The Gilmore

Richard Goode is known for music-making of tremendous emotional power, depth, and expressiveness, and he is acknowledged worldwide as one of today’s leading interpreters of classical and romantic music. “Goode has so thoroughly entered into the spirit of the compositions he performs that you’d swear the composer himself was a the keyboard” (Toronto Globe and Mail). Goode’s return to the Festival features Schubert’s last three sonatas, some of the most exalted music ever written.

A pre-concert talk by Wayne Petty, Associate Professor of Music Theory at the University of Michigan, will be held from 7 to 7:45 PM in the Chenery Auditorium Reception Room preceding the concert. Free to ticket holders.

Dinner and a Show: Make it a full night out! The Gilmore has partnered with Millennium Restaurant Group to offer a 6 p.m. dinner reservation at The Union preceding the 8 p.m. performance! Reserve your table online or call the box office at (269) 359-7311 for more information.

Program

SCHUBERT Sonata in C Minor, D. 958
Sonata in A Major, D. 959
(Intermission)
Sonata in B-flat Major, D. 960

This presentation is supported by the Arts Midwest Touring Fund, a program of Arts Midwest that is funded by the National Endowment for the Arts, with additional contributions from the Michigan Council for Arts & Cultural Affairs, the Crane Group and the General Mills Foundation.

Richard Goode

Richard Goode

Richard Goode has been hailed for music-making of tremendous emotional power, depth and expressiveness, and has been acknowledged worldwide as one of today’s leading interpreters of Classical and Romantic music. In regular performances with the major orchestras, recitals in the world’s music capitals, and through his extensive and acclaimed Nonesuch recordings, he has won a large and devoted following.

Gramophone magazine recently captured the essence of what makes Richard Goode such an original and compelling artist: ‘‘Every time we hear him, he impresses us as better than we remembered, surprising us, surpassing our expectations and communicating perceptions that stay in the mind.”

Richard Goode opens his 2015-2016 season as soloist with the Los Angeles Chamber Orchestra and Jeffrey Kahane, followed by appearances with the Orchestre de Paris and Hebert Blomstedt, the Cincinnati Symphony and David Zinman, and the Orchestre National de Lyon and Ton Koopman, among others. A compelling recitalist, Mr. Goode will be featured in the Great Performers Series at Lincoln Center in New York, at the Royal Festival Hall in London, in the Chicago Symphony series, and at major venues in the U.S. and Europe including those in Budapest, Cleveland, Denver, Dublin, Genova, Glasgow, Kansas City, Philadelphia, San Francisco, Vancouver and Washington, DC. He will also return to both the Gilmore Festival and Krannert Center at the University of Illinois in addition to performing in a gala concert celebrating the 30th Anniversary of the Philadelphia Chamber Music Society.

  • We hope you enjoyed tonight’s recital! Share your thoughts here.

  • Maria Reine

    Every two years I’m presented with the same dilemma: Do I want to go to Chenery Auditorium to hear world class pianists invited by the Gilmore to Kalamazoo while knowing I’ll have to hold my temper because 5% of the audience will cough, sneeze, wheeze, clear their throats, gurgle, talk, drop their iPhones on the floor, etc., while the rest of us are trying to quietly listen? I usually decide to attend one or two concerts, like this year, because the offerings are too good to miss. This festival I decided to attended the Goode and Fliter concerts.

    Tonight, Richard Goode in the three Schubert sonatas was better than advertised. And we, as the audience, were just as awful as ever. I know I am speculating, but I don’t think it’s any surprise that Goode did not do an encore. If I had to play piano listening to us, I’d have given us a wave after my last number and walked away, never to return. It is embarrassing to be in an audience where every cough and sneeze comes out full blast, with no apparent attempt being made to muffle it. It seemed every movement about to begin was punctuated first with a cough; every movement coming to a close was punctuated by a cough. And sneezes and throat clearing and the like during the music.

    I know the Gilmore staff is aware of this problem. I recognize that the festival is trying to do something by having volunteers hand out cough drops beforehand – I bring my own – but I do believe the festival needs to make a stronger effort instructing “some of us” on audience etiquette. I think it’s a tough problem to solve: Because “some of us” are are pretty oblivious to how we present ourselves in public settings, and the ones that need feedback are likely to be most resistant to it. “Some of us” think we are still at home in our underwear, free to gurgle and cough and sneeze without thoughts of others’ comfort. It frustrates, annoys, and (sometimes) enrages the other 95% of us who are trying to respect each other and the artist by sitting as quietly as possible.

  • Helen McCauslin

    Good overcame every obstacle to transport us to Schubert’s musical heaven. Thank you to Richard Goode and the Gilmore for an extraordinary evening.

    • Great to hear – thank you for sharing, Helen!

  • Nancy Ausema

    It was a very enjoyable concert!! His playing is amazing!!! Need I say more!!