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Paul Galbraith
Friday, March 20th, 2009 at 8:00 PM
Paul Galbraith’s Web Site: www.paul-galbraith.com
Paul Galbraith Biography
PAUL GALBRAITH’s recording of the Complete Bach Violin Sonatas and Partitas (Delos) was nominated for a
1998 GRAMMY AWARD in the category of Best Solo Instrumental Album. This 2-CD set was also chosen as one of the two best CDs of 1998 by Gramophone Magazine, which called it “a landmark in the
history of guitar recordings.” It received a “Four Star” rating in Stereo Review, and reached the TOP 10 on Billboard’s classical charts.
Galbraith has been featured twice on National Public Radio’s “All Things Considered” and numerous times
on “Performance Today.”
He made his New York début at the Frick Collection, receiving a rave review in the New York Times; a subsequent NYC engagement on Lincoln Center’s “Great Performances” series was sold out. Recent and forthcoming North American recitals include NYC, Boston, Washington DC, Los Angeles, San Diego, Atlanta, St. Louis, Albuquerque, Cincinnati, Cleveland, Portland, Eugene, Seattle, Miami, Baltimore, Buffalo, Amherst, Milwaukee, San Antonio, San Juan, Puerto Rico, and Cuernavaca, Mexico. In addition, tours of Great Britain, Spain, Portugal, Denmark, Germany, Italy, Hungary, and the Netherlands are among Mr. Galbraith’s international activities. During the Bach Year (2000) he was featured artist at the Los Angeles, Philadelphia, Denver and Carmel Bach Festivals.
Recent orchestral engagements in the U.S. include concertos with the Indianapolis Chamber Orchestra,
Knoxville Symphony, Santa Rosa Symphony and ProMusica Chamber Orchestra, among others. Galbraith and the St. Petersburg String Quartet gave the World Premiere in March 2003 at Stanford
University of a new work, “Rhapsody for Guitar and String Quartet,” that they co-commissioned from the acclaimed Georgian composer Zurab Nadarejshvili.
Galbraith's unique playing position was first revealed at the Edinburgh Festival in 1989. His guitar
(designed in collaboration with the late luthier David Rubio) is supported by a metal endpin, similar to that of a cello, that rests on a wooden resonance box. The instrument has two
extra strings, one high, one low.
Both the guitar's extraordinary design and Galbraith’s playing style are considered groundbreaking development in the history of the instrument, increasing its range to an unprecedented extent.
At the age of 17, Galbraith won the Silver Medal at the Segovia International Guitar Competition.
Andrés Segovia, who was present, called his playing "magnificent."
This award helped launch an international career including engagements with some of the finest orchestras in Britain and Europe (Royal Philharmonic, Chamber Orchestra of Europe, BBC Philharmonic, Scottish Symphony Orchestra, English Chamber Orchestra, BBC Scottish Orchestra, Scottish Baroque Orchestra, Ulster Orchestra, Hallé Orchestra and Scottish Chamber Orchestra among them). He toured the U.S. as soloist with the Moscow Chamber Orchestra, and performed in Prague’s Dvorák Hall with the National Chamber Orchestra of Chile. His international touring has also brought him to Canada, Spain, Italy, Greece, Norway, Hungary, Brazil, China, India and Iceland.
Born in Scotland, Galbraith has lived in Malawi, Greece, London, and, for the last five years, Brazil. He
was a founding member of the Brazilian Guitar Quartet, playing with them until summer of 2003. His principal teacher, since 1983, has been the Greek conductor, pianist and philosopher George
Hadjinikos.
Discography (on the Delos label):
Bach: The Complete Violin Sonatas and Partitas
Bach Lute Suites
Paul Galbraith Plays Haydn
“In Every Lake the Moon Shines Full” (folk tunes from various countries)
French Impressions: Music by Debussy and Ravel
Forthcoming: A DVD of Bach, Mozart, Ravel and Britten
Further information on Paul Galbraith is available at www.paul-galbraith.com
Recital Reviews:
“Exceptional artistry.” –The New Yorker
“Unique clarity and controlled passion . . . [Bach’s] French Suite had a soaring dignity. But the guitarist is also expanding his repertory, and his current work-in-progress focuses on newly transcribed Impressionist music. As he
commented Sunday, ‘Composers who stress suggestion fit most comfortably on the instrument.’ He proved his point with his fascinating new take on Debussy's ‘Children's Corner,’ making the
piano piece sing on guitar, as if it belonged there, all dreamily rippling textures and lucid, tender spirit.”
