​JulianBreamGuitar.com

BMG (Banjo, Mandolin, Guitar)
Guitar Interest by A.P. Sharpe
September 1952, p. 285

Julian Bream briefly mentioned in an article about Len Williams and his son John.

Ibid, Club Notes, p. 304

PSG celebrates Julian’s 19th birthday with a chocolate cake in the shape of the guitar during their July meeting. "A new trio assembled by Julian Bream (viola. guitar and double bass) performed a work by the lutenist Kohaut and the evening ended with a group of solos by Julian Bream -" Granada (Albeniz), "Sarabande (Haydn) and his own arrangement of a harpsichord sonata by Cimarosa."

Guitar News
Recital Under Difficulty by Wilfred M. Appleby
December 1953 - January 1954, No. 16, p. 11.

High praise for Julian Bream's October 14th Wigmore Hall Recital. Despite the "brilliant performance", Bream was playing with a strained arm. "A new Suite in three movements by Stephen Dodgson was to have been given its first performance. but under the circumstances it was necessary to leave this for a future recital. Julian Bream has been heard several times in broadcasts during the past few weeks."

BMG (Banjo, Mandolin, Guitar)
By The Way column
May 1953, p. 208

On April 6 the BBC Third Programme commenced a series of "English Lute Music " programmes in which Julian Bream and Desmond Dupre are featured as soloists. duetists and accompanists to singers. "

Musical Opinion

August 1952

Radio Times - Journal of the BBC - Television Edition

Includes radio and television programming

April 15 - 21, 1951, p. 9

A Modern English Requiem by Harold Rutland, April 13, 1951 (include Magazine cover and picture of Julian)

The articles deals with several musical topics but devotes a significant paragraph to Julian Bream and includes a sizable picture. It starts by writing “ A young Englishman, still only seventeen, to win a reputation as a virtuoso on the guitar is an achievement.” It mentions that Julian will be one of the soloist playing with the orchestra on Light Programme show Stanford Robinson Presents. It discusses Julian's history briefly and mentions some of Julian more notable broadcast on the BBC starting with the Children’s Hour four years ago, in addition to numerous other radio and television broadcasts. It reports that Julian stated he practices up to 5 hours a day. The author finishes by writing  “As a guitarist he is already an artist of remarkable accomplishment-he shapes his phrases sensitively and he has what Sir Henry Wood used to call 'rhythm in the fingers'.”

BMG (Banjo, Mandolin, Guitar)
By The Way column
April 1952, p. 183

Announcement: Julian Bream has been called up for his period of National Service.

Guitar News
London Recitals by Wilfred M. Appleby
December 1951- January 1952, No. 4, p. 4

LONDON RECITALS JULIAN BREAM'S recital at the famous Wigmore Hall on November 26th was an outstanding success. The hall was crowded and the press reports gave him very high praise. 'The Times" said "he left no doubt that the promising boy has now grown into a mature and remarkably finished musician.'' From "The Telegraph" we read: "He established himself as a p1'ayer and interpreter of the first rank, and his guitar as an eloquent and expressive instrument."

Ibid, Radio British Broadcasting by Wilfred M. Appleby, p. 5

"The music written and collected by Dr. Besardus in his Thesaurus Harmonicus (1603) has been transcribed by Matyas Seiber into modern notation. Some of this music was broadcast under the title "Madrigals and Music for Guitar". The Dorian Singers conducted by Matyas Seiber sang the Madrigals and Julian Bream played the guitar solos in a most interesting and pleasing broadcast. There was a repeat of the Schubert Quartet in G with Julian Bream at the guitar."

BMG (Banjo, Mandolin, Guitar)
By The Way column
January 1951, p. 87

An announcement made in sympathy for the loss of Henry G. Bream, father of  Julian Bream, who passed away on November 10, 1950.  He not only introduced his son to the guitar, but played the guitar as well.

Julian played a solo concert at the Manchester Library Theatre on November 24. The standing ovation was extremely enthusiastic, and he was called back out on stage for four encores.

Ibid, Club Notes column p. 88
PSG November meeting. Julian, along with three other students from the Royal College of Music, performed the Guitar Quartet by Matiegka/Schubert.

Ibid, Correspondence, p. 91
A brief mention of Julian Bream playing incidental music off-stage for the Arts Council production of Othello.

Ibid, The Spanish Guitar - Unfortunate Broadcast, By Wilfrid M. Appleby, p.71.

