…a master musician. A true violist, Mr. Neubauer exults in his instrument’s dark, rich, sumptuous tone. He combines an unerring sense of pitch with affecting lyrical warmth; he even proved himself unafraid of a little honest sentiment, a rarity among perfectionists.
— The New York Times
He plays his instrument with the kind of poise and maturity that place him at the top of the upper crust of musicians. Neubauer balances unflinching control, fluid bowing and sure-fire intonation with extraordinary depth of vision.
— Los Angeles Times
If there has been a better violist since William Primrose was in his prime more than a half-century ago, this listener does not know of him or her.
— The Baltimore Sun
The viola soloist, Paul Neubauer, with his clean, firmly focused tone, keeps the music flowing in the hauntingly lyrical first movement [of the Walton Viola Concerto]. He is brilliant and incisive in the central Scherzo, and again in the finale he keeps the music flowing, relaxing seductively for the haunting epilogue, and using the widest possible dynamic range.
— The Guardian
Neubauer probed the dark nostalgia of Robert Schumann’s “Marchenbilder” for Viola and Piano with acute sensitivity, then teased two wonderful Fritz Kreisler pieces into radiant bloom. More wonderful still were pieces by Georges Boulanger that pushed the Kreisler tradition of elegant salon miniatures into the stratosphere. How composition this outrageously sly can be so vivid, touching and hilarious is Neubauer’s secret: He owns this music, and to hear it from him is to inhabit a unique playground of delights.
— The Washington Post
Neubauer is one of America’s finest concert artists. His intonation was flawless, and the deep, rich tone he drew from his instrument was the purest imaginable. Neubauer met its every demand with easy grace and elegance, and achieved an extraordinary ethereal serenity with the evenness of his bowing.
— The Atlanta Journal
Chen’s tonal silk and Neubauer’s velvet made them complementary on a basic level, but their deep musicality, their poised, seamless way of echoing and completing each other’s melodic lines were little short of astonishing for artists who cannot have had much chance to play together, if at all. Their pinpoint intonation, finely synchronized vibrato and Neubauer’s chocolately, never nasal, sound were remarkable enough in themselves. What really made this Mozart special was the feeling of enlarged orchestral chamber music everyone, including the attentive Muti and Chen’s colleagues, brought to the piece.
— Chicago Tribune
Neubauer made his viola sing in all its ranges and timbres. The pure, distilled beauty of the slow movement produced a hush in the hall, while the dark plangence of the lower strings showcased the instrument’s distinctive contralto. Neubauer displayed his arresting virtuosity by racing easily up and down the fingerboard, demonstrating that the viola can hold its own with its more popular cousins, the violin and cello.
— The Cincinnati Post
The string-playing world was heavily represented in the audience, and no wonder. His aristocratic posture offers the eye a complement to the virtues the ear perceives. Mr. Neubauer’s seamless control of the bow, his intonation, his rich and varied tonal palette, mark him as a member of the elite.
— The New York Times
A bigger more beautiful viola tone or a better command of the instrument’s technical and interpretive possibilities seems inconceivable.
— Daily News (New York)
His exquisite playing and his obvious love for the Bartók Viola Concerto, the work he helped revise, made an unstoppable combination. Neubauer’s huge tone, warm yet animated, easily hit the back wall of the Eastman Theatre. You hung onto the energy of every note. He centered the work, musically and literally. The range of emotion in Neubauer’s playing compares with the expressiveness of a great singer.
— Democrat and Chronicle (Rochester)
Mere inches from that glorious sound, many were made weak at the knees. If it were socially acceptable, I might have kneeled. And while violist Paul Neubauer’s technique was admirable, it was the introspection, the variations of tone and straightforwardness of his music-making that left me spinning.
— San Jose Mercury News
The afternoon was a revelation…he is acclaimed everywhere as a string player without peer among his generation of soloists. He probed to the heart of each work he played with unerring musical perception.
— The Courier-Journal (Louisville)
Paul Neubauer is the Sir Yehudi Menuhin of the viola. Think of the purity, simplicity and frail beauty of Menuhin’s violin playing and transpose to an alto without any loss of clarity, purity and refinement. You will then have an idea of the sound Neubauer can draw from his viola.
— The Greenville News
It’s hard to imagine the solo viola part in Harold in Italy – better played than it was by Paul Neubauer. With a tone of depth as well as satin finish, he presided masterfully over ruffles and flourishes as well as lyric effusions.
— The Dallas Morning News
Neubauer possesses a beautiful tone; his playing is musical and expressive and filled with some of the most compelling lyricism of any concert artist today. He also has tremendous technical acumen. Nothing is impossible for him; he can dazzle his audience with his virtuosity and thrill them with his soft-edged melodicism. Together with Kogan, Neubauer gave one of the most dramatic and at the same time subtle and nuanced performances of the Berlioz imaginable.
— Deseret News (Salt Lake City)
Neubauer is a pleasure to watch as well as to hear. His physical motion when performing is both economical and elegant and that elegance is also expressed in his tone – colorful without a trace of throatiness – and his phrasing. His playing was highly atmospheric and evocative.
— The Strad
For a modern reading that comes nearer than any to the original approach sanctioned by the composer (Walton), my own choice is Paul Neubauer with Andrew Litton and the Bournemouth orchestra…
— Gramophone
Neubauer makes the cascade of notes positively fly off the page with brilliant panache. That he is a multi-linguistic musical stylist is made equally evident in his thoroughly Iberian-flavored “Rapsodie” from the Suite Hebraïque, as well as plenty of heartfelt but never flamboyant lyricism in the other movements. On every page of each score, Neubauer evinces sovereign interpretive and technical majesty.
— Fanfare
Here were scoops and slides, an amazing array of tone colors, and pyrotechnics tossed off with mischievous humor. The extraordinary thing was that it all seemed absolutely right, natural, and in good taste. Neubauer’s tone is invariably beautiful, at the service of mood and expression, his bowing smooth, his phrasing elegant.
— Strings Magazine
There are not enough superlatives to express how fine these performances are. Throw away all those tired old viola jokes. This is some of the finest string playing I have ever heard. Maestro Neubauer is a phenomenal musician of great artistry combined with impeccable, effortless technique...Neubauer exhibits a magnificent tone with an infinite palette of colours.
— Stringendo
Neubauer is one of the finest violists alive. His intonation and technical claims are faultless, and his bow arm seems to be seamless. He is able to inflect the usually timid viola with a warmth and expressiveness that command the hall. Neubauer played superbly.
— The San Juan Star
Next came the viola transcription of Schumann’s Five Pieces in Folk Style, in such a ravishing account by Paul Neubauer that you were left never wanting to hear them performed on cello again.
— Townsville Bulletin (Australia)
Surely the best violist I have ever heard…virtuoso playing caused no difficulty for Neubauer whose faultless intonation, lack of technical problems and artistic playing place him among the foremost artists of the world.
— Dnevnik (Ljubljana)

