Julian Bream - Here begins his journey!

"Setting out on the voyage to Ithaca, you must pray that the way be long." C.P. Cavafy (1911) 

*The numbers throughout the different entries correspond with the appropriate citation on the Endnote Page for the Biography Timeline - Complete.

1933

Born July 15, 1933, at the Battersea Borough Maternity Home. [1]
Battersea is a large district of south London, England.
Son of Henry George Bream (a commercial artist and amateur musician) and Violet Jessie Wright. [2]
Henry (25 years old) and Violet (20 years old) had married a little over a year earlier on June 12, 1932 at St Mary Le Park, Battersea, Wandsworth, England. [3]

They occupied a small house in Battersea near Violet's mother's home. [4]
Henry G. Bream (b. June 19, 1906 - d. November 10, 1950). [5] His friends called him Harry.
Violet Jessie Wright (b. June 6, 1912 - d. February 10, 1972). [6]

Webmaster’s note: Julian Bream’s official birth certificate bears the address of 19 Bolingbroke Grove, Battersea, England. This was the address of the Battersea Borough Maternity Home that was within a short walking distance from the Bolingbroke Hospital, also on Bolingbroke Grove. The Bolingbroke Hospital did not have a maternity ward and only dealt with complicated deliveries that required surgery. The maternity ward buildings at 19 and 20 Bolingbroke were very old buildings and eventually stopped providing service by 1939. The buildings suffered further severe structural damage during WWII, therefore they were demolished in the early post-war period. Unlike most children in Britain at this time, Julian knew he was not born at home and knew he was born on 19 Bolingbroke Grove. By the time Julian would have any memory of the area he no longer lived in Battersea, the maternity ward no longer existed and the Bolingbroke Hospital did not bear a building number. There was no building at 19 Bolingbroke just the hospital nearby. Julian always assumed he was born at the hospital on Bolingbroke when he was in actuality born at the maternity ward down the street that did not appear to have been directly associated with the hospital. While Julian Bream does not mention the hospital or the address where he was born while he was being interviewed for the film Julian Bream: A Life in Music, a short film clip was shown of the front of the older section of the hospital leading all to assume that he was born at the Bolingbroke Hospital. In a discussion with Paul Balmer, the director of the Bream documentary, he stated that Julian just told him to take a short film clip of the hospital at Bolingbroke without giving him an actual address. It appears that about 21% of the children in Battersea were born at this maternity facility between the period of 1921 to 1939. This is a large percentage of birth when you consider that most children during this time in England were born at home. [7]

1935

Early in the year, 18 months after the birth of Julian, Henry, a successful commercial artist, resigned from Cinema Signs and opened his own studio on Fetter Lane in London. The Bream family moved to 25, Cleveland Avenue, Hampton, London, England. [8]

Young Julian's earliest musical memory: he remembers being fascinated by the sound of the grand piano his father had just bought for their new home. He would lay underneath it to feel the vibrations while his father played. [9]

1936

January 2

The birth of Julian's sister, Janice Bream. [10] (Janice Bream became an accomplished professional painter and is known professionally as Janice George-Allen).

1941
Julian and his sister Janice are evacuated to a farm out in the country on the west side of England (Shropshire) due to WWII. Julian first remembers the guitar when his father came to visit with a guitar and would accompany the farmer's wife while she played the organ and sang hymns. [11]

1942
Both Julian and his sister Janice arrived back home to Hampton from being evacuated for the first time due to WWII. [12]

1943

The birth of Julian's first brother, Anthony J. Bream. [13] (Anthony Bream became an accomplished professional painter and is known professionally as Antony Bream).

