Appearances by pianist Richard Goode are among the most eagerly anticipated events on Denver’s classical-music calendar.
It’s not hard to understand why. Goode is not only one of the world’s great pianists, he also is one of the most extraordinary classical artists of any kind.
He has always eschewed glitz and gimmicks in favor of a lifelong pursuit of something considerably more precious and meaningful – playing of true insight, depth and expressive power.
All three were on display in full measure Wednesday evening, as Goode delivered a towering, unforgettable performance in Gates Concert Hall as the sold-out opener of the Friends of Chamber Music’s 2005-06 season.
Instead of conveying a sense of ease as he plays, he always appears to be in a moment-by-moment struggle with the music, with all kinds of facial expressions and barely perceptible vocalisms. These confrontations seem to energize him, imbuing his playing with freshness and immediacy.
Goode opened the first half with a clear, cogent interpretation of Beethoven’s Piano Sonata No. 6 in F major, Op. 10, No. 2, and ended it with a striking take on Piano Sonata No. 24 in F sharp major, Op. 78.
But it was the second selection, the composer’s famed Piano Sonata No. 8 in C minor, Op. 13, “Pathetique,” that really stood out. He masterfully contrasted the fast and slow sections of the first movement, enhancing the impact of each while sculpting an abstract narrative whole with cohesion and meaning.
In keeping with his in-the-moment approach, Goode changed the program a couple of times at the last minute, finally deciding to abandon his original all- Beethoven lineup and end with a piece by a composer with whom he is just as frequently associated.
This final work – Franz Schubert’s monumental Sonata in B flat major, D. 960 – was the unquestioned highlight of the evening. It is doubtful that anyone in the audience will ever hear a more powerful live performance of the work.
