Richard Goode in Philadelphia

Have you been to a concert somewhere in the world recently? Share your thoughts with us about the performance, the more details the better!

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Steinway
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Richard Goode in Philadelphia

Post by Steinway » Thu Nov 17, 2011 5:01 pm

I attended this recital and from what the usually reliable DP Stearns had to say, I suspect he either got there for the second half or didn't attend the recital at all.

Things occured, particularly noticeable in the Mozart C minor sonata that were totally left out of this review and make me suspect as to the accuracy or even the valdity of this review.

This is not the first time I have been convinced that a reviewer got the information about a performance from another source.

I'm sure it happens and while Goode is impregnable as a great artist, I shudder to think of the impact of this tactic on a lesser known performer.

Ricordanza
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Re: Richard Goode in Philadelphia

Post by Ricordanza » Fri Nov 18, 2011 6:38 am

Cliftwood wrote:Things occured, particularly noticeable in the Mozart C minor sonata that were totally left out of this review and make me suspect as to the accuracy or even the valdity of this review.
Now I'm curious. I didn't attend this recital, but I did read Stearns' review. What occurred? What did Stearns leave out?

Steinway
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Re: Richard Goode in Philadelphia

Post by Steinway » Fri Nov 18, 2011 11:07 am

Henry..

Goode botched the C Minor Mozart , not only with technical lapses but at one point he seemed to almost lose his place. It was very disconcerting and while he recovered, it wasn't his finest hour.

Making no mention of it was interesting, because he was scheduled to play a different sonata and just proceeded from the Fantasie immediately in the C Minor.

I disagree with Stearns on Goode's Chopin and think he really excels in the composer's work.

Best regards.

Bro
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Re: Richard Goode in Philadelphia

Post by Bro » Fri Nov 25, 2011 9:51 pm

I have a recording of Aurtur Schnabel in a Mozart Piano Concerto where the soloist has a memory lapse, the orchestra stops dead, and starts again with the soloist catching up. It's still a great performance, in my opinion. I would prefer it to many of the note perfect performances I have heard. Maybe the critic was giving the artist the benefit of the doubt, and assuming the mistake (s) were an exception rather than the rule..

Bro

John F
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Re: Richard Goode in Philadelphia

Post by John F » Sat Nov 26, 2011 5:25 am

Isn't that the Beethoven 3rd concerto, with George Szell and tne NY Phil? There is such a recording. But maybe Schnabel had the same problem in a Mozart concerto, I don't know.
John Francis

Bro
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Re: Richard Goode in Philadelphia

Post by Bro » Sat Nov 26, 2011 10:12 am

I'm sure it's a Mozart concerto. However, I only have the performance on an old 'Bruno Walter Society' Lp. I guess the authenticity of some of those old Lp broadcast releases is sometimes suspect. A performance attributed to performer *X*, 40 years ago, might be attributed to performer *Y* in 2011. However, the performance in question certainly sounds like Schnabel. Oddly, the Mozart Concerto on the flip side of the Lp (the one without the memory lapse) doesn't sound as much like Schnabel. Doesn't have that flowing ease and soaring line that I expect from A.S.

Didn't know about the Beethoven slip up. Maybe these things aren't so uncommon after all. :)

Bro

Werner
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Re: Richard Goode in Philadelphia

Post by Werner » Thu Dec 01, 2011 12:19 am

I don't think that either Schnabel or any of his colleagues make a habit of having memory lapses. I don't recall this happening in any Beethoven concerto - nor does any other occurrence come to mind, except one - Mozart K 488 in A Major on a Sunday afternoon broadcast in 1945/46, Rozinsky conducting. I was there with my father, shortly after having returned from military service.

Yes, it was Schnabel with the Philharmonic, and the performance went along swimmingly until things came to a dead stop in the third movement.

With gredat dignity, Mr. Schnabel rose to have a look into the conductor's score; they determined their place and got started again, finishingn the piece beautifully and together. The ovation was such as to compel them to repeat the third movement.

We met Bruce Hungerford - then still using the name of Leonard - after the concert, and several years later he and I heard a tape of this performance, with obvious edits.
Werner Isler

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