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. "

BMG (Banjo, Mandolin, Guitar)
Guitar News from Overseas, collected by Peter Sensier
July 1955, Vol. LII, No. 603, p. 241.

"Signor Tempestini, who counts Segovia, Anido, Ida Presti, Manuel Cano Diaz, Narciso Yepes and Sanchez Granada among his friends, tells me he has a great admiration for Julian Bream whom he has often heard via B.B.C. broadcasts."

News of Julian Bream's travels on the Continent includes a notice of his recital in the British Institute in Madrid early in May. His
audience, mostly Spaniards, appreciated his playing and Mr. Bream will have derived some satisfaction that among his listeners were Señor
Sainz de la Maza (the famous guitarist) and the
blind composer Señor Joaquín Rodrigo."

BMG (Banjo, Mandolin, Guitar)
Guitar News from Overseas, collected by Peter Sensier
August 1955, Vol. LII, No. 604, p. 284.

A short note to state that Julian Bream is mentioned in the Japanese classical guitar magazine Armonia.

Webmaster's note:

The Japanese magazine article has been translated on this site with the aid of Google translate.

Ibid, By the Way column, p. 285

"On July 13, Julian Bream played the "Aranjuez
Concerto" at the Birmingham Town Hall with
the City of Birmingham Symphony Orchestra."

Guitar News
A Guitar for Julian Bream by Hector W. Quine
February - March 1955, No. 23, p. 6-7

A lengthy article written by Hector Quine about Hector Quine. The article starts out by mentioning how he went from being Julian Bream's guitar student to building Julian an instrument that he not only really liked but used at his fourth recital at the Wigmore Hall. He also mentions that he will be starting on guitar No. 4 soon and that it will be for Julian Bream as well. "Naturally, it is a source of inspiration and great pleasure to me to think that my guitars are being played by such a master player, and it is my one hope that I may have the good fortune to continue making instruments which are indeed deserving of this honour."

Ibid, The Guitar Outside of Spain by Wilfred M. Appleby, p. 9

An article about a radio BBC programme, devised and introduced by Deric Kennard, about the guitar and its players in countries outside of Spain. Musical pieces from the renaissance period all the way to modern times were described and Julian Bream demonstrated them by playing short but complete selections of appropriate pieces on guitar. The article also mentioned that Julian was again heard on the radio later that same day playing Boccherini's "Quintet in D" for guitar and string quartet.

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
October 1950, p. 19

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

Ibid, The Fretted Instrument Guild, p. 20
Julian Bream is scheduled to appear at the First Guitar Festival on November 2, 1950 along with many other performers.

BMG (Banjo, Mandolin, Guitar)
This Month's Cover Portrait by A.P. Sharpe
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 - 1955

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".

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)
Notes and Comments - One Festival and Another by A.P. Sharpe
May 1955, Vol. LII, No. 601, p. 193

The article is primarily about John Williams debut concert and how he has become the English successor to Segovia. It mentions Julian Bream and while still youthful is already considered a virtuoso. "John Williams is, already, the equal of Julian Bream (and that is no disrespect to the latter! ) in technique. His only fault, if one may be super-critical and his standard of playing makes it impossible to compare him with anything but
the very best- is one that more mature years will automatically eradicate."

Ibid, Second Azpiazu Gitarrenschule " (Book 2), p. 163

Ibid, By the Way by A.P. Sharpe, p. 163

Guitar News
Julian Bream Wins International Music Award by Wilfred M. Appleby
April - May 1955, No. 24, p. 11

"The  Harriet Cohen International Music Awards for 1955 were announced on February 10th. The Bablock Purse for strings and wind has been awarded to Julian Bream and Gervase de Peyer. These awards are non-competitive; they were initiated to encourage young musicians all over the world." The article mentioned that Bream having finished his military service will be starting a European tour.

Ibid, Julian Bream (concert update) by Wilfred M. Appleby, p. 11

A recitals given by the Apollo Society consist of verse spoken by two readers interspersed with suitable or contrasting pieces of music played by a soloist or a small group of instrumentalists. Julian Bream was one of the soloist playing both lute and guitar. The recital was at the Royal Festival Hall, London on February 6th 1955.

Ibid, Julian Bream (concert update) by Wilfred M. Appleby, p. 11

Julian Bream took part in a concert given by the Music Group of the Richmond Community Association at Queen Hall on March 13th. He performed with Malcolm Arnold who conducted his first performance of "Serenade for Solo Guitar and Strings.

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. 

Guitar News

Great Triumph for Julian Bream by Wilfred M. Appleby.

