​JulianBreamGuitar.com

Biographical Timeline
1940 - 1949

1940
In late 1940, Julian (7 years old) and his sister Janice (4 years old) are evacuated during the winter to a farm in Shropshire on the western side of England near the Welsh border due to WWII.[1] Although homesick at the beginning, he finds solace in the beauty of the countryside, which is a new experience for him.[2] Julian first recalls seeing a guitar when his parents visited them in the countryside a few of times. He remembers being captivated by his father playing the guitar, while the farmer's wife played the pedal organ and sang hymns.[3]
Webmaster’s note:
In 1996, Julian returned to the farm and met Jack Hughes, the son of the farmer who had taken them in. A year later, Jack Hughes was one of the surprise guests on Bream’s This is Your Life.[4]

1942

Both Julian and his sister Janice return home to Hampton from their first evacuation during WWII.[5] Once Julian is back home, he distinctly remembers being fascinated by the piano’s sound once again.[6]

It was around this time that Julian’s maternal grandmother, Alice Violet Wildgoose, becomes the owner of a local beer house on Condray Street in Battersea called Princess Royal, but it was affectionately referred to by the locals as the “Drum and Monkey”, the “Princess Monkey” or the “Royal Drum”. Alice and her husband move into the two-room apartment upstairs.[7]  

1943

The birth of Julian's first brother, Anthony James Bream.  (Anthony Bream studied at the Royal Academy Schools and became an accomplished professional painter. He is known professionally as Antony Bream).[8] Several of Antony’s artworks were displayed at Julian’s home, Broad Oak in Semley, and were part of the art collection he donated to the Royal Welsh College of Music and Drama in Cardiff when he sold the historic farmhouse in his later years.[9]

Julian begins taking piano lessons with a local music teacher in Hampton-on-Thames.[10] Like most children, Julian enjoys playing but not practising.[11] ‘It took considerable insistence on the part of my father to encourage me to practise the instrument, although I greatly enjoyed the sensations of playing and struggling through the pieces, particularly Bach.’[12]

Julian and Janice Bream were evacuated for the second time to a farm out in the countryside of England (Cornwall), again due to WWII. Their mother also spends some time in the area with baby Anthony. They return home in 1944.[13]

Webmaster's note: In conversations with Janice (Bream) George-Allen, she stated that the second time they were evacuated, they were not kept together. They were selected by different families so they went to different homes. Julian was sent to Camborne in Cornwall, and she was sent to Redruth, also in Cornwall. “These were very difficult times for children”.[14]

1944

Julian gave his first public performance around this time, playing the dilapidated old upright piano at his maternal grandmother's pub in Battersea called the "Princess Royal" but locally known as the "Drum and Monkey". Julian would play short excerpts from well-known “light” classical pieces by Chopin and Tchaikovsky, as well as from contemporary composers such as George Gershwin.[15]

Julian attended Rectory Secondary Modern School on his return from Cornwall. It is at school that Julian first remembers showing an interest in music, particularly with the plectrum guitar.[16] Miss Edwards, the charismatic music teacher, teaches him music theory after school. He is never a particularly ‘school-shaped’ boy, and frequently plays truant, wandering the local recreation grounds, and visiting Lord’s to watch cricket, which would become one of his enduring passions.[17] Julian finds himself drawn to the radio when music is being played, especially the jazz music of Django Reinhardt with his group the Hot Club de France.[18] Additionally, Julian is exposed to Reinhardt’s music via the 78rpm records Henry is buying to learn dance songs for the plectrum guitar.[19]

Henry Bream has formed a dance band during the later part of the war to try and generate a little extra money. Julian’s interest in guitars increases from seeing them around the house. Henry would sometimes buy two to three guitars a week for 2 to 3 pounds from pawn shops and secondhand stores, mainly around Charing Cross Road. There were usually 16 to 17 instruments in the house at any given time, and Henry would try to repair them, hoping to find a good one. Buying, repairing and selling guitars has become a hobby for Henry. As long as Julian can remember, guitars were always around the house.[20]

Shortly after this period, Julian would play around with the guitars while his father was not at home. He didn’t know how to play them at this point, but he would strum the open strings, often while the radio was playing.[21] He soon begins trying to play the chord shapes in his father’s study book, Fingerboard Harmony for the Guitar by Eddie Lang.[22]

