​JulianBreamGuitar.com

Classical Guitar

Julian Bream: A Life on The Road by Gregory Newton

May-June 1983, Vol. No. p.


Magazine CG mag

May-June 1983, Vol 1, No. 5
Editorial by Colin Cooper
Cooper describes the typical modern electric guitarist a someone who has to play fast and has to stand up to play because “nobody” has ever seen anybody become famous playing the guitar sitting down. Here he introduces Segovia, Bream and Williams and explains why playing the guitar standing and very fast does not equal artistry.

Ibid, Classical Guitar News – Author Vindicated compiled by Colin Cooper, p. 11
In reference to a prior story ‘Similarities’ (Vol. 1, No. 4), the issues “has had a happy ending for Graham

Wade, author of ‘Traditions of the Classical Guitar’. Following the publication of Tony Palmer’s book ‘Julian Bream — A Life on the Road’, Wade and his publisher John Calder decided that a number of passages in Palmer’s book were in breach of Wade’s copyright. Passages dealing with guitar history, performance and building, particularly in pages 35, 44-53, 86-88, 93, 99 and 124-127, were cited, and Graham Wade’s publishers pointed out that recognition of his scholarship in this area should have been expressed by Tony Palmer.

The matter has now been resolved. The author of ‘A Life on the Road’ has apologized to Graham Wade, and is to pay an agreed sum that includes a contribution to legal costs.”

A Conversation with Julian Bream by Gregory Newton, p. 17-20








Ibid, Reviews Concerts-Julian Bream (guitar) by John Kemp, pg. 66-67.

Bream very briefly mentioned:
Ibid, Classical Guitar News - Django Anniversary compiled by Colin Cooper, p. 8
Ibid, Reviews Records-Renaissance Masters and Latin Romantics, Alan Rinehart (lute and guitar) by Colin Cooper, p. 57
Ibid, Reviews Records-Transcription, Michael Laucke (guitar) by Raymond Burley, p. 62
Ibid, Reviews Concerts-Zoltan Tokos (guitar) by John Kemp, pg. 63.
Ibid, Reviews Concerts-Paul Galbraith (guitar) by Harold Dench, pg. 64.
Ibid, Reviews Concerts-Christopher Lyall (guitar) by Colin Cooper, pg. 64-65.
Ibid, Reviews Concerts-Leo Witoszynskyj (guitar) by Mary Hayes, pg. 65.
Ibid, Advertisement-Life on the Road Julian Bream, Tony Palmer, pg. 71.
Ibid, Advertisement-D’Addario & David Russell, pg. 77.
Ibid, Advertisement-Nogami Concert Guitars, by Saburo Nogamp. 68

This Classical Guitar article is available online on their website.

Guitarra Magazine
The Guitar Around the World by James Sherry
Vol. , Issue No. 43, March - April 1981


Julian Bream cancelled a portion of his tour due to a very severe ear infection.

The Soundboard - The Guitar Foundation of America

Notes from Europe - Conversation with Bream by John Duarte
Spring  1982, Volume 9, No. 1, p. 57-59


Very lengthy article that deals primary with the present and near future.

- The eight-part television series dedicated to the music of Spain scheduled to be done by early 1983.

- Debate on whether to use a lute or a vihuela for the Spanish renaissance pieces of the series.

- Considering using a Lacote guitar for the Sor compositions.

- The possibility of using a 12 string Benedict of 1786

- How the Music of Spain Vol. 1 and Vol 4(Sor/Aguado) were released before they had decided to make each record LP volume match with the eight parts of the television series.

- Possible way to correct it was to make the two issued volumes (1 and 4) collector's items and never make them available again. Then start from the beginning using period instruments.

- No suitable vihuelas to play so Jose Romanillos built a Spanish vihuela - took 18 months to finish.

- Falla's "Homenaje a Debussy"  - the perfect guitar piece.

- How Bream found playing the piano score for Falla's "Homenaje" easier than Llobet's guitar arrangement.

- Discussed the Dedication album and why he is considering revisiting the Walton "Bagatelles".

- Recording a short film of Bream playing the Bagatelles for Walton's 80th birthday.

- The inclusion of the lengthy Royal Winter Music on the Dedication album.

- Hill Runes

- Discussed Duarte's radio program "Building a Library".

- Compared 6 different recording od Villa Lobos 'Preludes - Breams came out on top.

- Villa Lobos' ability to play a guitar effectively.

Magazine CG mag
March-April 1983, Vol 1, No. 4
Editorial by Colin Cooper, p. 4.

“WHY have a guitar magazine at all? The question has been asked more than once. In a sense we who neither play nor teach for a living are what Julian Bream once called the ‘hangers on'. though there is a derogatory sound about the term that we do not much care for.”

Cooper spent the rest of the article stating why the professional classical guitar community goes beyond those who perform and teach.

Ibid, Classical Guitar News – Critic’s Choice by Colin Cooper, p. 6.
Ex-Reviews Editor John Duarte. writing in The Gramophone, named three guitarists in his “Critics' Choice’ column for 1982: Alice Artzt. Julian Bream and Goran Sollscher. Alice Artzt brought her "customary clarity of thought and delivery' to three major works by Ponce in a centenaryissue. Bream's “Dedication" receivedan accolade for its ‘substantial music. passionate performances and vivid recording': and the young Swedish guitarist was praised for “technical mastery and elegant musicality’.

