Richard Goode is an artist whose interpretative mastery has won him a place in the hearts of musicians and music lovers around the world (and his recordings a spot in their CD collections). The degree of thought and conscientiousness with which he has tackled the piano literature exudes from each performance; listeners know instinctively that his renditions are crafted with extreme care -- and consequently, they not only love his playing, but they trust him.

In his master class on January 29 before a full house in Paul Hall, Goode revealed one of the pillars of his musical thinking that guides his interpretative process. After Qin Chuan performed Mozart's Sonata in C Minor, K. 475, Goode suddenly said, "It's tempting, as pianists, to do things the easy way, isn't it? What I want is for us to do things the hard way." He clarified his statement at the keyboard, playing two contrasting versions of one phrase from the sonata. The first was musical and easy to understand -- something that any capable pianist would gravitate toward initially. The second was special; the phrasing and contour, derived from the harmonic structure of the measures, and the pristine physical control of every note and nuance made the music come alive. To do things the hard way means that, first, you must understand the music totally, and second, you must build your interpretation around your conception, never settling until you have exactly what you want.

Working with pianist Henry Wong Doe on Beethoven's Sonata in A Major, Op. 101, Goode further illuminated the benefits of taking the "hard" approach. The opening lines of the first movement present many challenges to the interpreter, one of which is determining an effective use of rubato. Goode demonstrated his version of the measures, which employed little rubato until the turning point in the phrase. The approach was risky: the temporal plasticity we're used to hearing creates the reflective mood of the piece; without it, the phrasing might sound insensitive. But Goode's focus on creating a warm tone as he moved through the phrase toward the moment he first chose to bend time actually clarified the feeling of the music. When he finally slowed down, the listener felt the weight of the moment.

In some ways, Goode's master class was also a challenge to the audience. He spoke softly, generally addressing the performer rather than the spectators; there were moments when the audience struggled to hear him. Goode's focus on details was inspiring, but I wished I had thought to bring a score with me, so I could have kept up better with his commentary. Overall, his inward-directed and serious style reflected the very quality that has led him as an artist to do things the hard way: a profound concern for music, both on the page and in performance.

Richard Goode's class was the third in a series of master classes this year made possible by Friends of Piano, an organization created and directed by Juilliard trustee and council member, Susan Rose. Only a week before Goode's visit, Leon Fleisher had also given a master class. Fleisher taught in an immediately accessible manner, making broad points illustrated by musical examples, accompanied by colorful language and a wry sense of humor. He emphasized rhythm above all else, pronouncing it the most important element in music. Students responded enthusiastically to his extroverted style and keen musical insight, and look forward to his return for a second master class on April 2 at 5 p.m. in Morse Hall.

Russian pianist Mikhail Voskresensky, from the Moscow Conservatory, will give a master class on March 19 at 5 p.m. in Morse Hall, rounding out this year's series of five classes (which was launched by Misha Dichter in December). Judging from the number of students both attending the classes and applying to perform in them, enthusiasm remains unwavering. Pianists are even willing to miss two hours of practice time to attend! "It's important to hear new perspectives constantly," said Elizabeth Roe, a third-year undergraduate. "These classes allow us to do that right here at school."

Elizabeth Morgan is a master's degree candidate in piano.