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Featured Releases

  • A "landmark recording of the Beethoven concertos," declares the Financial Times in a five-star review of this three-disc set. Performed with the Budapest Festival Orchestra led by Iván Fischer, it marks Goode's first recording of these masterpieces. “Goode is one of the great pianists of our time," says the Denver Post, "and he might well be without equal when it comes to the music of Beethoven.”

  • Soprano Upshaw and pianist Richard Goode perform songs built on texts by German poet Goethe. The Washington Post praised “the inclusion of both Schubert's and Schumann's settings of the exquisite Wandrers Nachtlied and the heartfelt interpretation of Mozart's Das Veitchen."

  • Goode's Grammy-nominated, 10-disc set of the complete Beethoven sonatas, says The Guardian, "are performances to which one can return without fear of finding them stale. They lack mannerisms and any sense of a performing ego trying to insinuate itself between the music and listener-—the same selfless gift that his teacher Rudolf Serkin exemplified.”

  • Composed near the end of Schubert's life, these two piano sonatas are part of an outpouring of instrumental music he composed between 1822 and his death in 1828, music that until recently remained far less popular than his celebrated opera and lieder. On this album, Goode brings to life works now considered among the composer's most important.

  • Beethoven’s Op. 10 piano sonatas were a critical step in the composer's career, both absorbing the influences of Mozart and Haydn and superseding them, pointing the way for his own artistic development. Goode, whose interpretations the New York Times describes as possessing “both integrity and immediacy,” performs the three Op. 10 sonatas in their entirety.

  • Schumann’s Humoreske refers not to comedy but to a humor in the sense of a mood or disposition. The piece, along with the Fantasia, represents some of the composer’s greatest writing. The American Record Guide praised Goode’s performances as “wonderfully poetic and sensitive.”

  • Composed between Beethoven’s early and middle periods, the Opus 31 piano sonatas represent a concerted effort on the composer’s part to break away from classical conventions and establish a singular, unique musical identity. The Washington Post hailed these performances as “world class,” saying that Goode is “completely at home” with these pieces.

  • The first of the three last sonatas, Schubert's Sonata in C Minor both encompassed the composer's previous stylistic periods and signaled a new, distinct compositional direction. Richard Goode performs the piece here, along with the composer's Ländler, based on German folk dances popular in the 19th century.

  • This double album features the five piano sonatas composed during Beethoven’s “late period,” in which personal turmoil forced a stylistic shift towards more challenging, introspective pieces. The New York Times described Goode’s performances here as “remarkable” and “surprisingly intimate,” praising his playing both for its “organic naturalness” and “unerringly lyric sensibility.”

  • Schubert's final three piano sonatas, though neglected upon their initial publishing in the 19th century, are now recognized as some of the composer's most significant works. On this album, Richard Goode explores the Sonata in A, the second in the trilogy.

  • The last of the final piano trilogy composed by Schubert, the B-flat Sonata is one of the most celebrated and respected in the composer's oeuvre. Richard Goode, whose interpretations of Schubert were praised by the New York Times as having "both integrity and immediacy," performs this final work here.

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