One of the most accomplished musicians around, pianist Richard Goode has both versatility and range: he's an ace accompanist (especially in lieder recitals) and an uncommonly intelligent interpreter of a variety of styles. But he seems most at ease with Mozart, Beethoven, Schubert, Schumann, and Brahms. With Beethoven, Goode has already gone through the rite of passage: he's played and recorded all the piano sonatas. For Performing Arts Chicago's celebration of the composer he'll perform 19 of the 32 sonatas in four recitals (two won't take place until the new year); his busy schedule, I'm told, keeps him from undertaking the entire cycle. Included are the famously nicknamed Pathetique (no. 8), Tempest (no. 17), and Les Adieux (no. 26), along with the great ones from Beethoven's late creative period (nos. 30 and 31). Missing, alas, are the Waldstein (no. 21), the notoriously difficult Hammerklavier (no. 29), and the transcendent last sonata; also not on the programs are the variations and bagatelles. Still, these four recitals make an indispensable introduction-or refresher course-to Beethoven's piano music, and even to Beethoven himself. Talks before and after the concerts by local commentators, master classes with Goode, and two symposia are also scheduled to heighten appreciation of one of the cultural titans of Western civilization. Friday (sonatas 1, 4, 17, and 28) and Sunday (sonatas 8, 9, 11, 26, and 27), 7:30 PM, Pick-Staiger Concert Hall, Northwestern University, 1977 South Campus Dr., Evanston; 242-6237.