The highlight of the American pianist's recital was definitely Schumann’s Kreisleriana.

Richard Goode
Jerusalem Theater
February 6
The highlight of American pianist Richard Goode’s recital Saturday night was definitely Schumann’s Kreisleriana. The yearning, excitement, inner storms and nervosity of Schumann's tortured soul were perceptibly present, and conveyed with utmost persuasiveness.
Into Chopin’s Polonaise-Fantaisie the pianist injected electrifying energies and powerful emotions, expressed with force and remarkable intensity.
The preceding pieces were a somewhat lengthy warm-up period, however – except for Byrd’s Pavans and Gaillards where extraordinary transparence was an outstanding feature, although there were also some swallowed notes in the fast runs of the right hand.
Bach’s Corrente of his Partita No. 6,on the other hand, was performed with a breathless velocity that wouldhave been next to impossible on the harpsichord, for which the piecewas, after all, intended. The elegance of this courtly dance and of theGavotta was substituted by the tempo of a speed contest. The Air was not singing as it should, due to this obsessive speed.
In Chopin’s Mazurkasemphasis was placed on admittedly impressive virtuosity. This made itdifficult, however, to detect the folkdance-inspired leisure of thesecharming, easygoing pieces.