With this release, Richard Goode continues his excellent series of Mozart piano concertos in the company of the conductorless Orpheus Chamber Orchestra. His credentials as a Mozartean by now are well established: clean fingerwork, an elegant, singing legato, an admirable willingness to interact with the orchestra (fine chamber musician that he is), and a fine emotional balance between classical poise and Romantic sentiment. Two points struck me as particularly outstanding with respect to this issue, one general, and one specific. In general, Goode has the ability to plan the dynamic range of his playing so that these concertos do not sound too small on the modern piano. All good Mozart pianists know how to do this, but it’s worth mentioning here in connection with the fullness of tone that Goode obtains from his instrument without ever making the music sound inflated. The more specific point concerns the slow movement of Concerto No. 24. This is one of the most difficult movements in all of Mozart: the principal theme must sound child-like, but never childish. It’s a critical aspect of the true Mozart style that Goode obviously understands, phrasing this simple tune so that it really sings. Add to this Orpheus’ lively and perceptive accompaniments, the orchestra functioning as an equal partner in every sense, and the result is first rate in every way.
