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Welcome to the Website for pianist, Christopher Lee Guild.
Please feel free to browse through the various sections, where you can learn a little more about the man himself, his musical history, forthcoming events, and press reviews.
Praise for his pianism:
“An artist of individuality... a charismatic performer” - Royal College of Music, London, June 2008
“His shaping of all the pieces was remarkable… His maturity was also evident in the confident and considerate way in which he ‘handled’ the audience with such charm and authority. He has a great future.” - Review of the Knockando Woolmill Restoration Fund Recital, August 2007.
“As always, his technique was impeccable…” - St Michael’s at SIX, Edinburgh, August 2007
“A consummate musician with a most impressive gift.” - St Mary’s Music School, Edinburgh, May 2005
“One of Scotland’s most promising young musicians” - The Northern Scot, November 2001
“…set for an assured pianistic future” - Hexham Courier, May 2004
“His shaping of all the pieces was remarkable… His maturity was also evident in the confident and considerate way in which he ‘handled’ the audience with such charm and authority. He has a great future.” - Review of the Knockando Woolmill Restoration Fund Recital, August 2007.
“As always, his technique was impeccable…” - St Michael’s at SIX, Edinburgh, August 2007
“A consummate musician with a most impressive gift.” - St Mary’s Music School, Edinburgh, May 2005
“One of Scotland’s most promising young musicians” - The Northern Scot, November 2001
“…set for an assured pianistic future” - Hexham Courier, May 2004
Review of Guild's 'St Michael's at SIX' concert, given at St Michael's Parish Church, Slateford Road, Edinburgh in August 2007
St. Michael’s at Six – Christopher Lee Guild
Review by Lewis Forbes
The first Six concert after the summer break was given by young pianist Christopher Lee Guild, and comprised a highly demanding programme of 19th and 20th century music.
The opening item was Beethoven’s great Appassionata Sonata. The introduction was suitably brooding and unsettling, and with the sudden fiery outbursts, Christopher really made the most of the typically dramatic Beethovian dynamics. In the central Andante, he slipped effortlessly between a wonderfully veiled sound and bright shimmering textures. Christopher stressed the agitato characteristics of the final movement, particularly through the bass melodies, and the drawn out coda was very exciting indeed.
Fauré’s Barcarolle in F# major provided a total change of mood – some calmness after the stormy Beethoven. Christopher brought out the swirling colours of the harmony, and emphasised the contrast between the high descending scalic melodies with the lower, more enigmatic, sections.
In the following Leighton Adagio, Christopher created a wonderful air of stillness and timelessness. Leighton’s signature mix of biting clusters and beautiful consonance, combined with the way Christopher managed the dazzling raindrop-like textures, made it a highlight of the concert for me.
The evening concluded with three Debussy Preludes. Christopher really characterised each uniquely and, as always, his technique was impeccable – floating, rippling or bouncing playfully.
Lewis Forbes
Edinburgh University, August 2007
Review by Lewis Forbes
The first Six concert after the summer break was given by young pianist Christopher Lee Guild, and comprised a highly demanding programme of 19th and 20th century music.
The opening item was Beethoven’s great Appassionata Sonata. The introduction was suitably brooding and unsettling, and with the sudden fiery outbursts, Christopher really made the most of the typically dramatic Beethovian dynamics. In the central Andante, he slipped effortlessly between a wonderfully veiled sound and bright shimmering textures. Christopher stressed the agitato characteristics of the final movement, particularly through the bass melodies, and the drawn out coda was very exciting indeed.
Fauré’s Barcarolle in F# major provided a total change of mood – some calmness after the stormy Beethoven. Christopher brought out the swirling colours of the harmony, and emphasised the contrast between the high descending scalic melodies with the lower, more enigmatic, sections.
In the following Leighton Adagio, Christopher created a wonderful air of stillness and timelessness. Leighton’s signature mix of biting clusters and beautiful consonance, combined with the way Christopher managed the dazzling raindrop-like textures, made it a highlight of the concert for me.
The evening concluded with three Debussy Preludes. Christopher really characterised each uniquely and, as always, his technique was impeccable – floating, rippling or bouncing playfully.
Lewis Forbes
Edinburgh University, August 2007
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