Paul Neubauer, violist

Violist Paul Neubauer's exceptional musicality and effortless playing led the New York Times to call him “a master musician.” He recently made his Chicago Symphony subscription debut with conductor Riccardo Muti and his Mariinsky Orchestra debut with conductor Valery Gergiev. He also gave the US premiere of the newly discovered Impromptu for viola and piano by Shostakovich with pianist Wu Han. In addition, his recording of the Aaron Kernis Viola Concerto with the Royal Northern Sinfonia, a work he premiered with the St. Paul Chamber, Los Angeles Chamber, and Idyllwild Arts orchestras and the Chautauqua Symphony, was released on Signum Records. His recording of the complete viola and piano music by Ernest Bloch with pianist Margo Garrett was released on Delos. 

A two-time Grammy nominee, Mr. Neubauer released a solo album of music recorded at Music@Menlo. His recording of piano quartets with Daniel Hope, David Finckel and Wu Han was recently released on the Deutsche Grammophon label. Joan Tower's Purple Rhapsody with Timothy Russsell and the Pro Music Chamber Orchestra, commissioned for him by seven orchestras and the Koussevitsky Foundation, was released by Summit Records. Other recorded works that were written for him include: Wild Purple for solo viola by Joan Tower for Naxos; Viola Rhapsody a concerto by Henri Lazarof on Centaur Records; and Soul Garden for viola and chamber ensemble by Derek Bermel on CRI. His recording of the Walton Viola Concerto was re-released on Decca and his Schumann recital album with pianist Anne-Marie McDermott was recorded for Image Recordings.