 Ibid, Classical Guitar News – Similarities, p. 8.
“In January’s News column I quoted from Tony Palmer’s ‘A Life on the Road’, where Julian Bream talks about the guitar's ability to ‘convey a beautifully delicate thread of poetry... in this, the noisiest and most violent century’. Hard to follow, it seemed - but not impossible to precede, as Graham Wade has reminded me. Readers of his Traditions of the Classical Guitar, published two years before Palmer’s book, might like to compare his remarks on p 186 where, in a similar context of Segovia and the guitar, he uses the phrases ‘a slender thread of poetry’ and ‘the noisiest century of all time’.

I understand that there are other similarities and that some appropriate action is being taken. Did Graham Wade’s words make such a powerful impression on Julian Bream that he brought them up in conversation with Tony Palmer? Or did the author of A Life on the Road attribute them, forone reason or another, to the subject of his own book?

Review-Records. Julian Bream, Music of Spain, vol.5 Granados and Albeniz. Reviewed by Colin Cooper. P. 48. Overall a good review of Julian Bream’s playing but a harsh crititism of the new digital recording format as opposed to analog. Cooper complains that we hear notes that are there but we shouldn’t really hear.

Bream very briefly mentioned:
Ibid, Classical Guitar in New York City by Brian Hodel, p. 25.
Ibid, Analysis of the Prelude from the Prelude, Fugue and Allegro (BMV998) by Bach
Part 4 – Fingering by Oliver Hunt, p. 37.
Ibid, Review - Concert. John Williams with the English Chamber Orchestra. Review by Colin Cooper. P 43
Ibid, Review-Concert Chiswick Guitar Ensemble. Review by Colin Cooper. P. 45
Ibid, Review-Records. Reinbert Evers (guitar), Falla, Martin, Smith Brindle, etc.. Review by Colin Cooper. P. 47
Ibid, Review-Records. John Williams (guitar), Portrait of John Williams. Review by John W. Duarte. P. 48
Ibid, Profiles – Eric Hill (mainly self-taught but some advanced studies with J. Bream). P.50
Ibid, Advertisement-Life on the Road Julian Bream, Tony Palmer, pg. 58.
Ibid, Letters to the Editor by Michael Clayton. Edinburgh concert audience noise level. Editor’s response by Colin Cooper. P.63
Ibid, Advertisement-Nogami Concert Guitars, by Saburo Nogamp. 68

The Soundboard - The Guitar Foundation of America
BENJAMIN BRITTEN'S STYLE AS EXEMPLIFIED IN THE NOCTURNAL, OP. 70 by Philip Pivovar
May 1980, Volume 7, No. 2, p. 51-55, 91


An in-depth discussion about Britten's "Nocturnal" dedicated to Julian Bream.

FRETS
June 1981
Articles (two):
Julian Bream 1981 Master Class: Encounter with Genius by Rick Gartner
    1- Julian Bream
    2-Bream Master Class

Discussion:
Article 1
-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

Article 2
-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


The Soundboard - The Guitar Foundation of America
The Contemporary Guitar (Hans Werner Henze) by John Wager-Schneider
November 1980, Volume 7, No. 4, p. 173-175


An in-depth discussion about the guitar composition of Hans Werner Henze including Drei Tento and Royal Winter Music.

Classical Music magazine - no picture available on the internet.
Article on Julian Bream in October 1983 by Graham Wade.

It is referenced in November /December 1983 vol1, no2 issues of Classical guitar mag.

The Absolute Sound magazine , Review of Julian Bream’s ‘Music of Spain Vol. 5’, RCA Red Seal ATCI 4033.
It is referenced in September/October 1983 vol1, no1 issues of Classical guitar mag.


Magazine CG mag
January-February 1983 Vol 1, No. 3
Editorial by Colin Cooper, p. 4.

Julian Bream is very briefly mentioned in an article about the indecisiveness of the typical classical guitarist, unlike other classical instrumentalist, in any subject in refence with the classical guitar.

 
Ibid, Classical Guitar News-Happy Birthday! (Andres Segovia) Compiled by Colin Cooper, p. 5
Julian Bream is quoted at the end of the article from his book Life on the Road “guitar’s ability to ‘convey a beautifully delicate thread of poetry’, and goes on: ‘It is the constant reminder of such a thread in this, the noisiest and most violent century in history, that I believe to be Segovia’s greatest achievement’. Musically or journalistically, that is something hard to follow.”

Ibid, Classical Guitar News-Acoustics Compiled by Colin Cooper, p. 6
In an column revering to The Journal of Guitar Acoustics, Bream is mentioned when mentioning the old Hauser guitars (Hauser I). Bream has coined a phrase in referee to the Old Hauser and their “focus of sound”, a sound that luthiers strive for.

Ibid, Classical Guitar News-Ealing Guitar Society, Compiled by Colin Cooper, p. 8
Beam is briefly mentioned as the arranger of a Diabelli pieces, “Grand Sonata”, that was performed by Luke Dunlea.

 Ibid, Concert Diary, p. 11
27 Sunday
London: JULIAN BREAM
Wigmore Hall. 7.30 pm

 Reminiscences about Segovia and his place in history by Alice Artzt, p. 20.
Julian Bream was briefly mentioned in a paragraph about possible classical guitarist that someone could emulated at an international level. Until the late 1950s when Presti and Legoya and Bream started coming into prominence, Segovia was the only role model.

