Violinist Randall Goosby is no stranger to the spotlight. He gave his first public performance with the Jacksonville Symphony at the age of 9 — a mere two years after first picking up the instrument — and in 2010 was the youngest-ever first-prize winner of the Sphinx Concerto Competition at the seasoned age of 14. It seems that Goosby has grown up constantly in the spotlight, so it should be no surprise he handles it so well.
This was the predominant takeaway from Goosby’s performance April 5 at Emory University’s Schwartz Center for Performing Arts. Yes, his lyrical tone, playing on the 1708 “ex-Strauss” Stradavari violin, is luscious and exceptionally beautiful; yes, his technical skill, fingers flying across his instrument’s fingerboard and deftly landing double and triple stops, is tremendous. But it’s Goosby’s charisma and charm on stage that truly makes him a star: he has an incredible likeability that gives this reviewer the sense Goosby will have a long and remarkable career ahead.
Goosby’s recital selections, thoughtfully accompanied by pianist Zhu Wang, included Coleridge-Taylor’s “Suite de Pièces,” Op. 3; Brahms’s “Thun” Violin Sonata No. 2 in A Major, Op. 100; and Still’s Suite for Violin and Piano. After intermission came Price’s Two Fantasies and Richard Strauss’s Violin Sonata in E-flat Major, Op. 18. From the sweetly lyrical and exceptionally pretty first notes of Coleridge-Taylor’s “Suite de Pièces” to the thunderous fireworks of the Strauss sonata, Goosby’s talents (and Wang’s, especially in the Strauss) were on full display. This was never more true than in Still’s Suite, with incredible feats of technical skill that brought the audience to applause between every movement.
Before each work, Goosby took a few moments — never more than necessary — to explain the background of the music ahead and give the audience some imagery to think about. This was especially appreciated for the Still and Price, works by marginalized Black composers that were unfamiliar to many. Goosby, himself half Black and half Korean, beamed with enthusiasm and pride in being able to bring these rare works to a broader audience. As well he should: he performed the music to remarkable effect and made an outstanding case for their inclusion in the solo violin canon.
The concertgoer’s impression leaving Goosby’s recital was one of astonishment: at his gorgeous musicality, at his impressive technical skill, at his glowing stage charisma. If you haven’t taken notice of Goosby’s extraordinary talent yet, this is your wake-up call. Goosby is a true star on the rise.