October - November 1955, No. 27, p. 15

"A large audience at the Royal Albert Hall, London has just given a tremendous ovation to Julian Bream and his guitar. This was at one of the famous 'Henry Wood Promenade Concerts'-they began in 1895 and have become a national institution. But this concert on September 10th made history, for it was the first time that the guitar as a solo instrument had been heard in a programme of one of the 'Proms', as they are affectionately called. The Bournemouth Symphony Orchestra had already played several items, including a piano concerto by Rachmaninov, when the 'Concierto de Aranjuez' by Joaquin Rodrigo was announced. The concert was broadcast on the popular (Light) wavelength so the listening audience must have been enormous. The conductor, Charles Groves, kept a perfect balance of tones and at no time was the guitar overwhelmed. Oboe passages were particularly beautiful and the guitar displayed a wide range of its musical capabilities in the hands of a musician of exceptional genius. · The applause literally 'stopped the show'. Soloist, conductor and orchestra made the usual acknowledgements but still the clamour for an encore per-sisted-long after the next item should have commenced. Finally, Julian Bream appeared again and gave a slight shake of the head as he left the platform amid the roar of applause. "

Ibid, Julian Bream (broadcast update), p. 15.

Julian Bream in "Variety Playhouse" on August 27th playing Sonata in D for violin and guitar by Schedler.

Ibid, Julian Bream (broadcast update), p. 15.

Julian Bream took part in the Three Choirs' Festival at Hereford on September 7th with a well-known soprano, Isobel Baile, and in the evening he played the lute in Handel's "Ode on St. Cecilia's Day".

Ibid, Julian Bream (Announcement), p. 15.

Julian Bream is recording two LongPlaying gramophone records soon.

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)
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 First Guitar Festival that took place at the Queen Mary Hall on November 2.

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.

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 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. A similar reaction was heard over the radio on a previous Julian Broadcast when he played the Villa-Lobos' Choros No. 1.

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

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, p. 295
Julian started to advertise his teaching services in the September 1950 issue of BMG.

Guitar News

Two Julian Bream Recitals by Wilfred M. and Kay Appleby

December 1955 - January 1956, No. 28, p. 7

Julian Bream played a recital at Wigmore Hall on November 8th. The concert was prepared in short notice and was attended by mainly amateur guitarist. He played Romanesca and Fantasia by Alonso de Mudarra, Sarabande and Gavotte by Handel, Adagio and Rondo by Fernando Sor and after intermission played all five Villa-Lobos preludes. "It was played brilliantly with a wealth of tone colour. A few passages suffered from 'string-whistling'-a problem which is in urgent need of solution." His encore was the Sonatina in A by Moreno Torroba. The audience applauded with such enthusiasm that he came out an additional four times and played an additional piece each time. The Hector Quine guitar as used.

Julian Bream played a recital at the beautiful, galleried hall of Westonbirt Scholl, Gloucestershire.. He played a gavotte by Bach, Sarabande by Handel, "Rondo" by Sor, "Sonatina" by Torroba, "Valse" by Ponce, "Serenata" by Malats and "Fandanguillo" by Turina. He then played "Prelude No. 1 and Chôros No. 1" by Villa-Lobos, three Catalan folk songs and "Study in A major" by Tárrega. Again the constant applause led to numerous encores. "With Julian Bream to demonstrate the sensitive guitar and occasional visits from Segovia and, we hope, other leading guitarists, the guitar in Britain seems to be entering a golden era."

BMG (Banjo, Mandolin, Guitar)
May 1950, 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 that was a very successful event.

Ibid, 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, 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 was 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)
By the Wat by A.P. Sharpe
September 1955, Vol. LII, No. 605, p. 306.

Julian Bream has been busy lately and has
been receiving good Press notices for his playing.
On the 29th of this month he is _giving a
recital at the Tempest Anderson Hall m York .

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.

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.

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"

Armonia (Japanese guitar magazine)

Concerto by Rodrigo, reported by Alan Fues(?)

September- October 1955, Vol. 2, No. 5 (11). p. 6 (102).

The article mentions that the Concierto de Aranjuez is no longer just within the realm of capabilities of Regino Sainz de la Maz with Argenta. There are a handful of young talented guitarist that are also playing the concerto. Presti in France, Yepes in Spain and Julian Bream in England.

The Armonia magazine can be read on the Digital Guitar Archive site.

Webmaster's note:
The Japanese magazine article has been translated with the aid of Google translate.

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)
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)

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.

Armonia (Japanese guitar magazine)

25th Anniversary of the P.S.G. by Isao Takahashi
January-February 1955, Vol. 2, No. 1, p. 2nd center picture page.

Dr Bori Perott and Julian Bream are mentioned in the Japanese classical guitar magazine Armonia along with a picture of Julian and Dr. Perott for the 25th Anniversary of the PSG.

The Armonia magazine can be read on the Digital Guitar Archive site.

Webmaster's note:
The Japanese magazine article has been translated with the aid of Google translate.

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.

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.