Appleby was appalled that the Fretted Instrument Guild organized an event called Guitar Festival (referred to as the First Guitar Festival in the September BMG issue) on November 18 and that the Spanish guitar was not well represented. Additionally, the BBC broadcast the programme, and only electric instruments and plectrum guitars were included.

Guitar News
Julian Bream by Wilfred M. Appleby
April - May 1952, No. 6, p. 6

Announcement that Julian Bream had been called up for National Service. Julian had a recital scheduled in Cheltenham for March 15th that had to be cancelled due to his service. A brief mention was made of the difference solo pieces he has performed for recent broadcast with the Pavillion Players. He also mentioned that on March 13th Bream had accompanied baritone singer Frederick Fuller in songs of Spain and South America. 

BMG (Banjo, Mandolin, Guitar)

By The Way column

November 1954, p. 44

Julian Bream gave his fourth recital at the Wigmore Hall (his second at the hall this year). BMG quoted the reporter from "The Daily Telegraph" that reviewed the recital: " His guitar recital . . . confirmed Julian Bream's reputation as a musician who places quite exceptional technical accomplishments wholly at
the service of the music he performs."

Guitar News
The Guitar Recognized in Britain by Wilfred M. Appleby
June - July 1954, No. 19, p. 5

The article mentions how the guitar has finally become a part of the formal musical British education at the university level. The article mentions Julian Bream as paving the way for the guitar's acceptance. "Following the admission of Julian Bream as a scholarship student of the Royal College of Music (London) in 1949, this is indeed evidence of the progressive recognition of the guitar as an accepted instrument."

BMG (Banjo, Mandolin, Guitar)

April 1953, p. 171

Two titles taken from two different pages of the Daily Express on March 6, 1953 are re-printed next to each other on the BMG magazine. The first "£600 Guitar Goes" followed by "Guitar is Back".  The two short paragraphs quickly recount the story where Julian forgot his guitar on the sidewalk and it disappeared. The guitar was found by a local porter and he returned it to Julian that night when he saw in the newspaper that the guitar was missing property to the 19 year-old, now relatively well known, Julian Bream.

This page is dedicated to the magazine articles that have been published in reference to Julian Bream from 1950 to 1959. By the year 1950, Julian was nearing adulthood. While relatively well known in music circles in England, he was far from an established international guitarist. The BMG magazine continues to be instrumental in establishing and maintaining Bream's popularity as a guitar player during his period as a young man. When Wilfred Appleby leaves the BMG magazine to start his own publication dedicated exclusively to the Spanish classical guitar, Guitar News, he then became the most prominent voice in establishing Julian Bream as a foremost classical guitarist.

BMG (Banjo, Mandolin, Guitar)
The Guitar column by Terry Usher
June 1951, p. 192

Terry Usher reviewed the BBC radio broadcast concert of the Concierto de Aranjuez in April with Julian Bream as the soloist. Usher reviewed Julian’s playing very favourably but mentioned that the BBC could have done a better job of making the guitar sound louder instead of balanced with the orchestra. He also criticized the use of the word “young” when referring to Julian. He felt Julian was not only old enough to be considered an adult but his playing was more mature than most musicians twice his age (Julian is just a few months shy of 18 years of age).

BMG (Banjo, Mandolin, Guitar)
The Guild Show by W.M. Brewer
July 1950, 233-234

The author reviewed the Fretted Instruments Guild's "Hands Across the Sea" event on May 14, as a memorable and historic occasion. He ended the article by stating that Julian Bream should be "awarded chief honours as a virtuoso of the Spanish guitar". Add “The audience will long remember this 16-year-old player's interpretation of Malats' "Serenata" and Villa-Lobos' "Choros No. 1."”. In the second part of the programme “Julian Bream then added to the laurels he had already earned by giving a truly wonderful version of Bach's " Gavotte".”A picture of Julian with his Martin guitar is included.

Despite the praise Julian received for his playing the reviewer stated "...impassioned showmanship by Hugo D'Alton on the mandolin will be regarded by all as eclipsing even that of the B.M.G. teen-ager Julian Bream."

Guitar News
British Radio and Television by Wilfred M. Appleby
February - March 1954, No. 16, p. 14

A page dedicated to recent classical guitar artist performing on British radio and/or television. Julian Bream heads the page with his December 30th twenty-minute radio recital. Bream played his own arrangements of two Cimarosa sonatas, a Corranda by Grau, the Allegretto section of Ponce's Sonata Clásica, the Etude No. 3 by Villa-Lobos and Cádiz by Albéniz.

Ibid, A Handbook of the Guitar by Wilfred M. Appleby, p. 13.