Julian's father eventually caught him playing one of his guitars. Instead of chastising him, he asks Julian if he wants to learn how to play. So here starts Julian's first guitar lesson. His father taught him the plectrum jazz guitar.[23]

After a few months of playing the guitar, Julian is already starting to "sit-in" with his father's dance band behind a curtain. Henry and a friend had formed a dance band to earn some extra money during the war.[24]

Julian's father starts a juvenile band so Julian can play with his bandmates’ children. Julian’s band would have between 3 and 5 children. Both Henry Bream's dance band and Julian's juvenile band would entertain the British and American troops stationed at local army camps in the Hampton area. The senior band is called the Majormonics, and the juvenile band is called the Minormonics. Julian's sister Janice occasionally sings with the Minormonics..[25] Henry wrote a song for Janice called “Little Girl in Blue”, and she sings while Julian accompanies her on the guitar.[26] Julian is still studying the piano during this time.[27]

Henry’s taste in guitar music is continually evolving, likely due to his hobby of buying, repairing and selling different guitars. He is showing interest in the Spanish classical guitar and classical music. Julian's father’s interest in the classical guitar does not go unnoticed by his son, and soon Julian’s taste in guitar music begins to evolve as well.[28]

1944 July 15
Julian's 11th birthday is marked by his father buying him an old finger-style Spanish classical guitar made by Salvador Ibáñez. It’s a small six-stringed gut instrument. Henry had promised Julian his own guitar for his birthday if he passed his exams for entry in the local grammar school. Julian fails his exams despite his best efforts and fears he will no longer receive his promised guitar. He is ecstatic when he receives his guitar on his birthday, despite not having passed his exams. Julian's father is beginning to lose interest in his dance band as he starts shifting towards Spanish classical guitar music. They set about learning the classical guitar together through tutorial books, starting with Thorough Guitar Method by Herbert J. Ellis.[29]

1945 January
At some point in 1945, Henry brought home a 78rpm recording of the renowned classical guitarist, Andrés Segovia. Young Julian hears Segovia for the first time playing a Francisco Tárrega composition - the tremolo study "Recuerdos de la Alhambra".[30] Julian has recalled on several occasions that he had never heard anything so beautiful. He knew then that he wanted to play the classical guitar more than anything. ‘It was the sound that grabbed me, and I never looked back… from hearing that recording to the present day’[31]

Henry’s interest in the Spanish classical guitar and its associated classical music increases even further after reading Wilfred Appleby’s letter in the January issue of the Banjo, Mandolin, Guitar (BMG) magazine in reference to a “Spanish Guitar holiday” at a friend’s house.[32]

Julian's father, recognising his son’s talent, encourages a career in music but with an orchestral instrument. The guitar was not considered an orchestral instrument or even widely accepted as a solo classical instrument at this time. Henry believes that a more traditional classical instrument would offer more opportunities for employment. Julian continues to play the piano.[33]

1945 February
Henry and Julian read a small notice of interest to Spanish guitar players in the February edition of BMG magazine, a monthly periodical for banjoists, mandolinists and guitarists. An announcement that further information would follow in the March issue regarding the resumption of activities of the London Philharmonic Society for Guitarists (PSG). The PSG had temporarily become inactive during the war. The March issue confirms the resuming activities of the PSG and asks for all those who borrowed sheet music prior to the war to please return them to establish a proper inventory. Finally, the April issue announced that the first meeting would be on April 21.[34] Henry and Julian are very keen to meet other classical guitarists, as until now, they have had no opportunity to do so.[35]

