"Shibe gathers the listener into its unsettling, fantastical soundworld with an intensity that combines gracefulness and threat with rapier skill"
BBC Music Magazine
"Shibe is another Bream, or something close. His playing unites finesse and poetry, and beautifully suggests a continuity of idiom."
The Sunday Times
Sean Shibe is “one of the foremost guitarists” of his generation. In 2018 Sean Shibe won the Young Artist Award from the Royal Philharmonic Society following a hugely successful debut album release on Delphian Records, which also won him a nomination in the BBC Music Magazine ‘Instrumental Award’ category. Dreams and Fancies is a recording that explores the fruits of Julian Bream’s history of commissioning in the 20th Century alongside music by Dowland and was named Editor’s Choice in Gramophone as well as BBC Music Magazine’s Instrumental Choice.
Alongside the success of his recording debut, Sean Shibe’s “uncompromisingly monumental” project softLOUD premiered at the East Neuk and Edinburgh Fringe Festivals – a revelatory programme juxtaposing Jacobean lute music for classical guitar, with electric guitar arrangements of multi-tracked repertoire including US Pulitzer prize winning composers Julia Wolfe’s powerful elegy LAD, (originally written for 9 bagpipes) and David Lang’s Killer. These works form part of the critically acclaimed softLOUD recording which won the first ever Gramophone Award for Best Concept Album in 2019, and was named Instrumental Choice in the BBC Music Magazine.
Born in Edinburgh in 1992 of English and Japanese heritage, he studied at the Royal Conservatoire of Scotland and with Paolo Pegoraro in Italy. At the age of 20 he became the first guitarist to be selected for the BBC Radio 3 New Generation Artists scheme, and the only solo guitarist to be awarded a Borletti-Buitoni Trust Fellowship. He was a YCAT artist between 2015 – 2017.
He has performed at internationally renowned venues including Aldeburgh Festival, Bath International Festival, Heidelberger-Frühling and the Musashino Hall in Tokyo. He returned to the Marlboro Summer Music Festival on the invitation of Mitsuko Uchida, and has extensively toured in China.
Recent and future highlights include debut concerts with the Pacific Symphony, Scottish Ensemble, and Trondheim Symphony orchestras, as well as recitals at Wigmore Hall, Oper Frankfurt, the Lammermuir Festival and Leicester International Music Festival, MiTo Settembre Musica Festival in Milan and Turin, the Royal Northern College of Music, the the Liszt Academy in Budapest, the Hayward Gallery at London’s Southbank Centre and a tour of Ireland.
With an acute interest in commissioning new works and arrangements for the instrument, Sean Shibe performs music by Michael Murray, James MacMillan, Brian Bolger and Daniel Kidane.
He has appeared with the BBC Scottish Symphony, Scottish Chamber Orchestra, BBC National Orchestra of Wales, Royal Philharmonic, and BBC Symphony Orchestras performing Rodrigo’s Concierto de Aranjuez and Fantasía para un Gentilhombre, the Malcolm Arnold and Villa-Lobos Concertos, and recording Takemitsu’s To the Edge of Dream. He has recorded solo works by Sir Peter Maxwell Davies for Linn Records as part of a Scottish Chamber Orchestra disc, as well as John Adams Naive and Sentimental Music with the Royal Scottish National Orchestra on Chandos.
His awards include the Royal Over-Seas League First Prize and Gold Medal (2011), Ivor Mairants Guitar Award (2009), a Dewar Arts and D’Addarrio endorsement. He is grateful for support from the Hattori Trust.
This biography is for information only and should not be reproduced.
softLOUD at the Hayward Gallery
Southbank Centre, Jan 2020
[Julia Wolfe's] 17-minute LAD (2007) requires the unusual combination of nine bagpipes, but Sean Shibe has adapted it as an electroacoustic piece for guitar, and it concluded his beautifully performed solo recital at the Hayward Gallery. This, given twice on the same evening, was part of a concert series there coinciding with, and exploiting, the stimulating backdrop of the Bridget Riley retrospective. Before the energised interlocking of circles that is her wall painting Composition with Circles 4 (2004), Shibe unfolded an original sequence... instantly seductive.