–Los Angeles Times
“Galbraith . . . showed just how gorgeously the guitar can sing . . .
Galbraith’s satiny smooth technique . . . conjure(d) both the solid ring of the harpsichord and the breathy sweetness of the flute, spun out with a vocal agility, a rainbow range of tonal
colors and textures. Galbraith consistently sustained voicing of intense purity, crispness of ornamentation and jewellike sonorities. At the same time, he preserved the finger-to-string
textures that are so integral a part of the guitar’s dynamic expression.” –The Oregonian
“The highlight of his recital . . . was a gracefully phrased, beautifully balanced account of Haydn’s
Piano Sonata No.46 . . . (His guitar’s) sonic benefits include a deep, almost lutelike bass sound and a more general lushness throughout the instrument’s range . . . Mr. Galbraith also gave
clean, texturally transparent accounts of Bach’s Prelude, Fugue and Allegro and the Second Sonata for Unaccompanied Violin. His ornaments had a keyboardlike crispness, and in the fugues of
both works he kept the individual musical strands nicely separated. He also brought imagination and coloristic variety to two Greek works . . .” –The New York Times
“A sense of excitement and curiosity prevailed among the gathering crowd [at Paul Galbraith’s New
York début at the Frick Collection] . . . After all, there was much to anticipate . . . From the beginning . . . it was clear that Mr. Galbraith’s technique was not a gimmick, but a tool to
create music. His phrasing was superbly clear and executed with ease . . . Of particular note were his unbelabored trills, which possessed fluidity and sparkle, seeming to float on top of the
music . . . Playing the faster movements [of Skalkottas’ Sonata Op.1] with a dazzling ferocity and the slower ones with an introspective, thoughtful elegance was a showcase for Paul
Galbraith’s ability both as a guitarist and as a musician. . . The different textures [in Haydn’s Keyboard Sonata No.46] as well as the ambitious modulations were performed with an ease that
might not have been possible on a standard guitar. In fact, at times the voices were so clearly defined that it sounded as though a keyboardist were playing . . . a memorable and musically
convincing concert.” –Guitar Review
“It is not too often that a solo instrumental recital confounds one’s expectations, both visually and
aurally, but that is exactly what Paul Galbraith’s recital achieved . . . an unprecedented richness of sound and clarity, enabling the smallest pianissimo to emerge clearly . . . his clear
articulation of contrapuntal lines in three Dowland Fantasias and J.S. Bach’s Sonata No.2 for Violin Solo BWV 1003 was exemplary. This player’s control (and wide application) of tone colour
was fully revealed in an exquisite reading of Haydn’s Piano Sonata Hob. 46 . . . an uncommonly intimate and musically stimulating evening." –Birmingham Post (U.K.)
“Playing of mind-boggling brilliance . . . His technique is breathtaking, yet at no time was it in any
way more important than the music. His Bach is deeply felt and his technique allows those feelings to come across to us with a wonderful easiness.” –The Scotsman
“The best guitarist of his generation.” –Classical Guitar
“What many had come to see and hear was the revolutionary change he has brought to playing the guitar . .
. the results were truly remarkable, with an amazing clarity and a huge dynamic range I have never before heard from any guitarist. The audience was held spellbound.” –The Sunday Times
(London)
“He has not only mastered his instrument technically but has the ability to gain access into its inner
mysteries.” –Classical Guitar
“Paul Galbraith has something near genius.” –Classical Music
“On Tuesday evening in the Grand Hall I fell in love with a combination of artist, instrument and music.
