Julian Bream 1981 Master Class: Encounter with Genius by Rick Gartner
1- Julian Bream
2-Bream Master Class
-Early biography concise informative summary
-This article is heavy on the lute side of Bream
-Discusses Grammy award successes.
-Music period before and after the recording process
-Suggest that Hauser guitars are at the top of Bream's mind when talking guitars
-Briefly mentions his association with Romanillos
-Significant discusion about his 8 course lute by Rubio.
-his fingernailsand-how they continuously affect and change his playing
-his hand placement for the lute as opposed to the guitar
-use of tone color with the lute as opposed to the guitar
-his use of tablature for early worksand how he often transcribes it into 2 clefts
-composition: he enjoys it but has never recorded them and rarely plays them
-his love of outdoor games, gardening and walking
-his method of teaching
-master class in January 1981 in San Francisco.Prior one master class in US 1964
-example of how he not only teaches but learns from his students.
-thought on playing Sor's "Study No. 14" in A
-importance of studying and listening to other instruments other than the guitar
-thoughts on playing Barrios' "La Catedral" (which Bream never recorded)
-thoughts on playing Villa-Lobos' "Etude 11"
-thoughts on playing Frank Martin's "Four Short Pieces"
-thoughts on playing Bach's "Prelude for Lute" in D minor
-thoughts on playing Bach's the "Fugue" from the Violin Sonata No. 1
-thoughts on playing Bach's "Chaconne"
-thoughts on playing Searle's "Five"
-thoughts on playing Britten's "Nocturnal"
-thoughts on playing Granado's "La Maja de Goya"
-thoughts on playing Albéniz' "Cordoba"
-thoughts on when to start a piece when the audience is not quite settle down yet
Article: Julian Bream 50th Birthday
Magazine Articles: 1980 - 1989
September - October 1982