About this Artist

• Biography

Editorial Reviews

To whom shall we compare pianist Richard Goode? Shall we compare him to such prewar German pianists as Artur Schnabel or Edwin Fischer? But surely, while Goode's heart is as warm and his soul as deep, his technique is much better and his playing more controlled. Shall we compare him to such postwar European pianists as Alfred Brendel and Maurizio Pollini? They all share a predilection for clarity of line and lucidity of thought, as well as a common virtuosity of technique. But the American Goode is more impulsive than his European contemporaries, and his playing is full of tempo rubato and other unwritten modifications to the scores.

In the most meaningful, personal ways, then, Goode is incomparable. Take this 2009 Nonesuch set of Beethoven's five piano concertos performed with the Budapest Festival Orchestra under the direction of Iván Fischer. With a sparkling tone and a whimsical sense of humor, Goode sails through the elegant "First" and "Second" concertos. With a massive tone and a monumental sense of form, Goode commands the dramatic "Third" and "Fourth" concertos. And with a luminous tone, a lyrical legato, a breathtaking grasp of long-scale form, Goode turns in a "Fifth Concerto" rivaling the finest ever recorded. Fischer is a deft accompanist and he molds his Budapest musicians' playing to Goode's performances right down to Goode's impetuous tempo rubato. With digital sound of surpassing radiance and presence, this set deserves to be heard by anyone interested in the repertoire, the performer, or contemporary pianists. James Leonard, All Music Guide

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