Paul Driver, Sunday Times
Britten recital with Allan Clayton
Wigmore Hall, January 2020
Performing Dowland's songs is a knack, being able to scale the voice down to an intimate level whilst keeping the expressivity and bringing out the wonderful musical detail. There was a relaxed sense of partnership between the two performers, with Clayton adding ornaments in later verses of the songs... It was an intense, magical experience and I do hope that we hear more lute songs from the two... [In Britten's Nocturnal after John Dowland] Shibe played with lovely tone and quiet intensity, creating a series of vivid sketches by turns eerie and magical in the variations, of this dark and sometimes edgy music. The inventive and virtuosic passacaglia drew us onward, with some remarkable colours and timbres from Shibe, with the Dowland song coming as something of a release.
Clayton’s tenor was light and airy, subtly picking out selected words and nuances - “I sit, I sigh, I weep, I faint, I die” first swelled with urgency, then, when repeated, retreated to a floating whisper - above Shibe’s pristinely elaborate polyphonic accompaniment... In a mesmerising performance if Britten's Nocturnal after John Downland, that was, paradoxically, both introspective and deeply communicative, Shibe seemed to venture ‘inside’ the music itself, as the semitonal conflicts wrought themselves into ever greater complexities before releasing their knots in tentative melodic fragments. Britten’s resourcefulness with small means is astonishing but Shibe’s performance held the Wigmore Hall audience spellbound. Cradling his instrument, head bent low, the Scottish-Japanese guitarist put me in mind of Dr John Dee: for this was musical magick, as if the spirit of those Elizabethan alchemists had returned to play upon our ears and hearts and minds - mesmerising us with terrifyingly quiet pianissimos, the player almost lost in improvisatory meditations which were broken by surprising, frightening declamations of eloquence and eeriness.
Claire Seymour, Opera Today
Musica Adventus with the Scottish Ensemble
Guitarist Sean Shibe appeared for a solo performance of Kapsberger’s Toccata arpeggiata, all softly flowing broken chords, joining the group for Vivaldi’s Concerto for lute and 2 violins in D major, the Ensemble in a supportive role carefully balancing the sound while maintaining lively excitement in the outer movements. The slow Largo was especially effective, with Shibe’s guitar dreamily floating out high notes over wistful long-bowed strings, a touch of melancholy before the energetic final movement arrived, with its playful exchanges between soloist and ensemble and busy continuo.
David Smythe, Bachtrack ****
Delphian Records (DCD34213)
[He] is an artist blessed with grace to spare, and a roar that is fearsome.
Paul Riley, BBC Music Magazine, Instrumental Choice *****
The talented young Scottish guitarist Sean Shibe brings this bracingly original concert programme featuring music for acoustic and electric guitars into the recording studio. The results, like the performances themselves, are spectacular.
[There is] something about cumulative effect. About taking the music of the past and transforming it. Or deconstructing it. Or dissolving into it. Or just plain smashing it.
William Yeoman, Gramophone
...a definitive performance of Steve Reich's Electric Counterpoint
Erica Jeal, The Guardian
…the second Delphian album is the sort of release for which the potential audience is vast... The first hard-to-ignore contender for the Scottish Album of the Year award from a classical label? I very much think so.
Keith Bruce, The Herald
This disc works on so many levels.
Graham Rickson, The Arts Desk
In serving such a mixed menu, Shibe is showcasing his extraordinary versatility...All performances find Shibe in impressive form.
Classical Guitar Spring 2019
The early works are drawn from sources including the Wemyss, Balcarres, Rowallan and Straloch Manuscripts, and are presented by Shibe on modern guitar without apology. It is pure delight to hear Shibe—unburdened by any sense of historicist orthodoxy—taking full advantage of the modern classical instrument and stamping his own artistic ownership all over them...Entirely deserving of the attention and awards it has begun to receive,softLOUD is something you’ll want to listen to in two halves, as well as straight through. It’s absolutely riveting. It’s the most eloquent musical scream on record.
David Lee, Scottish Review of Books
Naïve and Sentimental Music
Royal Scottish National Orchestra / Chandos Records (CHSA5199)
A word of warning: in these desolate stretches, Sean Shibe may steal your heart with his guitar solo.