The Classical Guitar by John W. Duarte, p. 31-32.
An article about the Radio 3 BBC programme called The Classical Guitar that started in June 1973 with the initial episode featuring Alirio Diaz. It was not the first programme to focus on the classical guitar (Jean Fuller and Robert Duval had similar programmes in France). The programme was conceived by the late Michael Jasset and then passed on to Peter Sensier. The programme was considered predictable but informative. Some of the shows were repeated. It ran until the end of 1982. Bream was featured 4 times (12/73, 3/76, 3/78, 9/82). Aside from guitarist, events and luthiers (Bouchet, Romanillos and Rubio) were also featured. Most guitarist were featured 1 to 3 times. In addition to Bream, only a handful of artists were featured 4 times. Two artists were featured 5 times (Alice Artzt and Carlos Bonell). The article announces a new programme that will start in September 1983 also on the BBC Radio 3 called Music for Guitar. Julian Bream is scheduled to be their first feature on September 17.

Review- Books. Julian Bream: A Life on the Road by Tony Palmer. Review by Gregory Newton, p. 51

Bream very briefly mentioned:
Ibid, Advertisement-Life on the Road Julian Bream, Tony Palmer, pg. 51.
Ibid, Review - Records. Elliot Fisk, Scarlatti and Froberger. Review by John W. Duarte. P. 60
Ibid, Review - Records. Juan Martin, Picasso Portraits. Review by Colin Cooper. P. 60
Ibid, Letters to an aspiring guitarist, pg 62

Guitarra Magazine
In Search of the Perfect Guitar - Julian Bream Part 1 by James Sherry
Vol. , Issue No. 45, 1981, July - August 1981, p. 16-19.


James Sherry's article written in 1981 remembering back to conversations from 1965 to 1968. According to Sherry, Bream played a Bouchet in the US in 1966, 1967.  The article states how Bream has strong opinions about the guitar and will not easily accept other points of view. Not sure if it was the same guitar. Sherry mentions in the article that Bream told him later on (assuming late 1960-early 1970) that the Bouchet was lost by the airline in a baggage mixup and it was never recovered.


Webmaster's note:

Not sure if this is the same Bouchet guitar that was stolen from Bream's car or if Bream had the misfortune of losing TWO Bouchet guitars in one lifetime.

Gramophone
July 1983
Article: Julian Bream 50th Birthday

Classical Guitar
Vol. 1, No. 2, November - December 1982

Classical Guitar News-Paganini Anniversary by Colin Cooper, p. 7


A series of concerts began in October in Genoa to mark the 200th anniversary of one of the city’s most famous sons, Niccolo Paganini. At the last of them, on 6 December, Julian Bream is playing Giuliani, Sor and Paganini.

In the next paragraph, Cooper mentions Bream’s new book Life on the Road and how Bream reports feeling awkward having his pockets full of cash- pre-payment for the recital prior to performing. A measure he felt he needed to take after having his money stolen from his guitar case twice in the past. Bream, previously resistant to change, now has felt obligated to move into the modern world and is requesting bank transfers and using credit cards.

In this same article, it was also reported that Julian Bream refuses to insure his fingers.


Ibid, Classical Guitar News-Default by Colin Cooper, p. 8
Bream is mentioned in a humorous piece by Cooper in reference to the poor coverage of classical guitar performances and the misspelling of guitarist’s names by the Daily Telegraph, The Times and the Guardian.


Ibid, Concert Diary, p. 12.
Julian Bream, November 5 Friday, 8:00pm, Town Hall, New York City. Programme: Bach, Weiss, Walton, Rodrigo.

Ibid, Not Louder but Closer.. Interview with David Russel, by Colin Cooper, p. 17.
Bream is briefly mentioned when Russel states that Sir William Walton stated that he would only consider writing a guitar piece for Julian Bream. Bream is briefly mentioned a few more times in this article.

Ibid, Reviews-Books, Maurice Summerfield’s The Classical Guitar by Colin Cooper, p. 44-45
Bream is mentioned in the review especially in regards to old photograph reproductions from the PSG days. Julian Bream is among the most prominently featured classical guitarists in a vast list of performers mentioned.

Ibid, Reviews - Records: Julian Byzantine, Masterpieces for Classical Guitar. Review by Charles Scott pg. 48.
Briefly mentioned in the review of Julian Byzantine’s new LP Masterpieces for Classical Guitar when they compare Byzantine’s “En Los Trigales” by Rodrigo to Bream’s version.

Ibid, Letters to an aspiring guitarist, pg 54.
A fictional, humorous response letter written to a fictional foreign guitarist about their extravagant requirements before performing their debut concert. Bream is briefly mentioned as one the required guest by the the fictional guitarist, among other important British figures.

Ibid, Advertisement, Ibánez, David Russell, p. back cover
The Bream prize is mentioned. David Russel won the coveted prize twice at the age of sixteen.

The Soundboard - The Guitar Foundation of America
Conversation with Julian Bream by John Wager-Schneider
 February 1980, Volume 7, No. 1, p. 9


John interviewed Bream at the KPFK-FM studios in Los Angeles in November 1979.