1945 April 21
The London Philharmonic Society for Guitarists (PSG) resumes its meetings as the war ends and Julian and his father attend the first meeting at Mrs Kingsmill-Lunn’s flat on 38a Holland Park Avenue, in London’s Kensington district. Julian is greatly in awe of the member’s elegant attire and refined speech, but he is not impressed by their nervous playing. Several senior members play before Julian and their performance of very simple pieces did not go well. Some members only know small parts of the pieces they perform. Julian confidently accepts Johanna Vollers' (the PSG secretary's) invitation to play the first time he attends. Since the Breams did not bring their guitars, one of the members lends Julian a guitar so he can perform. Miss Vollers remembers: ‘He sat on the arm of a chair and played better than anybody in the Guitar Society. So very promising’. [36] Julian's first public performance on the classical guitar was very well received by the members, and his father is very proud of him. Julian played the "Study in B minor" by Fernando Sor completely. The president of the society, Dr Boris Perott, offers to start teaching him.[37] In late April, Henry begins taking Julian to two-hour lessons every Sunday at Dr Perott’s home with a total travelling time of around three hours.[38] Perott is Russian-born, a physician by profession, and has pursued a lifelong interest in the guitar and its music. Although he is not a player of any great distinction himself, he has worked hard to promote the instrument to a wider audience and has a number of students. He encourages Julian to adopt good practice habits, but his outdated technique of resting the little finger on the soundboard would soon be a cause for concern for Henry and his son. [39]

1945 May 26
The PSG holds its second meeting. No detailed information is available for this meeting. The PSG did not submit an announcement in the May BMG issue but the June issue announced that the PSG would be holding their "third" meeting on the 23rd of June.[40] In the July BMG issue, there was a small notice reporting on the May PSG meeting. Thirty members attended, but there was no mention of performers or performances.[41]
Webmaster’s note: PSG would not start publishing a bulletin until July 1945.

1945 June 23
Julian performs at the third PSG meeting in June. He plays "Salut d' Amour" by Elgar, arranged by Obregon, "Danse Nord" by Giuliani and "Andante" by Diabelli.[42] Henry volunteers to serve as the PSG's librarian.[43]
Webmaster’s note: 

1945 July
Julian's photograph is published for the first time in the pages of a magazine dedicated to fretted instruments - the B.M.G. (Banjo Mandolin Guitar) magazine. A short paragraph mentions his acclaimed technical achievements at the age of 11. It states that he also plays the plectrum and Hawaiian guitar.[44]
 
1945 July 16
Henry writes to the BBC requesting an audition for his son Julian but does not hear back from them until June 1946.[45]

1945 July 18 (21)
Julian and his father perform at the PSG meeting. They play a Scarlatti and Carulli duet.[46] Henry is officially appointed the librarian for the PSG, ensuring Julian has the greatest availability of tutorial texts and scores. [47]
Webmaster’s note: Miss Vollers reported in the PSG Bulletin No. 2 from September 1945 that the July meeting was on the 18th.[48] In the same bulletin Henry refers to the July meeting as being on the 21st.[49] The September 1945 BMG magazine published a letter submitted by the Vice President of “Les Amis de la Guitare”, Monsieur Boulanger from Paris who attended the July PSG meeting. He also reported that the meeting was held on the 21st of July.[50]

1945 Summer 1945
Julian wins the Junior Exhibition Award for playing the piano awarded by the London County Council. He is granted free tuition to study piano at London's Royal College of Music on Saturday mornings. He is 12 years old at the time of the exhibition.[51]
Webmaster’s note:
It has always been reported that Julian was 12 years old when he won the Junior Exhibition Award. The Monitor documentary stated that Julian was 11 at the time. Julian’s birthday and the date of the London County Council exhibition both took place in the summer of 1945. Unfortunately, the exact date of the Exhibition is not available.

1945 August 17
Henry writes to Wilfrid M. Appleby for the first time. As the PSG librarian, he submitted monthly reports to Appleby (the editor of the PSG Bulletin).[52]

1945 August 18
Julian performs at the August PSG meeting and plays a short solo piece by César Frank, a waltz by Carcassi and a study by Carulli. [53]

1945 September 15
Julian performs at the September PSG meeting and plays "Légende" by Shand, "Andantino" by Carcassi and "Prélude et Impromptu" again by Shand. His astonishing progress is noted by members. [54]

1945 September
Julian begins his four-hour-long Saturday sessions at the Royal College of Music. Tuition was awarded to him after winning the Junior Exhibition competition for playing the piano, held by the London County Council earlier this year.[55] After his Saturday classes at the RCM he would take the bus to his grandmother’s pub and play the piano on Saturday nights. He would often play for biscuits or tips and would sometimes earn anywhere from 12 to 60 British pennies.[56]

