​JulianBreamGuitar.com

Classical Guitar

Julian Bream: A Life on The Road by Gregory Newton

May-June 1983, Vol. No. p.

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.

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

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.

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.

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".

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

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
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

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.

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.

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.

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

Guitar 
February 1980

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."