Julian started to have piano lessons with a local professor. Like most children, Julian liked playing but not practising. [14]

Julian and Janice were evacuated for the second time to a farm out in the countryside of England (Cornwall), again due to WWII. They return home in 1944. [15]

1944

Julian gave his first public performance playing the piano at his grandmother's beerhouse playing small parts of well-known classical pieces as well as contemporary composers such as George and Ira Gershwin [16]

Julian attended Rectory Secondary Modern School on his return from Cornwall. It is at school that he first displayed an interest in guitar music, particularly with the plectrum guitar. [17]

Julian's father had a dance band and seeing guitars in the home increased his interest in them. Henry would sometimes buy 2 to 3 guitars a week for 2 to 3 pounds from pawnshops, mainly on Charing Cross Road. There were always 16 to 17 instruments at any one time in the house and Henry would try to repair them in hopes of finding a good one. Shortly after this period, Julian would play around with the guitars while his father was not home. [18]

Julian's father eventually caught him playing one of his guitars. Instead of chastising him, he asked Julian if he wanted to learn how to play. So here started Julian's first guitar lesson. His father taught him the jazz guitar. [19]

After a few months of playing the guitar, Julian was already starting to "sit in" with his father's dance band. [20]

Julian's father starts a juvenile band so Julian could play with 4 to 5 other children. Both Henry Bream's dance band and Julian's juvenile band would entertain troops stationed at local army camps in the Hampton area. The senior band was called the Majormonics and the juvenile band was called the Minormonics. Julian's sister Janice would sometimes sing with the Minormonics. [21] Julian is still studying the piano during this time. [22]

Henry started to show an interest in the Spanish classical guitar and classical music. Julian's father’s interest in the classical guitar did not go unnoticed by his son and soon he too became interested in the music when Henry brought home a 78rpm recording of classical guitarist Andrés Segovia. Young Julian hears Segovia for the first time playing a Francisco Tárrega composition - the tremolo study "Recuerdos de la Alhambra". [23] 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. [24]

July 15

Julian's 11th birthday - his father buys him an old finger-style Spanish classical guitar made by Salvador Ibáñez. Julian's father's interest also starts shifting toward Spanish classical guitar music and he starts losing interest in his dance band. They both learned classical guitar through tutorial books. [25]

1945

January

Henry started to show a significant interest in the Spanish classical guitar and its associated classical music after having read Wilfred Appleby’s letter in the January issue of the BMG magazine about a “Spanish Guitar holiday” at a friend’s house. [26]

Julian's father 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. Julian continues to play the piano. [27]

February
Henry and Julian read a small notice of interest to Spanish guitar players in the February edition of BMG magazine, a periodical for banjoists, mandolinists and guitarists. An announcement that further information would follow in the March issue in reference to the resuming activities of the London Philharmonic Society for Guitarists (PSG).  PSG had temporarily become inactive during the war. The March issue announced that the first post-war meeting would be on April 21. [28]
 
April 21
The London Philharmonic Society for Guitarist (PSG) resumes its meeting after the war and Julian and his father attend the first meeting at Mrs. Kingsmill-Lunn’s flat. Julian is asked to play the first time he attends and his first public performance on the classical guitar was very well received among the members. Julian played the "Study in B minor" by Fernando Sor. The Breams had not taken their guitars so one of the members lent Julian a guitar so he could perform. The president of the society, Dr Boris Perott, offers to start teaching him. [26] In late April, Henry starts taking Julian to two-hour lessons every week at Dr. Perott’s home with a total travelling time of around 3 hours. [30]

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. [31] In the July BMG issue, there was a small notice reporting on the May PSG meeting. Thirty members attended but no mention of performers or performances. [32]
Webmaster’s note: PSG would not start publishing a bulletin until July.

June 23

Julian plays at the following PSG meeting. He performs "Salut d' Amour" by Elgar, arranged by Obregon, "Danse Nord" by Giuliani and "Andante" by Diabelli. [33] Henry volunteers to be the librarian for the PSG. [34]

July

Julian's picture is published for the first time within the pages of a magazine dedicated to fretted instruments - the B.M.G. (Banjo Mandolin Guitar) magazine. A small paragraph mentions his acclaimed technical accomplishments at the age of 11. It states that he also plays the plectrum and Hawaiian guitar. [35]
 

July 16

Henry writes to the BBC requesting an audition for his son Julian but does not hear back from them until June 1946. [36]

July 21

Julian and his father play at the July PSG meeting. They play a Scarlatti and Carulli duet. [37] Henry is officially appointed the librarian for the PSG. This ensures that Julian will have the greatest availability of tutorial texts and scores. [38]