After two sessions at the Royal College of Music, the instructor, John Roberts, asked all the children to write on a piece of paper who their favourite composer was and what their favourite instrument is. Julian writes Fernando Sor and the guitar. The teacher asks Julian who is Fernando Sor and he is confused why Julian would pick the guitar. Julian informed him who Fernando Sor was and how many famous composers, such as Chopin, Beethoven and Berlioz, had declared high praises for the guitar in their time. Julian is asked to bring his guitar to the college on the following Saturday and show everybody in his music appreciation class why the guitar is indeed an instrument worthy of classical music. Julian did just that. He continued to perform informal recitals at the college on Saturdays.[57]

Wilfred Appleby makes his first suggestion that Henry should consider allowing Julian to perform at a "trial" recital. A controlled event that should end up as a positive experience for Julian.[58]

1945 October (early in the month)                                                                                                                              Henry takes Julian to meet Victor Olaf of Decca Records. Mr Olaf is greatly impressed by Julian's guitar playing and insists that he concentrate solely on classical music. Additionally, he states that while Julian is likely ready to record, it would probably be best to wait a year and allow his fingers to strengthen further.[59]

Terry Usher composes "Suite for the Spanish Guitar" upon Henry Bream's request. This suite would be the first piece written for Julian.[60]
Webmaster’s note: Julian had already well passed this level of composition and was already performing pieces significantly more difficult. It does not appear that he ever performed this suite in any of his early PSG performances as a youth.

1945 October 15
After Mr Appleby's insistence that Julian should play a controlled mock recital, Henry develops a programme for Julian's first "trial" recital at Cheltenham Public Library, Art Gallery and Museum. The recital iss to take place in January 1946. Due to Dr Perott's opposition and insistence that Julian was not ready, the plans for the recital are cancelled. At this time, Dr Perott promised that the PSG would arrange a recital for Julian next October (1946). This plan for a recital never materialized.[61]

1945 October 20
The PSG holds its October meeting. No detailed information is available for this meeting.[62]

1945 November 17
Julian performs at the November PSG meeting in their new venue, Alliance Hall, in London’s Westminster district. He plays “Rondoletto” by Darr, “Etude No. 7” by Carcassi and “Fragment” by Shand. Another notable performance was by the talented guitarist Jean Fuller. He has recently returned from his military service and performed Fortea’s “Estudia Poeticus” and a Bach prelude. Henry Bream also performs.[63] Dr Perott informs Julian and his father that Andrés Segovia will be playing his first post-war concert in England. He aims to arrange for Julian to meet and play for Segovia. The date is tentatively set for December 1, 1945. Due to a lack of funds to pay Segovia his fee of £75, the concert was cancelled.[64]

 
[1] Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 17

[2] Julian Bream, My Life in Music, DVD, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003), 1:15:54.

[3] Julian Bream, The Guitar, the Lute and I, Guitarra Magazine, September-October 1965, p.4 and reprinted in Sept-Oct 1982, p.10; Conversations with Janice George Allen.

[4] BBC TV, 1997, This is Your Life, 7:48.

[5] Julian Bream, The Guitar, the Lute and I, Guitarra Magazine,September-October 1965, p.4 and reprinted in Sept-Oct 1982, p.10; Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 17; Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003).

[6] Julian Bream, The Guitar, the Lute and I - Part 1, Guitarra Magazine, September-October 1965, p.4 and reprinted in Sept-Oct 1982, p.10;

[7] The Falcon, South West Whispers A Pint and a tune on the Spanish guitar, South Western Star, Friday April 8, 1949, p. 4.

[8] England & Wales, Civil Registration Birth Index, 1916-2007; Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 44, 123.

[9] RWCMD website. Details of Bream’s art collection; www.guitarist.com/julian-bream-art-collection/

[10] Stuart W. Button, Julian Bream: The Foundations of a Musical Career, Aldershot: Scolar Press, 1997, p. x.

[11] BBC – Monitor: Julian Bream, 19__, 39:26; Julian Bream, The Guitar, the Lute and I - Part 1, Guitarra Magazine, September-October 1965, p.4 and reprinted in Sept-Oct 1982, p.10; Kenneth Allsop: In Conversation with Julian Bream (BBC TV 1972), 01:16:27.Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 17. Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003); Julian Bream, Some Reflections on the Old Early Music Racket, Lute News - The Lute Society Magazine, April 2003, p. 10.