Julian Bream is asked about
- having two completely different programmes for each tour to avoid muscle memory and increase the focus on the music.
- Taking 3 months off in the summer to prepare for the next season.
- Revisiting certain pieces after 3 or 4 years of not playing them.
- Playing guitar in England in the  1940's and 1950 's.
- Being desperate for money in 1947-1948 and actually taking a few dance band jobs for the BBC radio. Having to borrow the plectrum guitar and pick.
- His first big London concert in 1950 with an audience of 300to 400 poeple.
- Creating the Julian Bream Consort in 1959-60.
- Dowland was likely a virtuoso on the lute.
-Disbanding the Consort after 5 years.
-His guitar technique would suffer if he dedicated too much time to early music
- David Munrow
- Discuss commissions throughout the 1970's, Mainly the Royal Winter Music
- Guitarist now starting to play Britten's Nocturnal after a long period where only Bream would play it.
- Discussed the succes of the LiVE album with John Williams. Future touring not likely because Williams hates to travel.
-Reviving the Consort in a more authentic manner

Guitarra Magazine
Birthdays of aficionados by James Sherry
Vol. , Issue No. 39, July - August 1980, p. back page

Magazine Articles: 1980 - 1984

The Soundboard - The Guitar Foundation of America
Conversation with Eliot Fisk by John Wager-Schneider
February  1981, Volume 8, No. 1, p. 10-17


A lengthy interview with Eliot Fisk. Eliot compares how he plays one of the Bach Lute Suites with the way Julian Bream approaches the suite.

Classical Guitar

Bream And Segovia at the Philharmonic - as told by Johanna Vollers

by Colin Cooper

July 1985, Vol. , No. p.







This Classical Guitar article is available online on their website.

American Lutherie

Review: Julian Bream: A Life on the Road by Tony Palmer

Reviewed by Gila Eban

1986, No. 5


A review of the book Julian Bream: A Life on the Road by Tony Palmer that had been released 4 years prior. A very positive review about Bream as a performer and personality.

Classical Guitar

When Bream Met Brouwer for the ‘Concerto Elegiaco’ by Colin Cooper

October 1987, p.


This Classical Guitar article is available online on their website.


Classical Guitar

Julian Bream—The Contribution by John W. Duarte
Vol. 1, No. 1, September - October 1982


The article begins by outlining Segovia’s contributions to the classical guitar and how Bream’s will differ. Bream was essentially self-taught, and while he initially played the Segovia repertoire, he quickly began adding contemporary non-Spanish composers who did not write for the guitar, using typical Spanish, flamenco-like musical idioms. He also single-handedly revitalised the lute in the eyes of the general public. While the instrument already had a handful of players by the time Julian started playing the lute, none of them were technically proficient. He also established the Julian Bream Consort. With modern versions of early instruments and with players that did not specialise in early music, he “virtually pioneered the revival of the Elizabethan broken consort”. “Five men in the history of the guitar made different, key contributions to the progress of the guitar: Sor, Torres, Tárrega, Segovia and Augustine, a list that should now be extended to a total of six by the addition of Julian Bream.


Ibid, Colin Cooper, Classical Guitar News-Long Run, Classical Guitar, p. 5
Julian Bream performs a broadcast for the BBC Radio 3 for a series called The Classical Guitar. He play the last of a 9 programmes.

 Ibid, Reviews - Records, Dedication. Julian Bream, RCA Red Seal RL25419, p.40-41
A pre-release review of the Julian Bream’s LP Dedication dedicated to contemporary, European, non-Spanish composer. “Whilst a number of players have jumped on other band-wagons, for financial gain but artistic loss, Bream has continued to explore, to evolve and to reveal.

Bream very briefly mentioned:
Ibid, Los Romeros by Graham Wade, pg. 11
Ibid, Advertisement, Nogami Concert Guitars, by Saburo Nogamp, Pg. 32
Ibid, Reviews – Records: Duodecima (Lars Karlsson, Michael Ljung, guitars), Guido, Santorsola, Duarte, Petit. Review by John Duarte, pg 39
Ibid, Reviews – Records: Ed Flower, David McLellan (guitars), Renaissance and Baroque Music for Two Guitars (vol. 1) and Classical and Romantic Music for Two Guitars (vol.2), Review by John Duarte, pg. 40.


This Classical Guitar article is available online on their website

Guitarra Magazine

The Guitar Around the World by James Sherry

Vol. 10, Issue No. 57, 1983 (July - August)


London, England: A quote from Julian Bream. On control..." It's not playing pretty well when you are in a good mood. It's being able to play very well when you're out of sorts."

Guitarra Magazine
In Search of the Perfect Guitar - Julian Bream Part 1 by James Sherry
Vol. , Issue No. 46, 1981, September - October 1981, p. .

Guitarra Magazine
The Guitar, the Lute and I, Julian Bream Part 2 by Julian Bream

(The Guitarra Magazine reprinted this article from 1965)
Vol. 9, Issue No. 53, November - December 1982, p. 10-11


In part 2, Julian Bream writes about his early life from 1946 to 1965 when he received the OBE conferred by the Queen of England for his services to music.