Webmaster’s note: Miss Vollers reported in the PSG Bulletin No. 2 from September 1945 that the July meeting was on the 18th. [39] In the same bulletin, Henry refers to the July meeting as being on the 21st. [40] The September 1945 BMG magazine printed 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 the meeting to be on the 21st of July. [41]

Summer 1945
Julian wins the Junior Exhibition Award for playing the piano awarded by the London County Council. He is granted free tuition to learn piano at London's Royal College of Music on Saturday mornings. He was 12 years old. [42]

August 17

Henry writes Wilfrid M. Appleby for the first time. As the librarian for the PSG, he submitted monthly reports to Appleby (editor of the PSG's Bulletin). [43]

August 18

Julian plays at the August PSG meeting and performs a short solo piece by César Frank, a waltz by Carcassi and a study by Carulli. [44]

September 15

Julian plays at the PSG meeting and performs "Légende" by Shand, "Andantino" by Carcassi and "Prélude et Impromptu" again by Shand. [45]

September

Julian begins his four-hour-long Saturday sessions at the Royal College of Music. Tuition was granted to him for winning the competition for playing the piano earlier that year. [46]

After 2 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 is and what is their favourite instrument. Julian writes Fernando Sor and the guitar. The teacher asked Julian who is Fernando Sor and he was confused why Julian would pick the guitar. Julian informed him who Fernando Sor was and how numerous 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 continues to perform informal recitals at the college on Saturdays. [47]

Mr 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. [48]

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. [49]

Terry Usher composes "Suite for the Spanish Guitar" upon Henry Bream's request. This suite would be the first piece written for Julian. [50]

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 PSG performances as a youth).

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 was to take place in January 1946. Due to Dr Perott's opposition and insistence that Julian was not ready, the plans for the recital were cancelled. Dr Perott at this time promised that the PSG would arrange a recital for Julian next October (1946). This plan for a recital never materialized. [51]

October 20

The PSG holds its October meeting. No detailed information is available for this meeting. [52]

Ries de Hilster composes and dedicated "Prélude" to Julian Bream. Julian was supposed to have performed the piece on his first ‘trial” recital that was cancelled. [39]

Webmaster’s note:

In a letter from Henry Bream to Wilfred M. Appleby dated October 15, 1945 (as per Stuart Button’s 1997 book), this piece was included in a list of possible pieces to be performed at the “first attempt” of the “trial” recital for January 1946 that was eventually cancelled.[43] This information conflicts with Wilfred M. Appleby’s column “Impressions of a P.S.G. Meeting, March 15th” in the March-April, 1947 PSG Bulletin over a year later. Appleby writes that what inspired Mr de Hilster to compose a prelude for Julian was receiving a copy of the March 19, 1947 Gloucestershire Echo that Appleby had sent him. The newspaper article reported on Julian’s first official public recital at Cheltenham Art Gallery and his mastery of the classical guitar on 17th of February 1947.[44] A month later, the March 19, 1947 edition of the Gloucestershire Echo reported on the composition by Reis de Hilster dedicated to Julian Bream and how he performed the beautiful prelude at a PSG meeting for the members on March 15, 1947.[45] It is possible that the date of the letter was reported incorrectly in the Button book or that Henry wrote the wrong year when he composed the letter to Appleby. Least likely that de Hilster wrote two different preludes for Julian Bream. It is also possible that de Hilster planned to write a prelude for Julian in 1945 but did not get around to it until 1947 at Appleby’s insistence.