A page dedicated to Len Williams' newly published book, The Spanish Guitar Today - A Short History and Handbook of Reference. Thrity-six pages of general information and a biography on artis such as Julian Bream, as well as Segovia and the author's son, John Williams.

BMG (Banjo, Mandolin, Guitar)
By The Way column
October 1950, p. 19

The Phillip Brown’s Music Agency engaged Julian to play guitar for an Arts Council production of "Othello" at the Library Theatre in Manchester in early September. He will be playing mainly 16th and 17th-century lute music.

Webmaster's note:

Julian played the lute music on his Martin guitar.

Ibid, The Fretted Instrument Guild, p. 20
Julian Bream is scheduled to appear at the Fretted Instrument Guild's All-Star Concert on November 2, 1950, at Queen Mary Hall along with many other performers. He is also scheduled to play at the B.M.& G. Concert in Assembly Hall, Tunbridge Wells on November 12.

BMG (Banjo, Mandolin, Guitar)
This Month's Cover Portrait by Peter Sensier
November 1951, p. 30

Julian Bream is mentioned in the cover story/brief biography dedicated to Desmond Dupri. The editor mentions that not only did Desmond and Julian play incidental music for two guitars by Eduardo M. Toner in Lorca's play "Blood Wedding" but also in Lorca's "Yerma" as well.

Ibid, By The Way column, p. 42
Brief mention of Julian Bream's scheduled Wigmore Hall debut on November 26, 1951.

Ibid, Club Notes, p. 43

Julian plays at the PSG September meeting along with many other guitarists. He performs Purcell's "Air- Rondeau - Hornpipe".

Magazine Articles: 1950 - 1954

BMG (Banjo, Mandolin, Guitar)

The Guitar by AP. Sharpe

November 1953, p. 26

Julian Bream is mentioned briefly in a discussion about the historical significance of the Spanish guitar. The author "listed several amateur players of the Spanish guitar whom, from my own personal contacts, I know are worthy companions (in less degree of course) to Julian Bream-including the 11-vear-old John Williams who will one-day ch challenge Julian 's present supremacy".

Guitar News
Flute and Guitar by Wilfred M. Appleby
February - March 1952, No. 5, p. 6

Announcement of a recent broadcast on December 1oth with Harold Clarke on flute and Julian Bream on guitar. It was the first broadcast -in England of the flute and guitar piece by Jacques Ibert.  "It was a great pleasure to hear such a fine modern work for these two well-blended instruments."

Ibid, International News, p. 9

The Heolgam Music Club in conjunction with the Arts Music Council presented several musicians at a concert in Wales held on November 28th. Julian Bream played several pieces for solo guitar. Bream played eight or more solo pieces. The other musicians were Henriette Canter on violin and Paul Hamburger on piano. It is not clear on the announcement if Julian performed with the other musicians.

BMG (Banjo, Mandolin, Guitar)

P.S.G. Celebrates its's 25th Anniversary

March 1954, p. 142

The PSG celebrates its 25th Anniversary on February 7 at the Studio Club on Swallow Street in London. The founder, Dr. Perrot spoke and also presented Julian with a cheque for £55. The balance on the fund that the PSG had started on Julian's behalf when he was a youth and beginning his career as a professional classical guitarist. Julian, despite having played the plectrum guitar in his regimental dance band till three o'clock that morning, still obliged the gathered 50 or so members with a few well-chosen pieces for solo guitar. 

Ibid, p. 143

A picture of Julian Bream was included with a few lines to mention that he had "further enhanced his reputation at the Festival Hall on January 6. His programme included dances by Schubert, sonatas by Cimarosa and Falla's "Homage to Debussy." He was joined by John Francis in pieces for flute a11d guitar."

Ibid, p. 160

A notice that Julian Bream was scheduled at Festival Hall Recital Room on March 20 for a solo guitar recital.

BMG (Banjo, Mandolin, Guitar)

The Sapnish Guitar column - Greater Diffculty by Terry Usher

June 1953, p. 228

The article discusses phrasing and the difference between stoccato and ligato and how the guitar tends to want to be more of a stoccato intrument unless you make an effort to make a legato sound. In the article he states ho both Julian Bream and Andres Segovia are among the finest legato players. 

Guitar News

The Guitar at the Haunted Manor by Wilfred M. Appleby

August - September 1953, No. 14, p. 7

A lengthy review of the Serenade Concert on the lawn of the rose garden of a haunted 14th-century manor house - Nether Lypiatt Manor. Julian Bream was one of the featured artists of the 18th-century programme for the afternoon. The large concert was for the Gloucester Cathedral Restoration Fund. Bream played two programmes throughout the event. In the first, he played two Minuets by Rameau, Sarabande with Variations by Handel and Sonatas by Scarlatti and Cimarosa. On his second appearance, Julian chose to play Bach and Haydn. He received a large ovation of applause and the entire event was described as "unforgettable". Julian Bream played his Hause guitar.

