Guy Braunstein


Violinist Guy Braunstein was born in Tel Aviv, Israel, and studied the violin under the guidance of Chaim Taub and later in New York with Glenn Dicterow and Pinchas Zuckerman.

He started performing as an international soloist and a chamber musician at a young age and has since played with the Israel Philharmonic, Tonhalle Zurich, Bamberg Symphony, Copenhagen Radio and Frankfurt Radio Orchestras, as well as the Philharmonica de la Scala, Berliner Philharmoniker and many others.

His success brought him quickly to the world's most important venues and he has collaborated with musicians such as Issac Stern, András Schiff, Zubin Mehta, Maurizio Pollini, Vladimir Fedosejew, Yefim Bronfman, Daniel Barenboim, Lioba Braun, Sir Simon Rattle, Mitsuko Ushida, Andrey Boreyko, Lang Lang, Jonathan Nott, Emmanuel Ax, Gary Bertini, Pierre Laurent Aimard, Semyon Bychkov and Angelika Kirschlager.

Between 2003 and 2007 Guy held the position of Professor of Music in the University of the Arts (Universitaet der Kunst) in Berlin and since 2006 has been the Music Director of the Rolandseck festival in Germany where he has welcomed international stars such as Emmanuel Pahud, Hélène Grimaud, Amihai Grosz and François Leleux. 

Guy was the youngest person to be appointed concertmaster of the Berliner Philharmoniker in 2000, a position which heralded his debut as an orchestral member. He retired from this position at the end of the 2012-13 season.

Highlights of his 2014-15 season include concerto performances with the BBC Philharmonic, BBC Scottish Symphony Orchestra, Philharmonia Orchestra, Israel Philharmonic, Beethoven Orchester Bonn, Bilbao Symphony Orchestra & Ulster Orchestra. Guy will also play-direct concerts with the Hamburger Symphoniker, Noord Nederlands Orkest and the Poznan Philharmonic amongst others. He will perform chamber music and recitals throughout Europe as well as appearing at the Mozart Festival in Bogota.

Guy plays a rare violin made by Francesco Roggieri in 1679.

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Concerto no. 1 in a minor, BWV 1041
Concerto no. 2 in E Major, BWV 1042
Concerto for 2 Violins in d minor, BWV 1043

Concerto no. 1
Concerto no. 2

Concerto in D major, op. 61
Concerto for Piano, Violin, Cello in C major, op. 56 "Triple”

Concerto for Violin & Orchestra

Concerto in D major, op. 77
Concerto for Violin, Cello & Orchestra in a minor, op. 102

Concerto no. 1 in g minor, op. 26
Scottish Fantasy



Concerto in C major

Symphonie Espagnole, op.21

Concerto no. 3 in G major, K 216
Concerto no. 4 in D major, K 218 "Strasbourg"
Concerto no. 5 in A Major, K219 “Turkish”
Sinfonia concertante in E flat major, K 364 (K 320d)

Concerto in e minor, op. 64
Double Concerto

Concerto no. 2 in g minor, op. 63

Concerto no. 1, op.99

Concerto in d minor, op. 47

Concerto no. 1

Concerto in D major, op. 35

Concerto in D minor, op.22

The Four Seasons, RV 199

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    Introduction & Rondo Capriccioso op.28


Zankel Hall, NEW YORK

PROKOFIEV Piano Sonata No.5 in C Major, Op.38
PROKOFIEV Violin Sonata No.1 in F Minor, Op.80
PROKOFIEV Piano Sonata No.9 in C Major, Op.103
PROKOFIEV Violin Sonata No.2 in D Major, Op.94

Piano: Yefim Bronfman

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Sinfonia Concertante: 1 April 2015

Orquesta Filarmónica de Bogotá, Teatro Villa Mayor, Bogotá

Israeli soloists Guy Braunstein and Ori Kam gave the evening’s standout performance, joining forces for the sublime Sinfonia Concertante for Violin and Viola in E flat major...Kam, violist in the Jerusalem Quartet, offered a wonderfully warm, full sound, contrasting well against Braunstein, with his bright, smiling tone. Lyrical phrasing and alert interplay between the two soloists made this a performance to cherish. Their musicality brought out the best in the Filarmónica too, playful pizzicatos and chattering woodwinds a pleasure to hear. Mark Pullinger,

Delius & Vaughan Williams

Violin Concerto & The Lark Ascending: 21 February 2015

BBC Philharmonic Orchestra/John Storgards, Bridgewater Hall, Manchester

Assisted by the unerring sensitivity of the BBC Philharmonic, Braunstein held the audience in thrall creating a spellbinding mood of bittersweet reflection. How gratifying it was to have the opportunity of hearing this concerto that resides on the fringes of the repertoire. Guy Braunstein returned after the interval for Vaughan Williams’s The Lark Ascending... This was a sterling job from Braunstein bringing freshness to this pastoral score from 1914, a reminder of the pre-Great War innocence that was about to be left behind. Using a marvellously sounding Francesco Roggieri (1679) instrument Braunstein’s use of subtle shading and sharpness of focus was magical and the audience was so absorbed you could hear a pin drop. Michael Cookson, Seen and Heard International


Violin Concerto: 4 January 2015

Hamburger Symphoniker/Ion Marin, Laeiszhalle, Hamburg

Das lag auch am neuen Ersten Gastdirigenten Ion Marin, der seiner Aufgabe mit einer einnehmenden Mischung aus Präzision, Willenskraft und Sanftmut nachgeht. Bei Max Bruchs Violinkonzert, das Guy Braunstein höchst musikantisch, voller Sensibilität und mit einer das Orchester beflügelnden Hingabe spielte, schien die Matrix dafür auf, wie Beziehung gelingt: Wenn jeder sein Bestes für den anderen gibt, vor allem aber für die gemeinsame Sache. Hamburger Abendblatt


Violin Concerto: 28 March 2014

Columbus Symphony Orchestra/Anu Tali, Ohio Theater, Ohio

In the first movement of Tchaikovsky’s Violin Concerto, soloist Guy Braunstein, formerly concertmaster of the Berlin Philharmonic, brought an effortless fluidity to Tchaikovsky’s never-ending melodies and sailed through technical passages, including an electrifying performance of the cadenza. Tali led the orchestra in a meticulous accompaniment.