Patrick Rucker, Gramophone Magazine
Dreams and Fancies
Delphian Records (DCD34193)
In his debut solo album...Sean Shibe performs with superb artistry some of the now classics that Bream inspired. Prime in any such catalogue is Britten’s 1963 Nocturnal after John Dowland, and Shibe gathers the listener into its unsettling, fantastical soundworld with an intensity that combines gracefulness and threat with rapier skill.
BBC Music Magazine, Instrumental Choice *****
Mesmerising... Shibe brings an electrifyingly discursive quality ... balanced by an even-tempered yet intensely reflective grace.
Gramophone Magazine, Editor’s Choice
This is the best solo guitar disc I've heard. That it comes from a soloist in his twenties makes it all the more astounding ... Remarkable stuff, and the range of colours which Shibe draws from just six strings is extraordinary.
The Arts Desk
What is it about the young Edinburgh-born Sean Shibe that marks him out as one of the foremost guitarists of the young generation? It is quite simply that rare symbiosis of technical mastery and innate musicality. The evidence is there from bar one of this latest album, which is a golden representation of the old and new in English guitar music.
The most seductive of charmed sounds… Shibe is another Bream, or something close. His playing unites finesse and poetry, and beautifully suggests a continuity of idiom.
The Sunday Times
Everything here is rich in melody and Shibe is as articulate a virtuoso as Bream, communicating the precision of these intimate chamber pieces with real passion. It also speaks volumes of an adventurous musician that, singularity of instrument aside, the album could hardly be further from the music Shibe played at the East Neuk Festival on the road to a week’s run at the Edinburgh Fringe. Both incarnations of his performing are unmissable.
It's not often a guitar recital leaves me slightly stunned, but this one did. Just listen to the sound, the way Shibe changes the colour even during a phrase... what a seductive sound, incredibly clean playing, and almost miraculous changes of colour and timbre, never empty gestures, always to articulate the counterpoint and phrasing. Shibe manages to highlight Walton's inventive brilliance, Dowland's harmonic modernity, Lennox Berkeley's elegance in his Sonatina, Malcolm Arnold's extrovert quirkiness in his Fantasy and he ends with an extraordinarily articulate and compelling performance of Benjamin's Britten's Nocturnal after John Dowland. Inspired by Julian Bream's pioneering spirit perhaps, but this is playing on an exalted level and the recording gives everything a resonant halo that allows the sound to bloom beautifully. If you only by one guitar recital this year - it's called Dreams & Fancies.
Andrew McGregor, quoted from BBC Radio 3’s Record Review
East Neuk Festival (June 2017)
Shibe [is] an infallible galvaniser as well as something completely different… that soft, hauntingly inflected and coloured soft playing at which Shibe, more than any other acoustic guitarist I’ve ever heard, truly excels… Only Shibe could have thought of asking her [Julia Wolfe] if she minded his transcribing it for nine electric guitars: genius, a term which should rarely be applied to performing musicians, but at 25 he has it.
David Nice, The Arts Desk
LAD by US composer Julia Wolfe, originally for nine bagpipers and getting its UK premiere in a new version by Shibe for multitracked electric guitars... Shibes towering textures of mournful, slowly rising harmonies, which made their mark almost physically in the intimate space of Anstruther’s Dreel Halls. But it was the work’s uncompromising monumentality that made it really memorable.
Wigmore Hall Recital
Wigmore Hall (February 2014)
From the very first note he plays, Sean Shibe immediately draws in the attention of the audience… Sean Shibe created a magical atmosphere; he seems to intimately understand the meaning behind every note which he plays.
Classical Guitar Magazine
Rodrigo – Concierto de Aranjuez
Scottish Chamber Orchestra (September 2012)
A prodigious technician and supremely expressive player, Shibe gave a masterful account of this much-loved work.
Maxwell Davies – Mill Runes & Farewell to Stromness
Linn Records (CKD 534)
The beautifully executed guitar interludes are supplied by Edinburgh’s Sean Shibe; Hill Runes is based on a cryptic five-stanza poem by Orkney poet George Mackay Brown, while Farewell to Stromness is an arrangement by Timothy Walker of the piano original.
BBC Music Magazine