Here is the synopsis of our sample research paper on Richard Goode in Concert. Have the paper e-mailed to you 24/7/365.
Essay / Research Paper Abstract
A 3 page concert report on Richard Goode’s performance at Carnegie Hall on April 12, 2007. The writer discusses each piece, drawing heavily on the program notes and reviews. Bibliography lists 2 sources.
Page Count:
3 pages (~225 words per page)
File: D0_khgoodec.rtf
Buy This Term Paper »
Unformatted sample text from the term paper:
as a "thoughtful, meditative, introspective" musician, who is "deeply concerned with the idea underlying a composition" and these qualities were quite evident at this concert, as hearing him play, there
was the distinct feeling that the audience was witnessing a consummate musician explore the "deepest, most secret and subtle element of music" (Richard Goode). The evenings music began with
two large-scale works: one by Bach, the Partita No. 5 in G Major (BMV 829), and Mozarts Rondo in A Minor (K 511). Both of these works were written for
the small keyboards of the eighteenth century; however, "modest means did not prevent Bach and Mozart from dealing with large public artistic issues" (Folkman). The opening measures of Bachs first
movement offer "lithe, rapid-fire toccata-like gestures," which Goode executed perfectly (Folkman). The most striking feature of Goodes performance of Bachs Partita is the way in which he captured the sense
of joy that Bach was obviously endeavoring to convey. The seeming ease with which Goode performed Corrente movement, a movement that requires considerable agility, was astounding. Mozarts Rondo in
A Minor provided a sharp contrast to the unadulterated joy of Bach. The main theme is "poignant in its pathos," conveying profound sadness. Goodes expertise tapped into the emotionality of
the work, communicating a haunting sense of despair and grief. Two subsidiary themes evolve from the primary motif, and seem to offer consolation to the poignancy of the principal theme.
Goodes performance was particularly effective during the long transitional passages, which offered "poetic visions into emotional abysses" (Folkman). This culminated in the richness of the coda, which incorporates richly textured
harmonies that climax in "surges of grief before a conclusion of hushed despair" (Folkman). The next piece performed was Seven Fantasies, Opus 116, by Johannes Brahms and, again, this
...