While Braunstein sang through the opening phrases of the second movement Canzonetta, Tali brought out the countermelodies in the violins, then celli, then violas with rare clarity. Her pacing and dynamic shaping of the orchestral interlude leading to the final movement was masterly.

In the finale, Braunstein’s sizzling technical passages, coupled with Tali’s unwavering command, made the entire movement seem all too easy. The performance brought about a well-deserved standing ovation, which Braunstein rewarded with a Fritz Kreisler encore (sans piano).

Jennifer Hambrick, The Columbus Dispatch


Triple Concerto: 21 March 2014

Boston Symphony Orchestra/Christoph von Dohnányi, Symphony Hall Boston

Violinist Guy Braunstein, making his BSO debut, played with a sweet, slender tone and deftly handled his part's virtuoso demands.
Violinist Guy Braunstein, making his BSO debut, played with a sweet, slender tone and deftly handled his part’s virtuoso demands. - See more at:
Violinist Guy Braunstein, making his BSO debut, played with a sweet, slender tone and deftly handled his part’s virtuoso demands. - See more at: Guy Braunstein, making his BSO debut, played with a sweet, slender tone and deftly handled his part's virtuoso demands.'Violinist Guy Braunstein, making his BSO debut, played with a sweet, slender tone and deftly handled his part's virtuoso demands.'
David Wright, Boston Classical Review


Violin Concerto: 26 February 2014

City of Birmingham Symphony Orchestra/Karl-Heinz Steffens, Symphony Hall, Birmingham

**** His playing revealed the soul of a poet...Braunstein's performance of the Tchaikovsky violin concerto won many admirers; it eschewed outward glamour but got to the heart of the work. Norman Stinchcombe, Birmingham Post


Violin Concerto No.1: 26 October 2013

BBC Philharmonic Orchestra/John Storgårds, Bridgewater Hall, Manchester

**** The highlight of the evening was Guy Braunstein’s mesmerising performance of Shostakovich’s Violin Concerto no 1 in A minor...The achingly beautiful playing from Braunstein and the orchestra in the Passacaglia slow movement inevitably brought to mind the composer's personal struggles. Woodwind and tuba, a strange pairing, combined to good effect, followed by some deeply moving playing from Braunstein. His sound worked very well in conjunction with solo horn and cor anglais, and he showed great willingness to balance himself to the melody of the lower strings in places. There was rapt silence for his superbly beguiling cadenza, all rustles and coughs suspended for a moment.

The more dashing passages also came off with outstanding results. Storgårds maintained close engagement with his forces, crouching and lunging at times, to inspire vivacious energy in the playing. The vigorous percussive passages, with bold statements on timpani and xylophone, brought to mind the sound world of the Nielsen we would later hear. Braunstein gave similarly fierce bow attacks and a sense of tireless energy. The agility and direct sound of his Shostakovich is well suited to the Philharmonic strings, and both he and the orchestra fully deserved the huge cheer that answered the last note. It is uncommon to see an audience so totally won over by a concerto, but the high quality of playing from both soloist and orchestra tonight earned multiple calls back to the stage. On the fourth, Braunstein offered an encore of a Fritz Kreisler work for violin and piano; after jokingly looking around for a piano, and muttering during the piano passages, he launched into a superbly witty digestif to the concerto. The grinning orchestra craned their necks to see him, and the audience seemed thrilled at the interval. Rohan Shotton,


Quartet for the End of Time : 11 March 2012

West-Eastern Divan Soloists, Queen Elizabeth Hall, London

The emotional peak was scaled instead by Braunstein's violin in the sorrowing adagio, his tone fragile, a whisper away from tears. Geoff Brown, The Times


Violin Concerto: 29 January 2012

Hamburger Symphoniker/Jeffrey Tate, Laeiszhalle Hamburg

Braunstein displayed a carefree confidence throughout his performance...the introduction was glacial but so beautifully executed that it felt right, the rich string tone filling the hall in spite of the hushed dynamics. Braunstein's flexibility, particularly in the upper register, allowed for sweet tone on the more lyrical bits. Erik Klackner, KC Metropolis


Violin Concerto : 26 January 2012

Hamburger Symphoniker/Jeffrey Tate, Kansas City

Braunstein's technical polish could only be that of a truly world-class musician. Every note, every phrase was as close to perfect as can be. John Heuertz, Kansas City Star


Violin Concerto: 22 January 2012

Hamburger Symphoniker/Jeffrey Tate, Worcester MA

Guy Braunstein aptly demonstrated why the Berlin Philharmonic picked him to be its concertmaster. He deftly tossed off Brahms' fierce pyrotechnics with fluency, finesse and suave sound from his Roggieri 1679 violin...The delicately nuanced vibrato of the adagio, achieved an ethereal, arresting serenity, juxtaposed with the scrambling gypsy explosions of the last movement. In all it was a dazzling performance that quickly brought the large audience to its feet. John Zeugner, Worcester Telegram