classical

Pianist Richard Goode is one of the most admired classical musicians of his generation. In the tradition of his fabled Curtis teachers, Serkin and Horszowski, Goode views the music he plays from the inside out, leaving no turn of phrase unexamined, while lavishing upon his listeners a gorgeous, glistening tonality. This method results in playing of extraordinary precision and lucid texture, but Goode can also cross the line to fussiness and self-absorption. His mettle will be fully on the line for this Philadelphia Chamber Music Society recital—a mini Beethoven marathon, including five of the 32 piano sonatas. There is no other composer, not even Mozart, for whom such a survey travels across as broad a range of emotion, drama and technical innovation. Goode will begin with Beethoven the explosive young genius, his Op. 10, No. 3, an ebullient, athletic homage to his teacher, Haydn. He proceeds through the years, with the Moonlight, Les Adieux, and Op. 31, No. 3, to the otherworldly final sonata, Op. 111, music that knows no time, as mysterious and awesome to our contemporary ears as it always was and will always be.

Tue., Nov. 29, 8 p.m., $25, Perelman Theater, Broad and Spruce sts., 215-893-1999, www.kimmelcenter.org.