November

Julian performs at the November PSG meeting. 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 is recently back from his military service and performed Fortea’s “Estudia Poeticus” and a Bach prelude. Henry Bream also performs. [53] Dr Perott informs Julian and his father that Andrés Segovia will be playing his first post-war concert in England. He wants 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. [54]

1946

January

Wilfred M. Appleby began a monthly column in the January BMG magazine issue titled The Spanish Guitar. Appleby was a strict proponent of the Spanish classical guitar being the only true guitar and all other guitars were negatively classified as “variants”. He would use his monthly column to firmly express his views. [55]

January 5

PSG holds its annual general meeting between 6:00 p.m. and 10:30 p.m. at Alliance Hall in Westminster. Their first Annual New Year Party after resuming activity last April. Wilfrid M. Appleby, a writer for the BMG and editor for the PSG Bulletin, attends his first PSG meeting. Appleby had just started a regular column that month in the BMG magazine devoted to the Spanish Classical Guitar. Julian performed "Preludium" by Giuliani, "Rondoletto" by Darr and "Calme du Soir, Op. 58" by Shand. Appleby announces to the members that Julian is the "brightest hope for the classical guitar in England". Appleby privately admonished Henry for allowing Dr Perott to teach Julian his archaic pedagogical approach in addition to allowing him to suggest that Julian should consider playing a guitar with extra bass strings. [56]

Webmaster’s note: The PSG membership had grown considerably since last April and it was necessary to move the meetings that included performances to a larger venue. Prior to the Alliance Hall, the meeting had taken place at the home of PSG members.

February 16

Julian is invited by Turland Hill to play for the British Federation of Banjoists, Mandolinists and Guitarists at Alliance Hall. Julian performs "Study No. 5 in B minor" by Sor and "Légende, Op. 201" by Shand. Another extremely successful performance by Julian. [57]

The February PSG meeting. The "guest instrument" was the balalaika, played by Mr. Birse and Dr. Perott. Both were accompanied by Henry Bream. [58]
Webmaster’s note: The February PSG meeting was held on the same day as the British Federation of Banjoists, Mandolinists and Guitarists event, both at Alliance Hall. Julian not mentioned in the bulletin as a performer during the meeting despite both events were taking place at Alliance Hall.

March 30

Julian performs the "Grand Solo for Guitar" by Sor at the PSG meeting. His performance of the difficult piece was so mature that his father realizes for the first time that his son truly possesses a gift for the guitar. [59]

April 20

The PSG holds its October meeting. No detailed information is available for this meeting. [60]

May

Henry inquires at the Royal College of Music for the possibility of Julian learning a second official instrument and suggested the cello. Academically, the classical guitar was something Julian was practising for pleasure and was not an official study. At this time, the piano was Julian's official instrument and the guitar was unofficial. [61]

May 8

Julian requested to have a recital at Cheltenham after it was obvious that Dr Perott was not going to fulfil his promise and arrange a recital for October (1946). [62]

May 25

Julian plays at the May PSG meeting. He plays “Legende” by H. Albert and “Valse favori”  by N. Coste. [63]

June

Henry and Julian decide that Julian’s guitar lessons with Dr Perott need to be terminated. Henry and Mr Appleby felt that while efforts in teaching Julian discipline towards his instrument was appreciated, he was teaching an outdated method compared to the teachings of the Spanish classical guitarists such as Tárrega, Llobet and Segovia. [64]

Julian receives an official invitation from the BBC to audition on July 4, 1946. This invitation came just after Julian had discontinued studying with Dr Perott and had started working on a new technique. [65]

June 15

Julian plays at the June PSG meeting and performs “Salut d’Amour” by Elgar and “Song of India” by Rimsky Korsakov. He also plays a duet with his father Henry, “Duet No. 1” by Carulli. Desmond Dupre performs as well. [66]

June-July

Julian starts learning from the study material sent by Wilfred Appleby - a Tárrega based method. [67]

July 4

Julian auditioned for BBC but later received a letter stating that despite his likelihood of becoming a promising musician in the future, they did not feel he was ready at this time. Julian had only enough time to prepare 4 pieces with his new technique. The four pieces were "Étude" by Napoléon Coste, "Chanson" by Shand, "Danza Española No. 5" by Granados and "Légende" by Heinrich Albert. [68]  Julian stated much later in an interview with Sean Rafferty that they did not hire him because he said "sorry" in the middle of playing when he made a mistake. [69]

July 20
Julian performs for the PSG with his new technique. Everybody, including Dr Perott, congratulates him on his advanced playing. [70]
Webmaster’s note: The date is incorrectly reported in Stuart W. Button’s Julian Bream: The Foundations of a Musical Career, 1997. [71]

July

Terry Usher composes "Sonata in A" upon Henry Bream's request. The sonata was written and dedicated to Julian Bream. By May, Usher had already composed the first movement and performed it at the May meeting for the Manchester Guitar Circle. By July Usher had performed the "Sonata in A" at a couple of small recitals for guitar clubs in England. [72]

Julian would keep the Usher sonata in his repertoire for almost 20 years.

