"Following intermission, pianist Richard Goode continued with three visceral versions of preludes by Claude Debussy (1862 - 1918)."
NEWTOWN - Edmond Town Hall seemed to be at its best last Sunday afternoon as the Newtown Friends of Music got their 30th season off to an excellent start. Yes, the new orchestra seats are nice, and president Ellen Parrella proudly pointed out that a whole row was there, thanks to NFM donors. And the Knabe concert grand never sounded better, thanks to pianist Richard Goode.
With pieces that were bound to please, Goode had a full house eating out of his hands, so to speak. Barely uttering any words, Goode communicated marvelously with his fingers, facial expressions, and forceful body language, creating a moving and memorable performance.
The well organized program consisted of five sections with numerous selections by "name-brand" composers. Parrella asked the audience to hold its applause until the end of each composer's section, and it actually worked rather well.
Goode welcomed everyone with a couple of comforting preludes and fugues and four sinfonias by Johann Sebastian Bach (1685 - 1750).
He embellished a bit on Bach's simple baroque statements with articulated thematic development that added richness.
His distinct sense of timing gave interesting studies in contrasts and a hightened appreciation for conversations between the right and left hands.
Goode was clearly enjoying himself in "Sonata in D major, Hoboken XVI:24" by Franz Joseph Haydn (1732 - 1809). The adagio was sweet and dreamy, while the presto produced a rapid effusion of sparkling sensitivity.
You could palpably feel the excitement as he performed one of the most popular pieces in the entire repertoire, "Sonata No.14 in C-sharp minor, Op.27, No.2 (Moonlight)" by Ludwig can Beethoven (1770 - 1827).
The haunting themes had many in the audience going into their own reveries. Building into a gradual crescendo, it was wonderful to hear this piece given the treatment it deserves.
Exciting, dramatic, and resonating with passion, the sonata ended the first portion of the recital at an emotional peak.
Following intermission, Goode continued with three visceral versions of preludes by Claude Debussy (1862 - 1918). He showed dreamlike deliberation and flawless smooth dynamics in "The Sunken Cathedral." Notes were splattered all over the stage by the water nymph "Ondine," and the awkward rhythms of "General Lavine - Eccentric" had a comic effect.
For his concluding section, Goode chose several selections by Frederic Chopin (1810 - 1849). Parts of "Impromptu in F-sharp major" had Goode punctuating some passages by leaping out of his seat. Full of florish and delicacy, "Three Mazurkas" captured the textures of the Polish dances. Heartfelt emotions were dripping from Goode's fingertips in the lovely lyric themes in "Nocturne in B Major, Op.62, No.1." Full of fire and grandeur, with strong runs up and down the keyboard, "Polonaise in F-sharp minor, Op.44" was a real powerhouse show stopper. I can only imagine how Goode's fingers felt by then.
After an extended standing ovation, Goode came back to appease the audience with an encore. At this time we heard the only words to be spoken by him, "Chopin, E-flat Nocturne."
Goode certainly knows how to select material, organize his program, and deliver it, maximizing his impact on the music and the audience.