which compels a listener to re-think familiar pieces in new ways."
"It is hard to think of any other artist on record who has been all at once technically, temperamentally and intellectually as suited to the challenges of these sonatas as Mr Goode is. These beautifully engineered recordings [of the Complete Beethoven Sonatas] may well become a landmark."
The New York Times

"...the music flowed through him with such mellow insights, deep emotional involvement and self-effacing pianism that you felt as though you were confronting the composer’s own thought processes directly rather than through an interpreter."
Chicago Tribune

"This was playing that wrapped the listener in its spell for two hours, playing that made no concessions to fad or fancy, playing that approached the status of revelation."
San Francisco Examiner

"One of the most exciting and satisfying piano recitals in recent memory."
"Richard Goode is among the most persuasive Beethoven interpreters of our time. But his brilliant recital Monday night was a reminder that he is also that rarer and perhaps more marvellous creature: a great Schubert performer."
San Francisco Chronicle

"This performance was truly cherishable - he played with a lucent, buoyant tone, impeccable taste, imagination, style, humor and originality."
Boston Globe

"The pianist produced a total performance that was a joy in the ear, a nourishment for the mind and an uplift for the spirit. For this listener, it was a high point of the musical year."
Los Angeles Times

"This was not just effective playing, this was wise playing - the kind that makes the listener, whatever his previous notions about the music, want to whisper, ‘Yes, this is the way it should go.’"
Toronto Star

"Richard Goode may be the best pianist in America. Goode gave what was simply the best Beethoven performance heard in this city since Rudolf Serkin’s Emperor Concerto of perhaps a decade ago. He gave the same kind of assured, Olympian and deeply involving performance Serkin had given. It was one in which the drama was sweeping but unforced and in which lyrical moments were gorgeously formed. I’ve never heard the slow movement of this concerto sound so beautiful."
Dallas Times Herald

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