Whatever Richard Goode plays he searches and reveals without making it obvious, a wholly natural response, with the impression of the notes being in the air ripe for collecting and ordering just-so. Beethoven’s two-movement Opus 90 Sonata, songful, proto-Schubert, was lyrically inclined, nothing forced, so that when the dynamics were that bit louder or the touch a mite heavier, as in the four-part Opus 101 Sonata, it really meant something, the latter Sonata offering a swinging Scherzo, slow-movement-profundity and an optimistic, skipping Finale, all tailored by Goode to be timeless in terms of spiritual communication, overall seasoned yet fresh, such stability also embracing the wonderful set of Bagatelles, six in number, housed as Opus 126, so melodious and harmonic, tearaway, too – No.IV – found each of these gems shaped and coloured by a master musician. As for Davidsbündlertänze, Goode’s attachment to Schumann’s muse was palpable, eighteen vignettes, some from the salon, others going further afield, all belonging, however varied in tempo, character and mood, including portraiture of the composer’s contrasting personalities, thoughtful or impetuous, winding down to dusky reflection, a Chopin Nocturne (Opus 62/2) a fitting extra, given exquisitely and flexibly, spun as if golden thread.
BEETHOVEN
Piano Sonata No.27 in E-minor, Opus 90
Piano Sonata No.28 in A, Opus 101
Bagatelles, Opus 126
SCHUMANN
Davidsbündlertänze, Opus 6