"The highlight of his recital . . . was a gracefully phrased, beautifully balanced account of Haydn's Piano Sonata No.46 . . . (His guita'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 keyboard-like 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 "Exceptional artistry." -The New Yorker "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 jewel-like 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 "Pure magic . . . Two short pieces by John Dowland were long enough to refocus one's attention on Galbraith's incredible soft dynamics . . . Even more revelatory was Galbraith's transcription of Haydn's Sonata for Keyboard No.46. The transparency of Galbraith's playing opened up new aspects of Haydn's classicism; even so routine a technique as parallel thirds took on a new freshness. If Galbraith's arrangement and playing didn't exceed the range of Haydn's keyboard original, it certainly surpassed it in beauty." -Santa Barbara News-Press "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 with a dazzling ferocity and the slower ones with an introspective, thoughtful elegance (Skalkottas' Sonata Op.1) 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 "GALBRAITH CALLS FORTH UNCOMMON SOUND, POWER FROM CLASSICAL GUITAR (headline). The concert classical guitar took its present form about 150 years ago. The next step in the instrument's evolution might have been heard Friday night (at Wisconsin Lutheran College) . . . Galbraith is not merely an innovator, but a musician of enormous skill and insight . . . utterly convincing." -Milwaukee Journal Sentinel "Dexterity is not the half of i; the man is an extraordinary musician. His performance of the Vivaldi Concerto in D major (with the San Jose Chamber Orchestra) made familiar music uncommonly tender and uncommonly clear." -San Jose Mercury News "Sitting in a shaft of light in a pitch-black concert hall, Galbraith glowed with dexterity and genius . . . one of the premier living classic guitarists . . . he chose for each note a particular dynamic and intention. His technique was simply awesome. An audience that sat rapt for two hours under Galbraith's spell demanded an encore." -The Lancaster Intelligencer Journal "Worth travelling long distances to hear." -The Guardian (U.K.) "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 last night in the Adrian Boult Hall . . . 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 "Galbraith achieved a considerable feat in both transcribing and committing to memory Bach's six solo Sonatas and Partitas, and went on to play them with a real sense of having something to communicate in the music, rather than simply technical virtuosity . . . a luscious augmentation of instrumental sonority and colour made this concert a thoroughly enjoyable experience. Both Galbraith and his instrument have the potential to do remarkable things." -Glasgow Herald "He produced music of unusual color, richness and virtuosity." -Philadelphia Inquirer" "To wind up Piccolo Spoleto's Fretwork series, Paul Galbraith performed a virtuoso guitar concert that held the sold-out audience in hushed concentration . . . extreme beauty of tone . . . at the end of the concert, audience members were lining up to by a CD of his music." -Charleston (SC) Post and Courier "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)