Ibid, Julian Bream Performs in Ann Arbor Michigan by Norman Ruiz. p. 13

The review was very complimentary. The reviewer stated that Bream revealed his "genius" on the guitar throughout the concert. He played a suite by Devisse, Weiss's "Tombeau sure la Mort de M. Compte de Logy" and "Fantasie". Next, he performed Bach's "Suite in E major", BWV 1006. the second half opened with Walton's "Bagatelles", then the new one-movement "Sonata" by M. Berkeley. He finished with Rodrigo's 'Tres Piezas Espanolas".


Ibid, Face to Face with Liona Boyd, Part 1 by Steve Reeder, p. 2-3.

Liona recalls being selected to take part in a Julian Bream 10 day masterclass in 1969-70. Five students were then selected (Boyd being one of them) to participate in a recital at Stratford's Festival Theatre. The entire masterclass and recital was filmed for a documentary on a Julian Bream masterclass Bream at Stratford.

Julian Bream & the Regal Treatment of Guitar in TV Series ‘The Guitar in Spain’

By Graham Wade

February 1985, Vol. No. p.

Guitarra Magazine
An Evening with Ángel Romero by Guitarra Magazine staff
Vol. , Issue No. 38, May - June 1980


Romero: "The Rossinianes by Giuliani are magnificently written, but recordings of these have proven a lot of disrespect for the composer. One colleague of mine recorded one Roossiniane Op. 119 in this manner. Checkin mt facsimile edition of the work, I was shocked that what was in the recording and what was in the music were completely different. The middle section of the most difficult part was dropped out and the simple march from the Rossiniane Op. 122 was inserted into its place. After he got tired of playing that, he went right back to the Rossiniane Op. 119 in the middle of a motif as if he were playing in a night club. At the last page, he omitted everything until the very last bars. This is as obscene and as ridiculous as some conducted taking Beethoven's Symphony No. 5 and inserting half of the chorus of the 9th Symphony in place of the second movement."


Webmaster's note: the criticism is obviously aimed at Julian Bream's Rossiniane Op. 119 recording:

  • Giuliani and Sor RCA Red Seal ARL1 - 0711, 1974

The Soundboard - The Guitar Foundation of America
Newsworthy - Bream Premiers Berkeley Sonata
Spring  1983, Volume 9, No. 3, p. 21


Bream Premiered the Michael Berkeley Sonata in the US in November 1982.


Ibis, Peter Maxwell Davies by John Schneider, p. 43

"Davies' latest solo guitar work is a nine-minute piece entitled 1117:1 Runes (1981) written for Julian Bream. 'Runes' are mystic songs or poems associated with Northern cultures, Norse or Finnish, and are divided into cantos."


Ibid, p. 75

It is, as I have commented, perhaps regrettable that entirely free communications are not possible, but that very restriction has permitted East-European guitar music to develop in its own way and to acquire its own strong character, minimally (where at all) influenced by the rent-a-program
stricken mainstream. This is particularly welcome in a world that is, as Julian Bream has commented, slowly but surely obliterating national characteristics through quick and easy communication, not to mention political and trading blocs. Too much contemporary music is al ready an expression (if that is the mot juste) of an ' international, anonymous, intellectualized
continuum' in which the indigenous characters of countries are virtually lost. If all this seems to be leading away from our main subject, it is not; it is merely to underline a welcome to this new injection of guitar- musical blood. It expands our technical horizons and as music it could only have been written by a Russian - and an immensely talented one at that. Of how much new guitar music can you say, in all honesty, that its country (or even global area) is clearly evident in its sound? Even more, how often is that identity apparent when folk music is not being used or quoted? This opens up lines of thought as to how composers should be trained and educated (while still relating to the society in which they live) but I will not pursue them here,  nor am I the best person to do so! For now, write down the name of Nikita Koshkin in your records - b

Magazine CG mag
September-October 1983, Vol 2, No. 1
Renaissance (and Baroque) Man- David parsons in Conversation with Colin Cooper, pg 25.

Parsons was asked about the moves to modernize the lute and was Julian Bream’s lute, built by Thomas Goff, a mistake. While he stated that the lute does not need modernizing, but that he can’t speak harshly of either Bream or Goff because they are they are main reason were exposed to the lute and are talking about the lute today.

Ibid, A Double Celebration for Julian Bream by James Burnettpg, pg 31
Julian Bream was celebrating his 50th birthday with a Wigmore Hall concert followed by a reception organized by RCA to celebrate his birthday and his 25 years’ contract with the recording company. He received many gist along with a very large cake in the shape of a classical guitar noted to be “excellent tasting”.

Bream very briefly mentioned:
Classical Guitar News – Lunatic fringe. Compiled by Colin Cooper, pg 6.
Ibid, Classical Guitar News – Laucke debut. Compiled by Colin Cooper, pg 11.
Ibid, Scale Fingering Part III by Neil Smith, pg 23.
Ibid, Narciso Yepes – A reappraisal by Ivor Mairants, Pg. 43.
Ibid, Reviews – Music. Le Duo Romantique, pieces by Moretti, Sor, Castellacci, Du Boulley, Ferrer y Esteve, De Raoulx arranged by Maca and Denis. Review by Peter Batchelar, Pg 54.
Ibid, 1st Birthday Quiz, devised by Colin Cooper, pg 57.
Ibid, Reviews-Books, Traditions of the Classical Guitar by Graham Wade. Reviewed by Colin Cooper. Pg 64.
Ibid, Advertisements, Traditions of the Classical Guitar by Graham Wade. Pg 66.
Ibid, Advertisement-Life on the Road Julian Bream, Tony Palmer, pg 65.
Ibid, Letters to the Editor by Alice Artzt. The letter continues the discussion of digital recording using Breams recent recording ‘Music of Spain Vol. 5’, RCA Red Seal RS 9008.
Ibid, Advertisement, Michael Raven publications, Popular Classics for Guitar, Pieces recorded by Segovia, Bream, M. Raven, pg 75.

