Above: violinist Randall Goosby, photographed by Kaupo Kikkas
~ Author: Oberon
Wednesday December 11th, 2019 - When violinist Randall Goosby walked onto the stage at Merkin Hall tonight, the vociferous applause that greeted him indicated that he already has many fans and admirers. By the end of the evening, he had acquired many more.
Giving his debut New York recital in the 59th Young Concert Artists Series, Mr. Goosby chose familiar sonatas by Claude Debussy and Richard Strauss, along with an opening Baroque Chaconne by Tomaso Antonio Vitali and a suite by the African-American composer William Grant Still. It was the violinist's good fortune to share the stage with the excellent pianist Zhu Wang; together, their artistry, virtuosity, and commitment set the hall aglow.
Onstage, Mr. Goosby's interesting mixture of charisma and humility makes him a young artist as pleasing to watch as to hear. His technique and tone have great appeal, and as for musicianship one could only imagine that his mentor, Itzhak Perlman (who was present this evening), has been a source of constant inspiration in Mr. Goosby's artistic development.
The Vitali G-minor Chaconne opens with a somber piano introduction. The violin joins with a plaintive air wherein Mr. Goosby's gift for dynamic control immediately manifests itself. Laced into the music are phrases of delicate filigree to which the violinist brought subtle clarity. As the music's passion ebbs and flows, the playing of both musicians remained elegant and nuanced.
Above: pianist Zhu Wang, photographed by Jiyang Chen
Debussy's G-minor violin sonata opens with a dreamy piano passage. Mr. Wang's playing was so poetic here, and as the evening progressed I found myself hoping to hear him in a solo recital one day. As the sonata's opening Allegro vivo unfurls, Mr. Goosby's seductive legato emphasized the music's shifts between animation and allure. The violinist's high range is blissful to hear, and, together with pianist's fluency, the two make the music truly evocative. A touch of the blues is a welcome - and provocative - and Mr. Goosby's whispered pianissimi are spine-tingling. The movement ends dramatically.
In the Intermède. Fantastique et léger which follows, everything is dotty: single notes are repeated with telegraphic wit. After a passing mood swing, the pinging resumes. Melodic motifs are gently bent, and the music goes high.
At the keyboard, Zhu Wang commences the sonata's finale in a shimmering mode before the music turns lively, with swirls of notes from the violin. Mr. Goosby's ramblings and slitherings produce a sense of irony, and then the music goes on the rise, only to collapse.
William Grant Still's three-movement suite opens with African Dancer, a brisk and rather bluesy affair with the piano maintaining an insistent rhythm while the violin sings a folkish air. Mother and Child is a lullabye, and here Zhu Wang's playing was heavenly whilst Mr. Goosby relished the melodic flow of the poignant theme which has a strong emotional pull. The suite's final movement, Gamin, seems to be a portrait of an urchin or naughty child; the music is animated and full of humor.
Richard Strauss's music always seems to echo (or preview) his operas; and thus his Violin Sonata constantly made me think of Naxos or Alt-Wien. The composer gives full, flourishing opportunities to both violinist and pianist, and both musicians tonight truly savoured the melodic abundance and colorstic possibilities afforded them.
The opening movement alone simply overflows with thematic wonders; here Mr. Goosby is again able to bask in his radiant upper range. The music turns positively rhapsodic, calming briefly before a big finish.
A simple, touching violin melody opens the second movement. A deep rumbling suddenly crops up, and for a while we seem to have entered the realm of the Erlkönig. But then marvelous subtleties shine thru, and Zhu Wang offers his most fabulous and exquisite playing of the evening. The Andante's ending is sublime.
The pianist continues with a dour solo start to the final movement. Then things erupt, both players in magical mode, with sparkling wit. A big flourish sweeps us into a ROSENKAVAKLIER ballroom, with the music - and the playing of it - gleaming and grand.
An immediate full-house standing ovation ensued: literally, everyone jumped to their feet and started cheering. In response, Mr. Goosby made a charming speech to introduce his encore: the beloved Mexican song Estrelitta ("Little Star"), which the violinist played with tenderness and grace. Perfect!
~ Oberon