BMG (Banjo, Mandolin, Guitar)
Guitar News from Overseas, collected by Peter Sensier
June 1955, Vol. LII, No. 602, p. 235.

A short note to state that Julian Bream is mentioned in the Japanese classical guitar magazine Armonia along with a picture of Julian and Dr. Perott for the 25th Anniversary of the PSG.

Webmaster's note:
The Japanese magazine article has been translated on this site with the aid of Google translate.

Ibid, By the Way column, p. 235

After serving as a regular in the Royal Artillery, Julian Bream took his discharge at the end of April and immediately set off for a tour of
Switzerland and other European countries. He is giving recitals in Geneva and several Spanish cities before going on to Portugal, Italy, Germany, Belgium and Holland. When he returns to this country at the end of his tour he will begin to prepare for a concert at the Albert Hall in September.

BMG (Banjo, Mandolin, Guitar)
Guitar News from Overseas collected by Peter Sensier

February 1955, p. 111

Mr Sensiers mentions that the São Paulo newspaper "A Gazeta" had an article by Ronoel Simoes titled "The Guitar in Great Britain". The article mentions Julian Bream as well as John Williams and Wilfred Appleby.

Ibid, Guitar Music Reviewed by Peter Sensier, p. 124.
Discussing the guitar solos available by Clifford Essex it mentioned two solos arranged by Julian Bream. "Siciliano" by Schumann and "Study in A Major" by Tárrega.

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

An announcement made 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 he also played the guitar as well.

Julian plays a solo concert at the Manchester Library Theatre on November 24. His standing ovation extremely enthusiastic and was called back out on stage for 4 encores.

Ibid, Club Notes column p. 88
PSG November meeting. Julian, along with three other students from the Royal College of Music, perform 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.

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)
The Guild Show by W.M. Brewer
July 1950, 233

Auther reviewed the Fretted Instruments Guild's "Hands Across the Sea" event 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".

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)

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

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)
Guitar News from Overseas collected by Peter Sensier
March 1955,  p. 162

Ibid, Second Azpiazu Gitarrenschule " (Book 2), p. 163

Ibid, By the Way by A.P. Sharpe, p. 163

BMG (Banjo, Mandolin, Guitar)

By The Way column

January 1955, p. 112

Julian Bream was the soloist in a performance of Rodrigo's Concerto for guitar and orchestra played at the Tottenham Municipal Orchestra's concert at the Municipal Hall on November 28. Mr. Bream also played several solos, including a Gavotte by Bach and "Choros No. I " by Villa-Lobos.

Webmaster's note:

Assuming that the concerto for guitar and orchestra stated above is a reference to "Concierto de Aranjuez".

Ibid, Guitar Music Reviewed by Peter Sensier, p. 111.

Discussing the guitar solos available by Clifford Essex it mentioned two solos arranged by Julian Bream. "Rondo" by Coste and "Sarabande with variations" by Handel.

Ibid, Guitar News from Overseas collected by Peter Sensier, p. 111

Mr Sensiers has observed that it is the second time in the past few months that the Japanese guitar magazine "Armonia" has mentioned Julian Bream.

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
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.

Armonia (Japanese guitar magazine)

Overseas News: United Kingdom by Isao Takahashi
November- December 1955, Vol. 2, No. 6 (12). p. 20 (140).

The short article repots that Julian Bream performed the "Concierto de Aranjuez" at the Royal Albert Hall and he used a microphone while playing with the orchestra.

The Armonia magazine can be read on the Digital Guitar Archive site.

Webmaster's note:
The Japanese magazine article has been translated with the aid of Google translate.

BMG (Banjo, Mandolin, Guitar)

Guitar on Wax by "Discus"

December 1955, Vol. LIII, No. 608, p. 85.

The author is reviewing Narciso Yepes' playing of the Concierto de Aranjuez and states that the piece is "beyond his interpretive scope. Our own Julian Bream plays this movement with much greater eloquence.

Ibid, By the Way column, p. 86.

Julian Bream gave an interview in the B.B.C.
"Music Club" programme last month and told listeners that he enjoyed listening to all music "from Bach to Boogie." After giving some details of his career and the guitar he uses he played Malat 's "Serenata," which is published by the Clifford Esscx Co.

Ibid, Correspondence by Peter Sensier, p. 88.

A response in reference to a letter in a prior issue suggesting that it may be hard to believe that some guitarist have the capabilities of reading difficult musical manuscripts on the spot for a broadcast without any prior practice time. "l have seen Julian Bream read difficult solos by Giuliani from manuscript-solos that he had never seen before-up to tempo and with complete accuracy; and on a "strange" guitar! I also know that Desmond Dupré did a broadcast of the Paganini Quartet with Variations for the Guitar at sight."

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.

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".

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)

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).

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)
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.

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. "