Guitarra Magazine
The Guitar, the Lute and I, Julian Bream Part 1 by Julian Bream

(The Guitarra Magazine reprinted this article from 1965)
Vol. 9, Issue No. 52, September - October 1982, p. 10-11


In part 1, Julian Bream writes about his early life with the guitar and music in general. This part goes all the way from 1933 (the time of his birth) to 1946 and his meeting with Andrés Segovia.


Ibid, p. 22

Letters: Questions and Answers

Paul Michaels, a magazine subscriber, asked the question on how to best avoid tendonitis as a guitarist. The editor responded by saying that among other things, exercise was very important. He then stated that guitarist with thicker arms were not as likely to develop tendonitis and do not have to exercise their arms as frequently as someone with a slender physique.  Then he used Segovia and Bream as examples of two guitarists that would likely not have to exercise their arms as frequently. He referred to both of them as "brawny men".

Magazine CG mag
July-August 1983, Vol 1, No. 6
Classical Guitar News – Digitalization-not to blame. Compiled by Colin Cooper, pg 6.

John Taylor, a physicist and a member of the Omega Guitar Quartet, put forth that maybe the issues being observed with digital recordings of the guitar are more with the recording technique than the digitalization itself. Therefore Cooper’s review of a “blemish” recently heard in a new Julian Bream recording (Vol. 1, No. 4 p.48), was likely more mike positioning than the digital process itself. “…therefore, the words ‘digitalization is the cause’ should be amended to read ‘digitalization is not the cause’.“

Ibid, Classical Guitar News – Czech Guitar by Kvetka Uricek. A review of Czech guitarist Martin Myslivecek. His concerts in the past few years have been hailed as a “great experience” and he had stated that Julian Bream was his greatest influence. In 1978, he was quoted as saying ‘When you listen to Bream playing Bach, you only hear Bach, not Bream’.

Ibid, Enjoying Diversity – Robert Brightmore talks to Colin Cooper,pg 13-14.
Brightmore participated in in Julian Bream’s Masterclass series on the BBC and was asked what he gained from that experience. His reply: “Musically - quite honestly, I always learn something from listening to Bream. It doesn’t matter what he’s doing, there’s always something new in his approach to music, as there is with other great players, but it was a very tense experience for me — I found it impossible to relax.” He mentioned Bream once again, later on in the interview when he was asked about participating in classical guitar competitions.

Ibid, An Affinity for the guitar John Holmquist talks to Classical Guitar, Colin Cooper Pg. 26
Holquist mentions how Segovia was his first exposure to classical guitar music. His father tried to get him to attend a concert by a lesser known English guitarist, and he declined to go see him because he didn’t feel it would be worth his time. That Englishman was Julian Bream and he came to ‘idolise’ later on do to his recordings. He was disappointed in himself for not attending that concert since Bream was in his prime at that time. Later on, he would eventually attend a Bream concert and his playing had been affected by a 48 hour period of little rest presumably because he had been out drinking with Michael Tippet in Chacago. Later performances attended were ‘exciting’. Segovia’s live performance sounds just like the record and Bream’s sound totally different.

Ibid, Reviews – Concerts, Julian Bream, by Harold Dench, pg 50
Town Hall, Cheltenham, 24 February 1983
The performance was very positively reviewed. The article started off by stating the importance of Cheltenham in Bream’s career since it was the city of his first profession recital. He played two Bach preludes from the Cello Suites, followed by Tombeau sur la Mort de M. Comte de Logy and Fantasia by Sylvius Weiss. Bream’s sound was praised with all 3 pieces. The “well arranged” Mozart’s Five Divertimenti K. 299 was also praised by the reviewer. Mompou’s Suite Compostelana written for Segovia, The suite as recorded by Segovia was described as dull compared to Bream’s live interpretation. Walton’s Five Bagatelles written for Bream and dedicated to Malcolm Arnold were describes as “a delightful and authoritative performance”. Bream decided to skip the next listed piece on the programme and played Granados’ Sonata in One Movement Poeticos. It was described as a “spectacular performance”. Finally, he played Rodrigo’s Trez Piezes also written for Segovia but most only perform the Fandango but Bream also played the Passacaglia and the Zapateado, “an exciting conclusion.” “Julian Bream is an example of a performing artist second to none.” A brief mention is made of the multi part film series dedicated to the Spanish classical guitar featuring Julian Bream.

Ibid, Reviews Concerts-Paul Galbraith (guitar) by Harold Dench, pg. 50.

