Richard Goode plays Beethoven
Op. 2, No. 1 - Goode chooses middle of the road tempos with a piano that is slightly too distantly miked for my taste. He plays well within the limits of classical style, more than any other performer I have heard in these works, an aspect that takes some getting used to. However, once I was able to accept that he wasn't going to barnstorm this work like Schnabel or Annie Fischer (my two favorites in this sonata), I was able to sit back and enjoy his solid, elegant playing. What it lacked in excitement, it sure had in beauty, especially in the second movement. Here his style is perfect for the music, with a supple, gentle touch that was only helped by the sonics. In fact, I can't remember if I have ever heard this movement played better. The minuet was absolutely characteristic, so much so that I could picture aristocrats dancing to it. In the finale, he clearly tries to generate more drama, but it fails to convince in the end.
Op.2, No. 2 - Again, Goode plays well within the classical idiom, only here he is helped by even better sound. As in number 1, his slow movement takes the playing up a couple notches, without reaching the heights of its predecessor. I loved his playfulness in the third movement, with an impressive liquid tone. The finale provides a fitting ending to this interpretation, with a slowish tempo that fits his beautiful tone and style. When the more dramatic moments arrive, he plays convincingly, with a solid technique.
Op.2, No. 3 - This is the opening movement that I had been waiting for. He plays with power, excitement and beauty. His reliable, solid technique served him well here. He keeps nice breathing room between phrases and outlines the sonata form impressively. It all makes perfect sense, yet is not dull or academic. In the second movement he is just as incredible, conjuring up a spellbinding mood with gorgeous playing married with great brio. In the third movement he has an infectious spark to his playing with great wit and playfulness. The finale is at the same high level, ending this Opus at a much higher level than it began. Only Gulda presents an interpretation that is equal to Goode's masterful interpretation.
