Meet the Musician: Randall Goosby

And with good reason. Having begun to learn the violin at the age of seven, within two years he was making his debut with the Jacksonville Symphony. At 13 he was described by The New York Times as possessing  ‘a masterly level of control’ and ‘an exquisite tone’ following a performance with the New York Philharmonic at the city’s Lincoln Center. That same year he became the youngest ever winner of the Sphinx Organization’s prestigious Concerto Competition, and went on to study at the Julliard School under Itzhak Perlman and Catherine Cho.

Now aged 27, Goosby has performed with the Philadelphia Orchestra, the Los Angeles Philharmonic Orchestra, the Royal Scottish National Orchestra, Japan’s Orchestra Ensemble Kanazawa, the Antwerp Symphony Orchestra, the Philharmonia Orchestra and the London Philharmonic Orchestra – and that was just in his 2022/23 season. In 2023/24 Goosby will be making more London appearances having become our latest Artist in Residence. 

Goosby has said that he intends to use his residency here at the Southbank Centre to explore music inspired by folk songs and spirituals, something he’ll be doing with pianist Zhu Wang, cellist Eddie Pogossian and narrator Jameel Martin at a special event, Intersections: Black Music & Words, in January. Before then he also joins forces with Whang in October for a concert of works by composers including Samuel Coleridge-Taylor, William Grant Still and Florence Price.

Ahead of his residency we took a moment to catch up with Goosby and find out a little bit more about him, including who he turns to for feedback – whether he wants to or not – and the artist he’d love to collaborate with.

So Randall, did you always want to be a musician?

Not exactly. I’ve always loved playing violin, but it wasn’t until I was around 14 or 15 years old that I realised I wanted to play music for a living.

What’s your earliest memory of classical music? 

When I first started playing violin, my family lived in Jacksonville, Florida. It was hurricane season, so it was raining really hard. My mother had just bought a recording of David Oistrakh playing Tchaikovsky Concerto, and we were listening to it in the car. To this day, any time I hear the opening phrase in the first violins, I remember looking out the car window at the pouring rain and hearing Oistrakh play.

How does it feel to perform in a concert? And what role does the audience play in that experience?

It’s hard to describe the feeling of a performance, because every single one feels different. Sometimes, I feel in complete control of what I’m doing musically, and I’m able to really lock in with my collaborators. Other times, it can feel scary and I can get in my own head about little things that don’t go the way I intended. I’ve found that after the best performances I’ve given, I don’t really remember how it felt when I was on stage. When I’m able to really connect with the music on an emotional and spiritual level, performing can feel as natural as having a conversation. 

What really makes the difference though, is whether the audience is engaged and present. As a performer, you can feel the audience’s energy and excitement in the air, and when it feels as if they are right there with you, it’s easier to let loose and leave it all out on the stage.

What’s your favourite piece of music to play?

It’s usually the one I’m playing at the moment! I’m so lucky to have chosen violin, because there is so much amazing repertoire to play, and there is something uniquely satisfying about every piece on every programme – my number one rule for programming is that I must love the piece!

And what is your favourite to listen to?

I love listening to old school R&B, funk and soul. If I had to pick a favourite, I’d probably say Stevie Wonder. I listened to a lot of Stevie growing up, so his music always brings back good memories, and not to mention the fact he’s a genius.

Which is your favourite venue at which you’ve performed?

That’s a tough one. It’s hard not to include Carnegie Hall. Not only are acoustics amazing, but it was surreal to stand on stage knowing that so many of my heroes have graced the same stage.

What does being an Artist in Residence at the Southbank Centre mean to you?

It is an incredible honour to be the Southbank Centre’s Artist in Residence. I have had such wonderful experiences in London already, and am so grateful for the opportunity to return more regularly. I look forward to getting to know London a bit better, and to introducing the Southbank Centre audiences to some music and stories that are close to my heart.

What, if anything, would you change about classical concerts?

Ticket prices! If classical music is to be for everyone, then everyone should be able to afford tickets to a concert. 

Who, if anyone, do you turn to for feedback on your performances? And do you pay much attention to reviews?

Whenever I have family or friends come to a concert, I’ll ask them for feedback. My mom has really good ears, so whenever she’s around, I always hear what she thinks (even if I don’t ask, haha). Between weeks when I’m travelling or performing, I like to play for my former teachers and coaches. I don’t pay a whole lot of attention to reviews, but if someone sends one to me, I’ll read it.

And lastly, if you could collaborate with any performer, composer, conductor or orchestra who would it be and why?

I’ve always wanted to do some kind of collaboration with Stevie Wonder. So many beautiful songs which I think would lend themselves well to the lyricism of the violin.