Bream very briefly mentioned:
Ibid, Advertisement-D’Addario & David Russell, pg. 16.
Ibid, Competition for Issue No. 6, pg 28.
Ibid, Reviews – Concerts, Alan Rinehart by Colin Cooper, pg 54
Ibid, Concert Diary, Julian Bream – Fiftieth Birthday Celebration with Dame Peggy Ashcroft, Robert Tear and John Williams., London Wigmore Hall, 7:30pm, 15 July 1983, pg 55.
Ibid, Reviews – Music, Five Traditional Spanish Songs arr.: Raymond Burley by Chris Kilvington, pg 61,
Ibid, Advertisement-Life on the Road Julian Bream, Tony Palmer, pg 65.
Ibid, Profile, Oliver Hunt. Pg 68.
Ibid, Letters to the Editor by E.J. Breukers. Paul Galbraith successfully played a concert to children with concentration deficits. Bream or Williams have never attempted that as per EJB. Pg 71

Magazine CG mag
November /December 1983, Vol 2, No. 2
Classical Guitar News – Second shipwreck. Compiled by Colin Cooper, pg 5.

Julian Bream’s second appearance on Roy Plomley’s BBC Desert Island radio show. It briefly mentions Bream’s first appearance on the show 22 years prior to his second appearance. It briefly compares some of the selections mentioned in both shows. A Schubert piece shows up on both list but a different one is selected.

Webmasters: see page---

Ibid, Classical Guitar News –Tippett premiere. Compiled by Colin Cooper, pg 5-6.
Michael Tippett has written a work for solo guitar called the Blue Guitar and Bream is scheduled to premiere the piece in Pasadena, California on 9 November 1983. The piece has four parts and last about 12 minutes long. It is based on the poem by Wallace Stevens by the same name. Each movement relates to a different aspect of the guitar. The first London performance is tentatively scheduled January 22, 1984.   

Ibid, Classical Guitar News –Spirit of Segovia. Compiled by Colin Cooper, pg 5-6.
An announcement of Julian Bream’s dual release on the RCA label. Both Vols. 7 and 8 of the Music of Spain series. Vol.7 has pieces written for Segovia by Turina, Mompou, Torroba, Gerhard, Falla and Ohana and it’s aptly named “The Spirit of Segovia”. Vol. 8 is dedicated solely  to Joaquin Rodrigo and it’s subtitled “The Last of the Spanish Romantics”. Bream records the Concierto de Aranjuez for the third time with Eliot Gardner as the conductor for the second time. The Chamber Orchestra of Europe was the only difference with this third recording of the famous guitar concierto. Both LPs will be available as a box set to celebrate Julian Bream’s 25 years recording history with the RCA.   Red Seal Digital RL 45548, Cassette RK 45548.

Ibid, Classical Guitar News – Bream’s nails. Compiled by Colin Cooper, pg 9
This short article sheds some light on typical classical guitarist’s contradicting statements within a short period of time.
‘Julian Bream in Tony Palmer’s Life, p. 10: “I’ve been gifted by the Almighty with reasonably good nails”. Bream in Frets, June 1981: “I’ve got lousy nails. They’re soft and they wear out.”

Which statement is true? Probably both, as most guitarists would agree.’

Ibid, Classical Guitar News – Transcendental levitation. Compiled by Colin Cooper, pg 13
Graham Wade wrote an article on Julian Bream for the October issue of Classical Music magazine. He states that only a few classical guitarist can expect to transcend the beyond the classical guitar circles and reach widespread international fame because there isn’t room for every good player to reach that status but that doesn’t mean that the ones that don’t reach it can’t just be satisfied with playing in more intimate musical circles.

Ibid, Classical Guitar News – Nylon and guts. Compiled by Colin Cooper, pg 13
The New Yorker magazine’s March 1983 issue published an interesting story about Rose Augustine, widow of the first maker of the revolutionary nylon strings. Albert Augustine died in 1967, yet Rose has been able to continue and grow the nylon string-making business along with continuing to publish the prestigious Guitar Review magazine. She told the magazine the she likes guitarist but she hates the classical guitar and finds it difficult to have to listen to the instrument being played. She does not feel it was an instrument made for large concert halls and therefore we can assume that a classical guitar player may not be destined for a significant amount of fame (despite Segovia’s, Bream’s and Williams’ ‘transcendentalism’ – Colin Cooper ties this article with the prior one on the same page with the ‘T’ word).

Ibid, The Divine Giuliani, Le Rossiniane Opus 119 & 122, Variations on a Theme of Handel, Opus 107 & Six Variations Opus 7, Angel Romero (guitar). Reviewed by Chris Kilvington. Pg 69,
“Julian Bream has also done this piece on RCA ARL 1-0711 where the sleeve proclaims that it is the first recording — not strictly true, as he has replaced the Maestoso with a section from another Rossiniane. So Romero provides the chance to hear it in its entirety.”

Ibid, Reviews – Concerts (Historic Review, 1947), Julian Bream by Wilfrid M. Appleby, pg. 75.
This a reprint of 1947 Julian Bream concert review by Appleby for the BMG Magazine April edition when Julian was a thirteen years old. Julian’s brilliant performance at his first formal public recital. The recital was at the Cheltenham Public Library, Art Gallery and Museum. He premiered the "Sonata in A" by Terry Usher.

Ibid, Letters to the Editor by Alice Artzt. The letter continues the discussion of digital recording using Breams recent recording ‘Music of Spain Vol. 5’, RCA Red Seal RS 9008.

