In his review in the Oct. 13 Style section of the Washington Post of the concert by the great American pianist Richard Goode on Oct. 11 at the Kennedy Center Terrace Theater, Robert Battey begins with a long paragraph about Goode’s using the score for each of the late Beethoven sonatas he played, Op.109, Op. 110 and Op. 111. An “oddity” he termed it, “or even a weakness.” This seems to be an obsession with Mr. Battey. A few years ago, reviewing a concert Goode performed at Strathmore, Mr. Battey also cited the pianist’s use of the score for Bach preludes and fugues. Mr. Goode played the same preludes and fugues in a recital a few weeks later in New York. The New York Times critic never mentioned the use of the score in his review of the concert. Why is this so important to Mr. Battey? I imagine he was the only one who cared. On Oct. 11, the enormously enthusiastic audience was too emotionally moved by the exquisite interpretation of this beautiful music. Mr. Battey should have closed his eyes and let the music enter his ears and fill his memory. It won’t be soon that he will hear Beethoven sonatas played liked that again.

Judith Tomero,