Ibid, Around the Guitar World - Britain by Alfred M. Appleby, p. 10

Benjamin Britten's new opera "Gloriana" has a guitar part included with Julian Bream as the guitarist. Also a brief mention was made that Julian Bream had played a radio broadcast recital on May 26th.

BMG (Banjo, Mandolin, Guitar)
Guitar Recitals by A.F.
January 1952, p. 98

A review of Julian Bream's Wigmore Hall debut on November 26, 1951. The concert was favourably reviewed but the reviewer did make some unexpected critiques such as "In some pieces, notably the swifter sections of Bach's "Suite No . 3 for Lute, " the effect was marred by a tendency of the soloist to hurry the pace. Lately, Julian Bream's excellent musical sensibility has become more mature and, provided be does not allow it to become smothered by his outstanding technique, he should soon be in the front rank of guitar soloists."

BMG (Banjo, Mandolin, Guitar)
The Spanish Guitar column by Wilfred M. Appleby
September 1950, p. 277

Julian Bream briefly mentioned when compared to a modern-day Giulio Regondi, a Swiss-born classical guitarist, concertinist and composer active in France and the United Kingdom.

Ibid, Teachers and their Addresses, p. 295
Julian started to advertise his teaching services in the September 1950 issue of BMG.

BMG (Banjo, Mandolin, Guitar)

Cheltenham Guitar Circle
May 1950, p.186

Brief mention of Julian Bream in an article about the Cheltenham Guitar Circle and their activities -namely responsible for organizing Julian's first public recital back in February 1947 at the Cheltenham Municipal Library which was a very successful event.

Ibid, The Fretted Instrument Guild, p. 195
A short mention of Julian Bream's scheduled appearance at the Fretted Instrument Guild Hands Across the Sea all-star show on May 14, 1950

BMG (Banjo, Mandolin, Guitar)
The Spanish Guitar - Recitals and Broadcast by Wilfrid M. Appleby
March 1950, p. 130

A brief mention that Julian Bream performed twice as a soloist in the Southern Serenade programmes. There was no mention of which pieces he played.

Webmaster's note:

Likely refers to the January 31 performance.

Ibid, The Spanish Guitar, Activities Abroad by W. M. Appleby, p. 131.

Julian Bream and the PSG is briefly mentioned in Le Soir, a newspaper in Beyrouth (Beirut?), Lebanon on January 10. A lengthy article interviewing Professor V. Mazmanian on the guitar and he mentioned Julian when he spoke of guitar music abroad. Additionally, the important guitar articles in the BMG were mentioned.

BMG (Banjo, Mandolin, Guitar)
The Guitar column by Terry Usher
July 1951, p. 221

Terry usher writes an article describing the difference between technical ability and virtuosity as opposed to musicianship and interpretation. He mentions while there might be some classical guitar players that have more technical ability than Segovia and Bream, none of them have the musicianship that they possess.

BMG (Banjo, Mandolin, Guitar)
The Guitar column by Terry Usher
October 1951, p. 16

Terry Usher writes an article describing the difference between professional and amateur. He, more importantly, makes note that a professional musician may find an escape in playing music but also needs an interest outside the musical profession to make them a more balanced human being. The amateur differs in that his escape is music. He then uses Segovia and Bream as an example of two very successful professional guitarists who have several interests outside of music to nurture their soul or "musical character".

Ibid, By The Way,  p. 19
Julian Bream performed at a St. Ives (Cornwall) concert presented by the S.A.M.A. on August 26th. It was the first time a guitarist had visited St. Ives for a solo recital.

Guitar News

Radio British Broadcasting by Wilfred M. Appleby

June - July 1951, No. 1, p. 4

An announcement that Julian Bream had performed on a number of broadcasts in recent weeks. On March 16th he shared a thirty-minute recital with the tenor John Turner. Julian performed a few several solos. April 1 he played French and Spanish lute and vihuela music arranged for the guitar. March 9 he played as a soloist with the Southern Serenade Orchestra. I April A quartet consisting of Julian Bream (guitar), George Barret (flute), Cyril Chapman (clarinet), and Norman Jones (cello ) accompanied the singer Jan van der Gucht on a programme of songs and extract of Shakespear. On May 3rd, a performance for the BBC's Third Programme of the Schubert Quartet in G was given by Edward Walker (flute), Julian Bream (guitar), Eileen Grainger (viola), and Bernard Richards (cello) that was described as "outstandingly beautiful". In late April the second and third movement of the "Concierto de Aranjuez" was broadcast with Julian Bream playing soloist with the BBC Opera Orchestra conducted by Stanford Robinson. "Introducing Julian Bream the "Radio Times" contained his portrait and an article by Harold Rutland, the well-known musicologist, who wrote: "As a guitarist he is already an artist of remarkable accomplishment-he shapes his phrases sensitively, and he has what Sir Henry Wood used to call 'rhythm in the fingers'."

