There’s much to admire in Randall Goosby’s debut concerto recording. This star pupil of Itzhak Perlman possesses a beautifully warm and tender sound, as well as delivering technically immaculate playing that easily surmounts the most challenging daredevil passagework in the two Florence Price concertos.

There’s an honesty and modesty – about his playing that stands him apart...This playing isn’t dressed to impress but to express.

I love Goosby's clean-lined, fresh-faced and unsentimental way with Bruch's evergreen concerto (Nézet-Séguin and the Philadelphia Orchestra completely in tune with his approach), but the main attraction for many listeners here will be the two concertos which were rescued from Price's abandoned summer-house in Illinois back in 2009. And Goosby plays both like he really loves them.

[Goosby] presents Price’s concertos alongside an appealingly unhackneyed performance of Bruch’s blockbuster Concerto No 1, his playing full of old-school warmth and breadth but never schmaltzy. In the Bruch, he and Nézet-Séguin resist many temptations to milk the bits you’d expect, and yet the performance has plenty of romance.