[12] Julian Bream, The Guitar, the Lute and I, Guitarra Magazine, September-October 1965, p.4 and reprinted in Sept-Oct 1982, p.10

[13] Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 17; Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003).

[14] www.julianbreamguitar.com - Conversations with Janice George Allen.

[15] BBC – Monitor: Julian Bream, 19__, 39:36; Kenneth Allsop: In Conversation with Julian Bream (BBC TV 1972), 01:16:27.

[16] Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 17

[17] Thea Abbott, Lute News N. 135, p. 20.

[18] BBC – Monitor: Julian Bream, 19__, 37:45.

[19] BBC – Monitor: Julian Bream, 19__, 37:45.

[20]Desert Island Discs hosted by Roy Plomley, 1961, BBC Home Service, 4:35; Julian Bream, The Guitar, the Lute and I - Part 1, Guitarra Magazine, September-October 1965, p.4 and reprinted in Sept-Oct 1982, p.10; Kenneth Allsop: In Conversation with Julian Bream (BBC TV 1972) 01:15:18; Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 17; Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003); Julian Bream, Some Reflections on the Old Early Music Racket, Lute News - The Lute Society Magazine, April 2003, p. 10.

[21] Julian Bream, The Guitar, the Lute and I - Part 1, Guitarra Magazine, September-October 1965, p.4 and reprinted in Sept-Oct 1982, p.10; Kenneth Allsop: In Conversation with Julian Bream (BBC TV 1972) 01:15:40; Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 17;  Julian Bream, My Life in Music, DVD directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003); Graham Wade, The Art of Julian Bream (Ashley Mark Publishing Co., 2008), p. 13.

[22] Julian Bream, My Life in Music, DVD directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003), 10:40.

[23] Desert Island Discs hosted by Roy Plomley, 1961, BBC Home Service, 4:35; Julian Bream, The Guitar, the Lute and I - Part 1, Guitarra Magazine, September-October 1965, p.4 and reprinted in Sept-Oct 1982, p.10; Kenneth Allsop: In Conversation with Julian Bream (BBC TV 1972) 01:16:11; Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 17; Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003); Graham Wade, The Art of Julian Bream (Ashley Mark Publishing Co., 2008), p. 13.

[24] Julian Bream, The Guitar, the Lute and I - Part 1, Guitarra Magazine, September-October 1965, p.4 and reprinted in Sept-Oct 1982, p.10; Kenneth Allsop: In Conversation with Julian Bream (BBC 1972) 01:18:39; Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003).

[25] Desert Island Discs hosted by Roy Plomley, 1961, BBC Home Service, 4:00; www.julianbreamguitar.com - Conversations with Janice George-Allen; Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003). Thea Abbott, Julian Bream - lutenist and guitarist, 15th July 1933 - 14th August 2020, Lute News 135, October 2020, p. 20.

[26] Conversations with Janice George Allen.

[27] Kenneth Allsop: In Conversation with Julian Bream (BBC 1972).  Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003). Thea Abbott, Julian Bream - lutenist and guitarist, 15th July 1933 - 14th August 2020, Lute News 135, October 2020, p. 20.

[28] Julian Bream, The Guitar, the Lute and I - Part 1, Guitarra Magazine, September-October 1965, p.4 and reprinted in Sept-Oct 1982, p.11;

[29] Julian Bream, The Guitar, the Lute and I - Part 1, Guitarra Magazine, September-October 1965, p.4 and reprinted in Sept-Oct 1982, p.11; Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 17; Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003).

[30] Desert Island Discs hosted by Roy Plomley, BBC Home Service, June 5, 1961, 5:28; Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003)

[31] Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003). Thea Abbott, Julian Bream - lutenist and guitarist, 15th July 1933 - 14th August 2020, Lute News 135, October 2020, p. 20.