Ibid, Concierto de Aranjuez, p. 5

Webmaster's note:

It is not clear if Julian accompanied John Turner while he sang or if he sang acapella.

BMG (Banjo, Mandolin, Guitar)

December 1953, p. v

A new list of edited and fingered pieces by Julian Bream offered for sale through the Clifford Essex Music Co.

BMG (Banjo, Mandolin, Guitar)

Julian Bream by Peter Sensier

April 1954, p. 184

On February 17, Bream played at the Library of St. Mary's Hospital in Paddington. As usual, he divided his program into two parts: transcriptions and pre-classical composers and then the second half was dedicated to Spanish and Latin American composers. The reviewer mentioned that that the Spanish and Latin American repertoire was easily the best-received solos. 

Webmaster's note:

Mr. Sensier had recently had an argument with Ms. Ann Fisher via the Correspondence column that lasted 4 months (4 BMG issues back to back). Mr. Seinser argued that the Spanish compositions are what usually attract the newer following for the classical guitar and the need for worthy contemporary compositions should not be at the expense of the Spanish repertoire. Mr. Sensier had already had the last word as far as the published argument went. He obviously wanted to have the last word twice.

Ibid, By the Way, p. 184

Julian Bream will play the guitar part in William Bardwell's " Third Chinese Cantata" being performed at the Arts Council's concert at St. James's Square on April 6.

BMG (Banjo, Mandolin, Guitar)
Julian Bream
June 1952. p. 228

"Julian Bream, undergoing his National Service, has been " discovered" by the Army and co-opted into the Royal Artillery Band - as a cellist!" In order to join the band, he had to commit for three years of service as a Regular. Initially, he was posted as a pay clerk until he was transferred into the band by Lieutenant- Colonel O. Geary, of the Royal Artillery Band. Julian is expecting to give recitals in London whenever possible.

Ibid, By The Way,  p. 231
The New Orpheus Singers gave a concert at Cowdray Hall, London, on April 28, at which Julian Bream was featured as a soloist.

Ibid, Club Notes, p. 232
Julian Bream performed at the April PSG meeting. He was noted to have played Bach's Prelude and Fugue exquisitely. John Williams also performed "on a full-size guitar with a competence that Julian Bream said he himself did not command at the same age."

Ibid, Small Advertisements - For Sale, p. 234
Martin guitar - New York model. As played by Julian Bream.

Guitar News

International News - Britain by Wilfred M. Appleby

October - November 1952, No. 9, p. 7

Review of Julian Bream's second annual recital at the Wigmore Hall on September 17th. The lute was played initially and then the remainder of the concert was performed with a classical guitar. The concert was very favourably reviewed.

BMG (Banjo, Mandolin, Guitar)

Jullian Bream Recital by Ann Fisher

July 1953, p. 254

An extremely favourable review of Julian Bream's 3 third Wigmore Hall Recital on May 9, 1953. The reviewer called him one of the greatest living classical guitar players and likely the best living lutenist since the time of Dowland. This was the first public performance of Bach's "Chaconne" and the reviewer praised the performance as a success despite two minor issues that she referred to as "blemishes" in the performance. She then stated that the way he compensated for these blemishes with phrasing and tone color made the listening "experience one of real value".  Like several reviewers in the past, she criticized the simplistic and flamenco suggestions of the Spanish classical guitar repertoire and praised the guitar arrangements taken from classical pieces written for other instruments. 

BMG (Banjo, Mandolin, Guitar)

Correspondence column, Letter from reader/guitarist Peter Sensier

October 1953, p.20

Mr. Sensier's second response to Ms. Fisher's initial article back in July but he addresses his letter to the editor rather than the reviewer Ms. Ann Fisher.  Mr. Sensier continues to be critical of Ms. Fisher's position that most Spanish classical guitar compositions do not elevate the stature of the guitar in contemporary music circles. 