August

Julian starts his guitar lessons with Desmond Dupré. His studies are based on Pascual Roch's tutor material, A Modern Method for the Guitar (Roch was a student of Tárrega). [73]

August 17

Julian performs for the PSG. "No. 5 Waltz" by Diaz and "Minuet" by N. Coste.  When all the members had performed, a request was made for Julian to perform again. He then performs "Study No. 23" by Sor and "Grand Vals" by Tárrega. Finally, he performs a duet with his father "Duet No. 2" by Darr and “Serenade” by Drigo. Desmond Dupre performs two pieces as well and he also receives a request to perform an additional piece. [74]

August 23

Paul Henry Bream is born. Julian's 3rd sibling. 

Webmaster's note: The date stated in S.W. Button's book of August 26 is incorrect. [75]

Henry buys Julian a René Lacôte 1824 guitar and a Maccaferri guitar (a guitar with additional bass strings). [76]

September

Henry has finally received a response from the Royal College of Music (5 months later) and the have agreed to allow Julian to study the cello with Hillary Robinson as a second instrument. [77]

September 21

Julian plays at the September PSG meeting and performs “Prelude No. 3” by Carcassi and “Nocturne” by Ferranti. [78]

October

Dr Perott had promised last October to set up a recital for Julian this October but the event was never arranged. [79]

October 19

Julian plays at the October PSG meeting and performs with the Maccaferri guitar in public for the first time. He plays “Prelude” by Carcassi, “Montechi Ed. I Capuletti” by Bellini, “Fandanguillo” by Turina and “Barcarolle” by Schubert-Lebedeff. He also played two duets with Desmond Dupré. “Andante Cantabile” for two guitars by Sor and “Gavotte” by Hebbel with Julian on guitar and Dupré on cello. [80] Miss Vollers reports although she thinks the Macaferri guitar sounds well with the cello, she prefers a standard classical for solo pieces. [81] The use of a guitar with added bass strings was upsetting to Appleby who supported only the traditional six-stringed classical instruments. [82]

October 26

The British Federation of BMG Junior Trophy - Southern Rally is held at Central Hall in Westminster. Julian does not compete due to his young age but performs as a "special" item at the end. He performs "Rondoletto" by Darr. The audience was so taken by the performance they applauded for numerous encores.  Julian played a study and prelude by Carcassi. While the audience applauded for more, Julian bowed and left the stage after the second encore. Julian signs autographs for the first time. There may not have been a "trophy" involved for Julian but the event represented a high honour for the performer.[83]

Webmaster's note: The date stated in S.W. Button's book of October 20th is incorrect.[84]


Henry had come to the conclusion a year ago that there would come a time when Julian should only perform if there is financial compensation. It is at this time that Henry realizes that Julian needs to start getting paid for his performances unless it is for an award or a school grade.[85]

Webmaster's note: The PSG would remain the exception to this rule. Julian showed complete gratitude towards the members of the PSG and continued to perform at the meetings frequently until the Society dissolved.[86]

November

The November-December PSG bulletin has an article a few paragraphs long on Julian Bream written by Dr Boris Perott. Dr Perott praises Julian for all his hard work and compliments his performance at the meeting with Desmond Dupré.[87]
Webmaster’s note: Julian’s lessons with Dr Perott had been terminated recently due to his antiquated guitar teachings. Julian was currently taking lessons from Desmond Dupré and had advanced significantly in a very short period. Perott does not mention in his article that Dupre is currently helping Julian with his guitar technique or that his instructions are likely the cause of Julian’s significant improvement. This is the last PSG Bulletin that refers to Julian as Alex Julian.

