Violinist Randall Goosby is set to make his highly anticipated debut at Tanglewood on Saturday, August 22, performing Florence Price’s Violin Concerto No. 2 with the Boston Symphony Orchestra. The concert, conducted by BSO Artistic Partner Thomas Wilkins, will feature a diverse program including Dvořák’s Symphony No. 8, Bernstein’s “Chichester Psalms,” and Saint-Saëns’ “Introduction and Rondo Capriccioso.” The performance marks a significant moment for Goosby, a celebrated Sphinx Competition winner, as he brings a significant work by a pioneering Black female composer to one of classical music’s most prestigious stages.
Randall Goosby: A Rising Star’s Artistic Vision
Randall Goosby has rapidly ascended the ranks of classical music, recognized for his exceptional technique and profound musicality. Beyond his technical prowess, Goosby distinguishes himself through a thoughtful and grounded approach to his artistry, exploring the intersections of music, identity, and purpose. During the pandemic-induced pause in touring, Goosby used the time for introspection, reflecting on his artistic direction and the narratives he wished to convey through his performances. This period of reflection directly informed his debut album on the Decca label, titled “Roots.” The album thoughtfully delves into the works of Black composers, examining Goosby’s own position within a musical tradition historically dominated by European repertoire.
Mentored by the legendary Itzhak Perlman, Goosby has absorbed valuable lessons about cultivating a unique and evolving violin tone, understanding that each musician’s sound is a personal signature that develops over a lifetime. While acknowledging the inherent confidence required of a soloist, Goosby emphasizes that performance is not driven by ego. Instead, he highlights the critical importance of collaboration, attentive listening, and a continuous openness to learning from fellow musicians. This collaborative spirit underpins his approach to programming and performance.
Championing Neglected Voices in Classical Music
A significant aspect of Goosby’s mission is to champion composers whose works have been historically overlooked. However, he is careful not to reduce the appreciation of music solely to questions of race. His objective is to enrich the classical music landscape by introducing audiences to neglected voices and diverse experiences, while simultaneously acknowledging the enduring significance of the established canon in his own musical development. Goosby expresses a hopeful vision where works by Black and other underrepresented composers become integral to standard concert programming, rather than being presented as occasional novelties.
Looking toward the future, Goosby is particularly enthusiastic about leveraging his growing platform to engage communities with limited access to classical music. He aims to expand educational opportunities for young people and inspire future generations to discover the profound, lifelong rewards that come from creating and engaging with music.
Florence Price: A Trailblazing Composer’s Legacy
Florence Price (1887–1953) holds a significant place in music history as the first Black woman to have a symphony performed by a major American orchestra. Her “Symphony in E Minor” received its premiere from the Chicago Symphony Orchestra in 1933. Despite composing an extensive catalog of over 300 works, including symphonies, concertos, chamber music, and songs, much of her music faded into obscurity following her death. A resurgence of interest began in the 1980s through scholarly research, gaining considerable momentum after the 2009 discovery of numerous previously unknown manuscripts in an abandoned Illinois home. Among these rediscovered works was her “Violin Concerto No. 2.”
Completed in 1952, Price’s “Violin Concerto No. 2” is a single-movement work that masterfully blends late-Romantic lyricism with the distinctive rhythms and harmonies of African American musical traditions, all while showcasing virtuosic demands for the solo violinist. The Boston Symphony Orchestra has played a role in elevating Price’s profile by featuring her compositions in recent seasons. However, the broader revival of her music is a collective effort involving numerous orchestras, performers, scholars, and recording projects, rather than the work of a single institution.
A Program of Diverse Masterpieces
The concert program at Tanglewood offers a rich tapestry of orchestral and solo repertoire. Antonín Dvořák’s “Symphony No. 8,” completed in 1889, stands as one of his most beloved and frequently performed orchestral works. Composed during a period of personal happiness for the composer, it is characterized by its lyrical melodies, vibrant dance rhythms, and colorful orchestration, offering a brighter contrast to the more dramatic tone of his earlier Seventh Symphony.
Leonard Bernstein’s “Chichester Psalms,” written in 1965 for the Chichester Cathedral in England, sets Hebrew texts from the Book of Psalms. The work uniquely synthesizes traditional choral music with influences drawn from Broadway, jazz, and Jewish liturgical music. Although created during a time of global conflict, the “Chichester Psalms” conveys powerful messages of reconciliation, compassion, and the enduring hope for peace.
Rounding out the program is Camille Saint-Saëns’ “Introduction and Rondo Capriccioso,” a dazzling showpiece for violin and orchestra that allows the soloist to display both technical brilliance and expressive depth. Goosby’s performance of the Florence Price concerto, alongside these other significant works, promises an evening of exceptional music and artistic discovery at Tanglewood.
