Randall Goosby and Christian Reif shine in Seattle Symphony debut

Violinist Randall Goosby, who has been dazzling audiences since his debut with the Jacksonville Symphony at the age of nine, took center stage with the Seattle Symphony for a recent series of concerts.  Goosby’s smooth and warm tone, reminiscent of an earlier era of violin performance – which is not surprising from a former student of Itzhak Perlman’s – has been praised by critics and audiences alike.  His career took a major step forward in 2021 with the release of his first album of Dvorak, Florence Price and other rarities: Roots.  Goosby followed that up in 2023 with a release of Price’s two violin concertos performed with the Philadelphia Orchestra.  

For his Seattle debut, he performed Mozart’s Violin Concerto No. 3 in G Major – sharing the spotlight with another rising star in classical music, guest conductor Christian Reif. After recently taking the helm of the Gävle Symphony, Reif has built up his bona fides in the U.S. this season with engagements in St. Louis, Milwaukee and now Seattle. 

Mozart’s concerto is often praised for its optimism and maturity, but Goosby, Reif, and the Seattle Symphony delved deeper, by exploring the work’s subtle emotional undercurrents. The opening movement pulsated with youthful charm, its melodies wafting through the hall. While the orchestra’s attack lacked initial sharpness, they focused their approach with Reif and Goosby as guides. Reif’s kinetic, balletic energy on the podium mirrored the vibrancy of his interpretations of the concerto. The orchestra wove a tapestry of light and shade alongside Goosby’s captivating solo lines.

The soloist was most expressive in the work’s more somber moments. With each aching delicate phrase, Goosby drew the audience into the heart of Mozart’s masterpiece, before the concerto’s closing rondo provided a burst of ebullience. Goosby’s technical prowess was on full display as he effortlessly navigated the rapid passages with an ease that masked the formidable skill required. And if Mozart’s concerto wasn’t enough, Goosby followed it with a felicitous performance of Louisiana Blues Strut, a short jazz-inspired work by Coleridge-Taylor Perkinson. 

Beyond the concerto, the evening offered two additional gems. The program opened with Julia Perry’s A Short Piece for Orchestra, a rarely performed work brought to life by Reif’s insightful interpretation. He skillfully unraveled the piece’s intricate textures and soloistic writing, resulting in a performance both technically stunning and emotionally engaging. The orchestra, under Reif’s direction, delivered a sharp, vibrant rendition, demonstrating their versatility and adaptability.

The program closed with a performance of Shostakovich’s Symphony No. 9 in E-Flat Major that showcased the Seattle Symphony’s transparency and balanced playing, carefully honed over the years. Bite and wit were judiciously employed, balancing the symphony’s moments of whimsy and sarcasm. It was a testament to the orchestra’s cohesion and responsiveness, even amidst their ongoing search for a permanent music director.

Goosby is a rising star with a bright future ahead. The Seattle Symphony, under Reif’s leadership, proved itself once again as a versatile and talented ensemble, capable of mastering the demands of an eclectic program. But this concert was most of all a testament to the power of collaboration, showcasing the synergy between a rising virtuoso, conductor and orchestra, resulting in an unforgettable evening of music-making.