November 16
Julian plays at the November PSG meeting. Initially, he performs “El Testament D’Amelia” and “Estilo Popular” by Llobet and a study and “Andantino” by Sor. After a few other members performed, he then performs "Rondoletto" by Dar and “Fandanguillo” by Turina. Henry Bream performs "Legende" by Shand and his own composition, "Lullaby". Julian and Henry also play a duet.[88]

November 22

Julian plays at a very select after-dinner party on St. Cecilia's Day, along with other entertainment, for the guest of Prince and Princess Galitzine. They are related to Queen Mary and the concert is at their mansion in Wilton Crest, in Knightsbridge. He played mainly Russian and Spanish compositions.[89] This was the first live performance in which Julian received a check as payment for his performance; therefore, he considers this his first professional engagement. He got paid 2 guineas for playing 4 or 5 pieces and he was allowed to eat with the guests. Due to wartime rations, Julian had never seen so much food. Meat, especially, was difficult to come by during wartime rationing. He ate so much food that he became ill.[90]  Julian also remembers hearing about Manuel de Falla's death on that day.[91]

Webmaster's note: Bream remembers that night as the actual day of passing for Manuel de Falla because that is the day he heard about it but the famous Spanish composer actually died on the 14th of November.

November

Henry developed a programme for Julian to perform on the 30th of November.  This is the second attempt to have his first "trial" recital at Cheltenham Public Library, Art Gallery and Museum. The initial attempt for the "trial" recital having been last January but it was cancelled due to Dr. Perott's objection. The November recital was delayed yet another week till the 7th of December so the recital could be held in the Chinese Porcelain Room at the Cheltenham Art Gallery.[92]

December

The December issue of BMG is published with a summary and stunning review by Wilfred Appleby. The article focuses on Julian’s performance at the British Federation of BMG Junior Trophy Rally on the 26th of October. Towards the end of the article, a plea is made to the readership to help in the quest to provide the young performer with a first-rate modern concert guitar. Turland Hill also wrote a very complimentary review of Julian’s performance.[93]

December 5

Julian plays a short recital for the Annual Social of the Brompton Ward Conservative Association in Kensington.[94]

December 7

Julian finally plays his "trial" recital at Cheltenham Public Library, Art Gallery and Museum in the Chinese Porcelain Room to nearly 80 people. He plays with an adult-sized Salvador Ibáñez classical guitar loaned to him by W. Appleby about 2 hours prior to the recital. The event is essentially a private concert held by Cheltenham Guitar Circle.[95]  A few months later in 1947, this trial concert is reviewed by the prestigious New York magazine, Guitar Review. This is the first time that Julian Bream is mentioned in an American publication.[96]

December 12
Julian performs at the PSG meeting. He performs "Prelude" by Carcassi, "Waltz" by Lebedeff and "Serenade" by F. Abt/arranged by Dr Perott. After a few other members played, Julian played a second time, "Tonadilla" by Granados and "Sonata" by Scarlatti. He then played a third time later on in the meeting, "Rondoletto" by Dar. Additionally, Henry and Julian play duets including an arrangement for two guitars from "Alice where art thou". Finally, after a few more members play, Julian closes the meeting with "Cádiz" by Albéniz.[97] Julian and Henry meet Reginald Smith Brindle at the December PSG meeting. He agrees to compose something for Julian to play.[98]

December 17

Julian plays the cello for the London County Council Junior Exhibitioners (public concert).[99]

After 4 to 5 lessons, Desmond Dupré tells Julian that he can no longer continue to help him with his guitar education due to new musical opportunities that are being presented to him by Alfred Deller. Going forward, Julian decides to develop his guitar technique on his own, through trial and error.[100]

December 14

A letter is sent addressed to Julian from May Jenkins at the BBC. She offers Julian the opportunity to perform on the radio show Children’s Hour for Young Artists in January 1947. Julian was recommended by Gwenn Knight, a guitarist and member of PSG that had also appeared on the show.[101]

John Duarte composed and dedicated “Meditation on a Ground Bass, Op. 5” for Julian Bream.[102]