BMG (Banjo, Mandolin, Guitar)

Julian Bream Recital

November 1952, p. 42

Very favourable review of Julian's second Wigmore Hall recital on September 17, 1952. The reviewer stated that "Julian Bream proved he is not only a
master of the Spanish guitar but also of the lute." The reviewer did comment on the shortcomings of the lute as compared to the guitar's wide range of tone colour. He felt that the 18th-century pieces were more effective being performed on a guitar rather than a lute. He also mentioned that he was less impressed with the final portion of the recital that focused on Spanish composers. He was not less impressed with the guitar interpretations but moire with the compositions themselves.

Ibid, Club Notes, p. 45

Julian plays at the September PSG meeting. He performs a duet with Deric Kennard. Two of Milhaud's "Saudades do Brasil" and the Intermezzo from Falla's "La Vida Breve" in one of the most stimulating and exciting sessions of duet playing yet heard in the Alliance Hall. John Williams (aged 11) made a welcome reappearance to play Sor's well-known Mozart variations and a Mozart "Minuet."

Webmaster's note:

John Williams present at the PSG meeting is watching Julian and Deric playing "La Vida Breve" not knowing that he would one day be the one playing that same piece with Julian Bream.

Ibid, Correspondence by Jack Duarte, p. 46

Duarte refers to the article by the writer from the Musical Opinion, with it's condemnation of the classical guitar, as a "silly" article. "Perhaps Julian Bream would make more headway with such people if he confined himself to lute solos played in doublet and hose with plenty of decorative silk ribbons on the instrument!"

Ann Fisher, from the ARCM, also writes to the Correspondence column in a critical tone towards the Musical Opinion article. As for "D.M." saying that we do not need an English Segovia; whether he likes it or not, we already have one-much to the joy of all who appreciate true artistry. "

Guitar News
Contemporary Guitarist (No. 12) by Wilfred M. Appleby
October - November 1953, No. 15, p. 3.

A lengthy article about Julian Bream. Bream had been doing numerous wonderful broadcast at the time but Appleby, who had heard Julian perform many times, stated that his last one was a "superb recital". Every recital "seems even better than the one before." Appleby stated that is was the dream of many, not just him. He praised Julian for elevating the classical guitar in such a short period of time despite being just a boy when he started. He mentioned that England was considered a "backward" country in reference to the classical guitar and its music. He mentioned that Tarrega fifty years ago had stated that "the guitar in the hands of an Englishman was almost blasphemy." Appleby runs through the history how a little guitar group, PSG, was trying to keep the classical guitar alive in England, when a young boy and his father decided to attend a meeting that started Julian Bream's journey as a performer. How initially Julian was instructed how to play the classical guitar in a manner that did not follow Segovia or Tarrega's method. How Julian nearly became derailed by playing classical guiatr variants with additional strings. Julian's Bream early process of learning the guitar and becoming a performer is discussed and how he (Appleby) arranged Julian's first trial performance and then Julian's first public performance a few months later.

Guitar News

Radio in Britain - Julian Bream by Wilfred M. Appleby

December 1952 - January 1953, No. 10, p. 8

The Friday Recital featured Julian Bream on October 3rd. He played his own transcription of Bach's "Chaconne" and the performance was described as "truly magnificent". Also on Sptember 28th, Julian Bream participated in a chamber music programme in which he played the guita part on Boccherini's Quintet No. 1 in D. On Septemeber 8th he was broadcast on 2 different porgrammes. He played a short recital on one and he also played a piece of the programme "Accent on Youth".

BMG (Banjo, Mandolin, Guitar)
B.M.G. Club Notes by Wilfrid M. Appleby
January 1950, p. 99

Julian gave a recital of his favourite solos at the PSG meeting on December 10.

Ibid, By The Way column, p. 159
Bishopsgate Institute in London held regular lunch-time concerts and Julian is the featured artist on that day. The concert was reviewed very favourably by Eric Blom of "The Observer"

BMG (Banjo, Mandolin, Guitar)
April 1951, p. ii

This issue has nearly a full-page advertisement of Julian Bream's edited and fingered works by famous composers. Seven additional works in addition to the six that had already been advertised.

New additions:
1-Tschaikowsky's "Mazurka"
2-Schumann's "Siciliano"
3-Haydn's "Andante"
4-Sor's "Study in D"
5-Sor's "Study in G"
6-Bach's "Gavotte"
7-Handel's "Sarabande with Variations"

BMG (Banjo, Mandolin, Guitar)

By The Way column

February 1954, p. 135

Julian Bream is scheduled for a solo appearance in the BBC television programme "Teleclub".