During his six year tenure with the New York Philharmonic, Paul Neubauer appeared as soloist with that orchestra in over twenty performances. One particularly memorable performance was the New York premiere of Krzysztof Penderecki's Viola Concerto with Penderecki conducting. He has appeared with over 100 orchestras throughout the United States, Europe, and Asia including the Los Angeles Philharmonic, the Orchestra of St. Luke's, the San Francisco, National, St. Louis, Dallas, Indianapolis, Puerto Rico and Cincinnati symphonies, the Bavarian State Radio Orchestra, the Helsinki Philharmonic, the Hungarian Radio Orchestra, the Orchester der Beethovenhalle Bonn (with whom he performed the world premiere of the newly revised version of Bartók's Viola Concerto), the Kansas City Symphony (premiering Tobias Picker's Viola Concerto), the English Chamber Orchestra (performing the world premiere of Gordon Jacob's Viola Concerto no. 2), and the Knoxville Symphony (premiering David Ott's Viola Concerto). Mr. Neubauer made his Carnegie Hall Debut playing the first performance of Joel Philip Friedman's Concerto for Viola and Orchestra with the National Orchestral Association. He has also appeared with the Stockholm Chamber Orchestra, Royal Liverpool Philharmonic, Hong Kong Philharmonic, Ensemble orchestral de Paris, Orquesta Filharmonica de Buenos Aires, Bournemouth Symphony, and the Taipei National Symphony. In Rome, he has performed with violinist Vladimir Spivakov and the Orchestra of the National Academy of Santa Cecelia. Other collaborations include performances with Andre Watts and Vladimir Feltsman at the Metropolitan Museum of Art; with Joshua Bell and Steven Isserlis at London's Wigmore and Queen Elizabeth Hall’s; and with Pinchas Zukerman, James Galway, Vladimir Spivakov and Alicia de Larrocha at the Mostly Mozart Festival. He has also collaborated with the Emerson, Shanghai, Juilliard, Cleveland, Fine Arts, Orion, Borromeo, Miami, and Brentano quartets.

Mr. Neubauer's musical activities are consistently creative. In a pair of highly acclaimed New York premieres, he performed Bartók's Viola Concerto (which he helped to revise along with Bartók's son, Peter and composer Nelson Dellamaggiore), and Max Bruch's Double Concerto for Clarinet and Viola with clarinetist David Shifrin. He also gave the North American premiere of the Detlev Müller-Siemens Viola Concerto and Richard Suter's Three Nocturnes for Viola and Orchestra. He has been featured as a special guest artist of the New York City Ballet at Lincoln Center in performances of Viola Alone, and on the popular radio show A Prairie Home Companion. He was very successful as the director of Voilà Viola, a viola festival held at Merkin Hall in New York, and has toured the United States with pianist Christopher O'Riley, violinist Pamela Frank, and cellist Carter Brey.

In addition to his innumerable orchestral, recital, and festival appearances, Paul Neubauer is accessible to a broad range of television and radio audiences through Live from Lincoln Center telecasts with the Chamber Music Society of Lincoln Center. He has been featured on CBS's Sunday Morning; in recital on PBS's Front Row Center and In Concert; on Argentinean, Brazilian, and Mexican television as soloist with orchestras; on National Public Radio's Performance Today and Morning Edition, on St. Paul Sunday Morning, as well as on international radio performances throughout the world.

Among Mr. Neubauer's numerous awards are First Prize in the Mae M. Whitaker International Competition, the D'Angelo International Competition, and the Lionel Tertis International Viola Competition. He has been the recipient of a Solo Recitalist's Fellowship from the National Endowment for the Arts and a special prize from the Naumburg Foundation, which awarded him an Alice Tully Hall recital debut. Moreover, the Epstein Young Artists Program has sponsored him and he was the first violist chosen to receive an Avery Fisher Career Grant. 

Born in Los Angeles and currently residing in New York City, Mr. Neubauer studied with Alan de Veritch, Paul Doktor, and William Primrose. He holds a Master's Degree from The Juilliard School where he is now a member of the faculty. He also teaches at Mannes College. He is the Artistic Director of the Mostly Music series in New Jersey.