 Reginald Smith Brindle composes and dedicated “Nocturne” for Julian Bream.[103]

Around this time Henry starts deciding what would be the most appropriate name for Julian as a professional musician. Until now he had often been referred to as "Alex Julian" although his birth name was actually Julian Alexander. Mr Appleby agreed with Henry that a simple "Julian Bream" would be best, despite Dr Perott's insistence that they make up an exotic foreign name for the young musician.[104]

1947

January

The January PSG Bulletin reviews both the November and December programmes at the PSG meetings. The Bulletin also has a summary and very favourable review of Julian’s “trail” Cheltenham recital on the 7th of December. The bulletin is no longer referring to Julian as Alex Julian.[105]

January 7

Julian plays his first radio show for the BBC called the Children's Hour for Young Artists. He played Turina's "Fandanguillo", Carcassi prelude and Schumann's "Romanza". He was paid one guinea and was sent a congratulatory mail-bag which confirmed the popularity of his appearance on the show.[106]  He played the Maccaferri guitar (additional unfretted string guitar) which gave Appleby displeasure when he tuned in to hear the broadcast.[107]

January 18

Julian plays at the February PSG meeting and initially performs a study by Coste and a Sarabande from a Weiss Suite. Then after a few other members have performed, Julian comes back to play Granados' "Tondilla" and Bellini's "I Montechi ed Capuletti". A Spaniard and his Russian wife attending the meeting stated that while Segovia's technique was superb, Julian plays from the heart.[108]

Henry graciously declines Turland Hill's offer for Julian to play for free at the British Federation Rally for Banjoists, Mandolinists and Guitarists.[109]

February 15

Julian plays for the February PSG meeting and performs “Prelude and Minuet” by Bach and “Granada” by Albéniz. For the first half of the meeting, the members play in the darkness due to the National Electricity Crisis. Julian later plays “Chanson” by Shand and “Sonata in A” by Usher. This is the first time he plays the new Usher piece, giving it a trial run among friends at the meeting before officially premiering it in two days at his public recital in Cheltenham.[110]

Webmaster’s note: Terry Usher was actually the first to perform his “Sonata in A” (only the first movement) in public in the May 1946 meeting for the Manchester Circle with 9 members in attendance. He played the entire sonata at a small recital for the Hans Renold Musical Society soon afterwards.[111]

February 17

Julian's first formal public recital held at the Cheltenham Art Gallery was a success. He was 13 years old. Julian plays his smaller sized Salvador Ibáñez classical guitar given to him when he was 11 years old. This recital is considered his official debut and the beginning of his professional career. He premiered the "Sonata in A" by Terry Usher to a large audience and it was well received.[112]

Webmaster’s note: Bream would keep the Usher sonata in his repertoire for almost 20 years.[113]

Julian plays the cello for the London County Council Junior Exhibitioners (his second public concert as a cellist).[114]

March 15
Julian plays at the March PSG meeting. Julian performed three pieces the first being “Prelude” written for and dedicated to him by Reis de Hilster.[115] Julian plays a newly acquired used Martin guitar.[16]
Webmaster’s note: In a letter from Henry Bream to Wilfred M. Appleby dated October 15, 1945 (as per Stuart Button’s 1997 book), this piece was included in a list of possible pieces to be performed at the “first attempt” of the “trial” recital scheduled for January 1946 that was eventually cancelled.[117] This information conflicts with Wilfred M. Appleby’s column “Impressions of a P.S.G. Meeting, March 15th” in the March-April, 1947 PSG Bulletin over a year later. Appleby writes that what inspired Mr de Hilster to compose a prelude for Julian was receiving a copy of the March 19, 1947 Gloucestershire Echo that Appleby had sent him. The newspaper article reported on Julian’s first official public recital at Cheltenham Art Gallery on February 17, 1947 and his mastery of the classical guitar during the entire performance.[118] A month later, the March 19, 1947 edition of the Gloucestershire Echo reported on the composition by Reis de Hilster dedicated to Julian Bream and how he performed the beautiful prelude at a PSG meeting for the members on March 15, 1947.[119] It is possible that the date of the letter was reported incorrectly in the Button book as October 1945 or that Henry wrote the wrong date when he composed the letter to Appleby. Least likely is that de Hilster wrote two different preludes for Julian Bream. It is also possible that de Hilster planned to write a prelude for Julian in 1945 but did not get around to it until 1947 at Appleby’s insistence.