Webmaster's note:

It is unclear if Bream's appearance ever happened. It does not appear in the BBC logs available, or the IMBd website. Additionally, there was never any follow up mention in any later issues of BMG magazine.

BMG (Banjo, Mandolin, Guitar)
Club Notes
August 1952. p. 280-281

Julian Bream plays a duet with Deric Kennardat the June PSG meeting. They play Nocturne in three movements by Carulli and two of the Little Preludes by Bach, He also played a s few solos.

BMG (Banjo, Mandolin, Guitar)
Advice to an Artist? reposted from August 1952 issue of Musical Opinion
October 1952, p. 18

Julian plays at the Aldeburgh Festival for the first time. He plays solos pieces on the classical guitar and a guitar and flute sonata with John Francis. The guitar and flute sonata was poorly reviewed and the reviewer felt Bream’s incredible talents should not be wasted on an instrument like the guitar. 

Ibid, Club Notes, p. 21
PSG August meeting. Julian Bream, "Sonata" (Cimarosa), "Allegretto " (Rameau) and "Allegretto" (Torroba).

BMG (Banjo, Mandolin, Guitar)
Correspondence column,

Letter from the reviewer A.F. to the reader Peter Sensier

September 1953, p. 306

In his letter, Ms. A.Fisher refutes Mr. Sensier arguments published in the August issue. She defends her position made in the July issue while reviewing Julian Bream's third Wigmore Hall recital. Her critical positions were in reference to the current repertoire of the classical guitar and its need for good quality modern composition rather than the "pseudo-Flamenco school or the pseudo Classis-Romantic school" of composers it currently has. 

BMG (Banjo, Mandolin, Guitar)
Julian Bream Recital by Ray Dempsey
November & December 1950, p. 59

Julian Bream benefit recital sponsored by the PSG and arranged by the Guitar Society of London at Cowdray Hall in Cavendish Square on November 3. The recital was a huge success. The reviewer mentioned how Julian really needs a better guitar.

Ibid, The Guild Concert, p. 58
Julian Bream briefly mentioned amongst a list of performers at the Fretted Intrument Guild's All-Star Concert that took place at Queen Mary Hall on November 2.

Ibid, By The Way, p. 60

"Julian Bream's guitar recital at Cowdray Hall left no doubt that he is a young player of considerable achievement and still greater promise; he was able to sustain interest throughout a long programme by his imaginative shading, which counts for more than mere agility on the guitar."-The Times (November 6th).

BMG (Banjo, Mandolin, Guitar)

By The Way  column

August 1953, p. 280

A brief congratulatory mention at 12 year old John Williams playing Carcassi studies and  Villa-Lobos piece in a T.V. feature All Your Own on July 12. "In young John, we have possible competition to our still-young Julian Bream".

Ibid, Correspondence column

Letter from reader Peter Sensier to the editor, p. 282

In his letter, Mr. Sensier is critical of the review by Ms. Fisher in the prior issue. Ms. Fisher is critical of the Spanish repertoire that Julian played at his third Wigmore Hall recital in comparison to the arrangements and transcriptions of well known classical pieces for other instruments. Mr. Seinser argues that the Spanish compositions are what usually attracts the newer following for the classical guitar and the need for worthy contemporary compositions should not be at the expense of the Spanish repertoire.

Guitar News
Radio British Broadcasting by Wilfred M. Appleby
August - September 1951, No. 2, p. 3

Federico Garcia Lorca's drama "Yerma" was revived in a broadcast on June 16th. Julian Bream and Desmond Dupre played guitars in the music which was so set by Eduardo M. Tomer. Very favourable review. On June 20th he performed Robert de Visee's Suite in D minor for guitar and the broadcast was repeated on July 3rd. Appleby described it as "absolutely delightful". Bream was also broadcast accompanying the soprano Victoria de los Angeles (no date was given). On July 1st, Bream played a programme called "South American Way". He first played Adelita by Tárrega and then Two Mexican Songs by Ponce. Appleby added, "his sensitive rendering of these solos was most enjoyable".

Ibid, Guitarist Meet in Paris by Wilfred M. Appleby, p. 5

On July 20th, a small Convention of Guitarist took place in Paris. Four continents were represented at a meeting of Les Amis de la Guitare. Ida Presti performed solos and so did Julian Bream. This would be the first recorded performance outside of Britain for Julian Bream.

