Music Reviews : Richard Goode Plays 4 Beethoven Sonatas at Pavilion

As the active concert repertory dwindles almost from day to day for lack of nourishing replenishment, the opportunities for performing specialization likewise shrinks apace.

Richard Goode, the American-born and trained pianist who played a Beethoven recital in the Dorothy Chandler Pavilion on Monday night, may resent this categorization, for he does on occasion indeed play music other than Beethoven. But when a pianist records all the Beethoven sonatas, as Goode has done, and goes about playing recitals devoted to that composer, he must expect to be regarded as a specialist.

The Beethoven that Goode offered at his recital did not project an air of finality. It did not convince for a moment that this was the last word, or that nothing is left to be said on the subject.

It was actually rather understated and repressed Beethoven, that had a good deal to do with clean, fluent piano playing, but very little to do with a tempestuous composer hurling thunderbolts at heaven and earth.

The four sonatas that Goode selected--Opus 31, No. 1 in G; Opus 81a in E-flat; Opus 101 in A, and Opus 111 in C minor--were set forth as neatly as official blueprints. The designs were clear, the notes and interpretive ideas indisputably correct, but the music seldom roused to vivid life. It made pleasant listening, it seemed to hold the public attention and it stirred up a few bravos. But the style was small, an academic shadow hovered over all and passion was a sometime thing.

Still, that may be better than tearing it to tatters. You could honestly say that this was civilized, mannerly, polite and unpretentious. But eloquent, it was not.