Pianissimos of the lightest delicacy contrasted with moments of almost awesome power. I've never heard anyone play like this. Galbraith seemed to have transcended technique and established a
personal connection with an inner source allowing the music to communicate amazingly directly. Everything sounded like a masterpiece that evening.” –Classical Guitar
“His musicality is so 'authentic' that every note carries the hallmark of truth and academic notions of
scholarship became superfluous. He held his audience in rapt silence as if spellbound by some magician.” –The Scotsman
“It is difficult to sum up the brilliance of Scotsman Paul Galbraith's artistry in such a restricted
space. I first saw him perform in an intimate, stone chapel in Los Angeles last winter. He brought tears to the eyes of some . . . Sheer brilliance.” –CD Reviews (published on Internet)
Recording Reviews:
Bach: The Sonatas and Partitas for Unaccompanied Violin (Delos 3232)
CRITIC’S CHOICE: ONE OF THE TWO BEST RECORDS OF 1998
"Magnificently played, thoughtful and majestic performances . . . a landmark in the history of
guitar recordings." –Gramophone
(FOUR STARS) “British guitarist Paul Galbraith has made something of a sensation
in the guitar world by creating (with luthier David Rubio) an eight-string guitar on which he can play all six of Bach’s solo violin sonatas and partitas without pausing to retune . . . all
of this, plus some dazzling technique, enables Galbraith to give a flawless performance of this music, making it sound as though it was originally conceived for this instrument . . . there is
no question that the result is a set of extraordinarily skillful, cohesive and (the right word here) passionate performances . . . The plain truth is that these readings are more unified and
more technically proficient than anything I’ve ever heard from a violinist! And they certainly make sensational guitar music with a remarkable depth of feeling.” –Stereo Review
(FIVE STARS) CLASSICAL CD OF THE WEEK. “Paul Galbraith has arranged (and transposed) these wonderful solo
violin works for the 8-string guitar of his own design, and a profound, valid musical experience he provides.” –Birmingham (UK) News
“His interpretations, no matter how idiosyncratic, are always interesting . . . his enlarged guitar
echoes the wide range of the Baroque lute (for which Bach himself transcribed some of this music) while affording a plush tone . . . his playing has a firm spiritual core.” –The New Yorker
“Some of the most interesting and flat-out enjoyable music and playing in any style today can be heard on
(the guitar), as a crop of new releases demonstrates . . . Galbraith has striking ideas about the six sonatas and partitas for solo violin that are refreshing yet thoroughly Bachian in spirit
. . . While Galbraith's reverence for the spirit of these scores is clear, he takes thoughtful departure from the letter of the Bachian law in the texture of these arrangements. He consulted
Bach's own keyboard and lute adaptations of some of this material, and even Brahms' (piano) arrangement of the great Chaconne, resulting here in an uncommonly sweet denouement to that pivotal
movement. . . the clarity and strength of the instrument and playing are unmistakable . . . intensely commited music-making . . . He deals with the sonata abstractions eloquently and delivers
a fluid sense of kinetic spirits in the partita dances.” –Los Angeles Times
(FOUR AND A HALF STARS) “A remarkable recording . . . Galbraith proves to be a player not only of
exceptional technical accomplishment, but also of penetrating understanding of the spiritual values in Bach’s music . . . impeccably phrased and nuanced, with an almost total absence of the
sliding finger noise which seems to be inevitable with the guitar. The result is recordings of the three Sonatas and three Partitas which sweep me so deeply into the music that after a while
I tend to forget which instrument I’m hearing. It seems as though I’m just hearing pure Bach, as originally conceived . . . Don’t miss this recording.” –Buffalo News
“Beautifully executed, brilliantly and profoundly interpreted, and makes the listener aware anew of the
majesty of this almost impossibly beautifully music . . . Galbraith shines some interesting lights and creates some wonderful contrasts not always apparent in the violin version. The sonics
are superb. Highly recommended.” –The Register-Guard (Eugene, OR)
“Galbraith’s deeply thoughtful and technically masterful rendition of Bach’s Six Sonatas and Partitas
will be a resource for guitarists studying Bach transcription techniques for decades to come . . . exhilarating beyond compare . . . a joy.” –Guitar Review
“A new milestone of considerable impact on the history of guitar . . . Galbraith’s riveting performance
displays a virtuosity that does not sacrifice musicality . . . the playing is continuously inspired .