Guitar News
Julian Bream by Wilfred M. Appleby
December 1954 - January 1955, No. 22, p. 19

Julian Bream gave a recital at the Wigmore Hall Sept 29th where he gave the first performance of Stephen Dodgson's "Suite for Guitar". The performance had originally been scheduled for Bream to perform at his previous recital but had delayed the performance due to a strained hand. "The second movement, a Nocturne, was of outstanding beauty." 

Webmaster's note:
Julian played a Hector Quine guitar. This was the second guitar that Quine had ever built.

The article also mentioned that Bream was scheduled to perform again at the Wigmore Hall on November 12th. A new song-cycle for tenor and guitar by James Bernard with tenor Peter Pears. He will also perform with the Royal Artillery Orchestra at the Royal Albert Hall on November 30th in honour of Sir Winston Churchill's 80th birthday.

Ibid, An Article About "Guitar News" by Wilfred M. Appleby, p. 13

An article in a Mexican Newspaper mentions the Guitar News and also makes a brief mention of Julian Bream as a child prodigy.

BMG (Banjo, Mandolin, Guitar)
The Spanish Guitar column by Wilfred M. Appleby
March 1951, p. 124

A brief mention in an article about Miguel Abloniz and how he would visit Dr. Perott and the late Henry Bream whenever he was in London, often playing duets with Julian.

Ibid, By The Way, p. 134
Julian plays the Kohaut Concerto at the Queen Alexander House, Kensington with the Royal College of Music Student Orchestra on February 12.. The work was originally for Lute and string trio and Julian re-arranged it for guitar and orchestra.

Ibid, By The Way, p. 135
Bishopsgate Institute in London held regular lunch-time concerts and Julian is the featured artist on that day on February 20.

Ibid, Club Notes, p. 136
PSG February meeting: Deric Kennard and Julian Bream play guitar duets on "Rondo " by Carulli, "Tiento" by Carezom and the "Minuet in Cannon" by Adolt; Julian Brean played a solo, " Study in D Major" by Sor.

BMG (Banjo, Mandolin, Guitar)

Notes and Comments column - Julian Bream by A. P. Sharpe

January 1953, p. 94

The magazine editor, A. P. Sharpe, writes an editorial on Julian Bream. Compares his current contributions and popularity in Britain to that of Segovia. It states that being a child prodigy is no longer the main reason why people pay to see him play. People attend his concerts because he is an adult man that is setting new standards for the instrument that are interesting and the music has a degree of interpretation not heard before. 

Ibid, Singer and Guitarist In Norwich Recital, p. 97

Bream played a concert with the singer Frederick Fuller at the Assembly House in Norwich. The Eastern Daily Press gave a very enthusiastic review, especially in reference to Julian’s playing. The review was written by someone who was familiar with Segovia’s work and had been to his early famous London concerts.

*

Guitar News
Radio in Britain by Wilfred M. Appleby
April - May 1953, No. 12, p. 15

Announcement of a recent broadcast of Julian Bream playing the guitar part on two different chamber pieces: Boccherini's Quintet in D and Haydn's Quartet in D for violin, viola, cello and guitar. Also a mentioned that on March 4th he would be playing a short solo recital as a guest artist with Eugene Pini's orchestra.

Guitar News
Julian Bream by Wilfred M. Appleby
October - November 1951, No. 3, p. 4

Julian Bream gave a recital on August 27th for the BBC on the Home Service wavelength. The programme opened with Air and Hornpipe by Purcell. This was  followed by Sonata in D by Josef K.ohaut. After the interval, Bream played a Prelude for lute by Bach and concluded with Choros No. 1 by the Brazilian composer Villa-Lobos. "Julian Bream's playing was delightfully satisfying in the varied range of music in this recital. His control of tone-colour gave an orchestral effect, revealing his mastery of the instrument and his interpretive good taste in whatever he plays.

On August 9th Julian Bream played "Andante" by Torroba was in the broadcast programme "Music in Miniature".

BMG (Banjo, Mandolin, Guitar)
The Spanish Guitar - Julian Bream by Wilfred M. Appleby
April 1950, p. 156

Julian plays a radio broadcast for the BBC radio on February 27. He performed on the Light Programme with the Twentieth Century Serenaders. Julian played a tonadilla by Granados and a gavotte by Bach. Appleby mentioned that he felt Julian "reached a new high artistic level in these two solos". The orchestra present for the recording broke out in a very expressive applause after the Tonadilla. Usually, in a studio recording, all present who are not performing stay silent and there is no applause after the performance. Appleby mentioned that listeners experienced a similar reaction in a previous Julian radio broadcast when he played Villa-Lobos' "Choros No. 1".

On the same page, Julian was mentioned in a short article about Panormo guitars.