Ibid, Reviews – Letters to the Editor
The writer is writing in and continuing the thread appearing in the last few CG issues in reference to digital recordings and the excessiveness of edits. He uses several of Bream’s recent recordings as an example. He states that the excessiveness of edits becomes annoying. “It could be argued that ‘over edited’ performances cease to become performances in the sense that the artiste is unable to produce such a rendition in one take (recordings made up of many short takes are the main culprits here). However it could be argued that such a performance represents the performers ultimate deisre for that piece in that moment of time which he may be incapable of producing at a 'live' concert. On the other hand few would want to live with a record containing many technical errors (especially when it is possible for them to be surgically removed) which would be there for repeated listening at the same point in the performance each time.”

Bream very briefly mentioned:
Ibid, Editorial by Colin Cooper, pg 4
Ibid, Classical Guitar News -Concierto para ciento y diez gentilhombres. Compiled by Colin Cooper, pg 7
Ibid, Classical Guitar News – London celebrity concerts. Compiled by Colin Cooper, pg 7
Ibid, Advertisements, Traditions of the Classical Guitar by Graham Wade. Pg 16.
Ibid, Savagery and Spirituality – Juan Martin(accent on the i) talks to Colin Cooper, p. 19.
Ibid, Around the Societies – The Old Malthouse Music Society, Sawbridgeworth 17 Sept 1983, Pg 29.
Ibid, Advertisement-Life on the Road Julian Bream, Tony Palmer, pg 67.
Ibid, Reviews – Concerts, Machael Laucke (guitar) at Wigmore Hall, 22, September 1983, Reviewed by Colin Cooper, pg. 78.
Ibid, Answers to 1st Birthday Quiz (Quiz appeared in the CG 1983, Vol 2, No. 1, PG 57.), pg 83
Ibid, Small Ads, Hector Quine concert guitar 1967, similar to Breams Quine guitar used in early recordings, pg 90.

The Soundboard - The Guitar Foundation of America
Careers: A Handbook—John Duarte
Fall  1982, Volume 9, No. 3, p. 216


"A good personality is a powerful ally. Alice Artzt, Julian Bream, Leo Brouwer, Alirio Diaz and Sharon Isbin are only some of those who communicate goodwill to an audience as soon as they come on stage, creating a friendly impression. Others (compile your own listing) lack this gift and have to work harder to win an audience's goodwill and enthusiasm."


Guitar Review took out a large add to announce an exclusive interview with Julian Bream

Classical Guitar

Julian Bream on World Travel, Compositions for Guitar, & Cricket

by Colin Cooper & Maurice Summerfield

February 1986, Vol. No. p.



This Classical Guitar article is available online on their website.

Classical Guitar

Julian Bream: Celebrating His Classical Guitar Mastery at 50

by Graham Wade

March-April 1984, Vol. No. p.


This Classical Guitar article is available online on their website.


Classical Guitar

Julian Bream on Meeting Stravinsky and Shostakovich, and Modern Guitar Compositions

by Colin Cooper & Maurice Summerfield

March 1986, Vol. No. p.



This Classical Guitar article is available online on their website.




Guitarra Magazine
Critics at Large - Julian Bream Continues to Enlighten by Catherine Lawrence
Vol. , Issue No. 42, January - February 1981


Pick-Staiger Concert Hall, Evanston, Illinois on November 3oth, 1980

Was reviewed as an exceptional performance.

Magazine CG mag
January- February 1984, Vol 2, No. 3
Letters to the Editor (Letter to Mr. Kilvingston!) by Horst Hentschel, pg 75

“By the way you couldn’t but mention Bream’s version of the Rossiniane op. 119. I think one shouldn’t do so when comparing with the wrong object, for as you said (correctly) Bream has replaced the composition with a section from another Rossiniane, I think it’s the op. 122. Angel and I have discussed that version, and there’s no question — at least the way we see it - : What would you say when someone records - say - the Magic Flute and replaces parts of it by parts of the Requiem or the Jupiter Sinfony?! Bream surely is a fine guitarist but what he did is pure insolence and arrogance. But that’s another thing.” A reply not mentioning Bream was also printed.

Bream very briefly mentioned:
Ibid, Concert Diary – Julian Bream, Wigmore Hall, 22 Sunday 1984, 7:30pm (Bach, Sor, Torroba, Tippett, Villa-Lobos, Granados), PG 11.
Ibid, ‘I just practiced my head off…’- Alice Artzt talks to Classical Guitar by Colin Cooper, pg. 13-20.
Ibid, Advertisements, Traditions of the Classical Guitar by Graham Wade. Pg 22.
Ibid, An introduction to the life and works of Michael Tippett by Allan Clive Jones, Pg. 29-30.
Ibid, Reviews – Music, Children’s Corner by Calude Debussy, arr. for two guitars by Gregg Nestor. Reviewed by Peter Batchelar, Pg 51.
Ibid, Reviews – Concert, Martin Eastwell (lute), Burgh House Hampstead, 30 Sept, 1983 Reviewed by Nicholas Hudis, Pg 62.
Ibid, Reviews – Concert, The Aguado Guitar Duo (two guitars), Purcell Room , London, 9 Oct 1983. Reviewed by Richard Wright, Pg 68.
Ibid, Advertisement-Life on the Road Julian Bream, Tony Palmer, pg 68.
Ibid, Letters to the Editor, Letter by Michel-Georges Bregent (accent of the first e) along with Mr. Cooper’s reply. Pg 74.

Guitar 
February 1980