. . passionate commitment and expressive musicianship in accord with Bach’s spiritual legacy.” –CBC Radio Review (Montreal)
“Paul Galbraith plays a specially designed eight-string guitar and makes it sound like magic as he
traverses the three sonatas and three partitas that J.S. Bach wrote for violin . . . Galbraith gets an incredible sound from his guitar . . . Galbraith’s arrangements and playing of all six
works are breathtaking.” –Sun Journal (N.C.)
“Under his nimble fingers, these solo Bach pieces ring out with exquisite clarity, resonant with the
spiritual and earthly yearning Bach poured into them.” –Santa Rosa Press Democrat
“I find myself in the difficult position of expressing, without too much hyberbole, the quality and
richness of Paul Galbraith's rendition of these works . . . it obvious that Mr. Galbraith feels for the works in a most profound way and the level of musical expression is second to none.
Listeners will be thrilled by the depth that is achieved in the musical expression by the added deep bass notes that resonate richer (in my opinion) than a Baroque lute, but still retain the
quality of sound characteristic of the guitar...Having heard over twenty different recordings of the Chaconne it is this author’s opinion that this is one of the finest ever recorded . . . .
this is one of the finest CD collections I have ever heard. If you have to have one recording of the Sonatas and Partitas, then this is the one!” –Internet review (Australia)
“This recording is a revelation: Galbraith manages to impart more color and range to the music than would
most any violinist . . . There are few, if any, limits to what he can do with his guitar, and to the sensitivity with which he does it. While still a teenager, Galbraith won accolades from
Segovia himself, and I do hear similarities between their introspective but assured playing styles.” –Classical Net Review
Paul Galbraith Plays Haydn (Delos 3239)
“A beautiful album . . . typically, he performs the pieces for all they’re worth, which is a lot . . .
This disc should have every chance of repeating the success of Galbraith’s recent dark-horse hit, a two-disc Delos set of his transcriptions of Bach’s solo violin works that landed in the top
ten of Billboard’s classical chart last year . . . a textbook case of the living, breathing art of classical music.” –Billboard
“This amazing musician . . . performs Haydn so convincingly that it is hard to imagine that these sonatas
were not conceived for guitar. The guitar brings a warmth and flexibility of tone and phrasing that the keyboard cannot match, and Galbraith’s smooth and flawless technique, his control of
nuance and dynamics, and his subtlety of musicianship are quite amazing . . . an astonishing recording.” –The Absolute Sound
“Galbraith’s eight-string instrument, with its cello peg and sounding box, plus
an amazing technique, allows him a wide range of harmonic possibilities . . . your jaw will still drop at Galbraith’s facility and how natural the music seems on the guitar.” –Oakland Tribune
“On his second solo release for the Delos label, Paul Galbraith once again pulls out all the stops . . .
The depth, elegance, and joy that Galbraith finds in these sonatas allow his interpretations to hold their own even when compared to those of the best pianists.” –Acoustic Guitar
“EDITOR’S CHOICE: The cream-of-the-crop of the most recent recordings . . .
nothing short of amazing . . . a rare item in the classical guitar world: A top-notch recording that offers something new.” –Guitar Review
The Bach Lute Suites (Delos 3258):
“A transcription for eight-string guitar in performances by Paul Galbraith full of poetic beauty.” –Los
Angeles Times’ “Bach Consumer Guide”
“Consummate musicianship and an unerring sense of phrasing and lyrical line. His playing is sensitive,
astute, and seems to convey the core essence of every movement. The recorded sound is ideal and there are excellent program notes by the performer . . . quite a spiritual experience.”
–ClassicsToday.com
“In Every Lake, the Moon Shines Full”—Folktunes from Spain, Scotland, Greece, Hungary and Norway
“Paul Galbraith plays these folk tunes arrangements with the same remarkable clarity and articulate
musicality that he displayed in his acclaimed releases of Bach, Haydn and others . . . The Songs of the Hebrides . . . are harmonically lush and sound spacious and dark on Galbraith’s
8-string guitar. Here and in the Greek Miniatures of Constantinides Galbraith shows that he is as at home with harmonic and melodic simplicity as he is with more contrapuntally complex
material . . . Galbraith’s playing is a joy to listen to. It has an intensity of focus and immediacy of expression that are unique in the guitar world.” –American Record Guide
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