[32] Wilfred Appleby, ‘Letters to the Editor’, BMG January 1945, p. 98; Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 17;

[33]Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 20;

[34] A.P. Sharpe “By the way” BMG February 1945, p. 117; A.P. Sharpe “P.S.G. Resumes Activity” BMG March 1945, p. 127; Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 17; Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003); Graham Wade, The Art of Julian Bream (Ashley Mark Publishing Co., 2008), p. 13; Jan de Kloe, Boris Perott, A Life with Guitar, (Chantarelle Velag, 2012), p.64.

[35]

[36] Classical Guitar, Interview with Johanna Vollers, July 1985, p. 45.

[37] Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 19; Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003); Graham Wade, The Art of Julian Bream (Ashley Mark Publishing Co., 2008), p. 13; Jan de Kloe, Boris Perott, A Life with Guitar, (Chantarelle Velag, 2012), p.67.

[38] Kenneth Allsop: In Conversation with Julian Bream (BBC 1972) 01:18:01;Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003); Graham Wade, The Art of Julian Bream (Ashley Mark Publishing Co., 2008), p. 14; Jan de Kloe, Boris Perott, A Life with Guitar, (Chantarelle Velag, 2012), p.6

[39] Graham Wade, The Art of Julian Bream, Ashley Mark Publishing Company, 2008, p. 14.

[40] A.P. Sharpe, Club Notes, BMG June 1945, p. 194.

[41] A.P. Sharpe, Club Notes, BMG July 1945, p. 217

[42] A.P. Sharpe, Club Notes, BMG June 1945, p. 194; Janus Vollers, “Secretary’s Report”, Bulletin of the Philharmonic Society of Guitarist, No. 2, September 1945, p. 1.

[43] Janus Vollers, “Secretary’s Report”, Bulletin of the Philharmonic Society of Guitarist, No. 2, September 1945, p. 1; Graham Wade, The Art of Julian Bream (Ashley Mark Publishing Co., 2008), p. 13-14.

[44] Byron Davies, “The Society’s News” BMG July 1945, p. 202; Graham Wade, The Art of Julian Bream (Ashley Mark Publishing Co., 2008), p. 14.

[45] Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 29

[46] Janus Vollers, “Secretary’s Report”, Bulletin of the Philharmonic Society of Guitarist, No. 2, September 1945, p. 1.

[47] Henry Bream, “Librarian’s Report”, Bulletin of the Philharmonic Society of Guitarist, No. 2, September 1945, p. 2; Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 18; Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003); Graham Wade, The Art of Julian Bream (Ashley Mark Publishing Co., 2008), p. 14; Jan de Kloe, Boris Perott, A Life with Guitar, (Chantarelle Velag, 2012), p.61, 65.

[48] Janus Vollers, “Secretary’s Report”, Bulletin of the Philharmonic Society of Guitarist, No. 2, September 1945, p. 1.

[49] Henry Bream, “Librarian’s Report”, Bulletin of the Philharmonic Society of Guitarist, No. 2, September 1945, p. 2

[50] A. Boulanger, Correspondance, BMG, September 1945, p. 257-258.

[51] BBC – Monitor: Julian Bream, 19__, 39:35; Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 20; Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth, 2003) 00:00; Graham Wade, The Art of Julian Bream (Ashley Mark Publishing Co., 2008), p. 13.

[52] Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 18; Jan de Kloe, Boris Perott, A Life with Guitar, (Chantarelle Velag, 2012), p.61, 65.

[53] J. Vollers, “Secretary’s Report”, Bulletin of the Philharmonic Society of Guitarist, No. 2, September 1945, p. 1.; Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 24

[54] Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 24

[55] Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 20-22; Graham Wade, The Art of Julian Bream (Ashley Mark Publishing Co., 2008), p. 13.

[56] BBC – Monitor: Julian Bream, 19__, 39:54;

[57] Julian Bream, My Life in Music, directed and presented by Paul Balmer, produced by Judy Caine (Music of Earth,

2003)

[58] Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 35-44.

[59] Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 21

[60] BMG, October 1945, p. ii and 14; Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 83

[61]  Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 35-44

[62] Bulletin of the Philharmonic Society of Guitarist, No. 3 (not currently available for review).

[63] Boris A. Perott, “The November Meeting”, Bulletin of the Philharmonic Society of Guitarist, No. 4, January, 1946, p.1; Jan de Kloe, Boris Perott, A Life with Guitar, (Chantarelle Velag, 2012), p.6__.
[64] Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 71