The March-April PSG Bulletin has an article a few paragraphs long on Julian Bream written by Wilfred M. Appleby in reference to his first public recital at the Cheltenham Art Gallery on the 17th of February. The article is a glowing review of Julian's performance. He also mentions the March PSG meeting and Julian’s performance of Reis de Hilster’s new composition titled “Prelude” and dedicated to Julian. Appleby also mentions Julian’s newly acquired Martin guitar. Another article in the same bulletin discussed the impressive review from the Gloucestershire Echo in reference to Julian’s February 17th public recital at the Cheltenham Art Gallery.[120]

April 19

Julian plays at the April PSG meeting and performs “Prelude” by Tárrega, “Minuet” by Sor and “Valse Favourite” by Coste.[121]

May 4

Julian plays a recital at the Colonial Hostel, Earl's Court, London. Seventy people attend and Julian plays a very small, used Panormo guitar. He plays for 2 hours to an audience from many different parts of the world. He finishes with “Chanson Hindu” and Usher’s “Sonata in A”. The audience is thrilled and requests that he repeat “Chanson Hindu”. The organizer of the recital declares "in Julian, we have a Liszt of the guitar." Julian is presented with a suitably inscribed book on music.[122]
Webmaster’s note: While some sources state that this event took place on the 5th of May, the PSG bulletin and BMG both report that it was on the 4th.

May 17

Julian plays at the May PSG meeting and performs “Prelude” by Bach/transcribed by Segovia and “Chanson Hindou” by Rimsky-Korsakov/arranged by V.O. Bickford. After a few more members play, Julian plays the final piece “L’armonia” by Giuliani. A contest was held at the meeting to see who has the best guitar. Julian is selected to play all the guitars at the back of the hall while everybody in the audience continued to face forward.  Eleven guitars were played and it was nearly a tie between a modern Spanish-built guitar and a modern English-built guitar. Julian was asked to opine on which of the two he thought was the better instrument and he selected the Spanish-built instrument.[123]

May 31

Julian Bream played his Spanish guitar before an audience of over a thousand on May 31 at the Twickenham Technical College Musical Festival.[124]
 
June

Julian is the cover feature in the June issue of the BMG magazine. The issue includes a summary of Julian's accomplishments along with a photo on the cover. It also includes another article on Julian, “Broadening Influence” which states that Carcassi has had a broadening influence on Julian’s “comprehension of the guitar’s beauty and capabilities”. The article also discusses Julian’s gifts and his recent successful exposure.[125]

June 25

Henry writes Appleby and informs him that he recently exchanged the Maccaferri guitar for a Spanish-style classical guitar made by the Italian Giuseppe Calace of Naples.[126]

June 28
Julian performs at the PSG meeting and plays “Study No. 4” by Coste and “Fandanguillo” by Turina. He then plays “Andante from Sonata Romantica” by Ponce. Finally, after more members play, he closes the meeting with “Tonadilla” by Granados and “Chanson Hindu” by Korsakov.[127]

July

The Guitar Review, the prestigious New York magazine, publishes a review of Julian’s "trial" recital at Cheltenham Public Library, Art Gallery and Museum in the Chinese Porcelain Room. This is the first time that Julian Bream is mentioned in an American publication.[128]

July 12
Julian performs at the PSG meeting. Due to the limited number of playing members, the meeting nearly turns into a Julian Bream recital. Julian plays “Waltz” by Chopin/arr. Tárrega, “Mandolino” by Thomé/arr. Fortea,  a study by Sor, “Malaguena” by M. Sarablo Clavero, a flamenco piece, “I Montechi ed I Capuletti” by Bellini/arr. Mertz, “Granada” by Albéniz , “Fandanguillo” by Turina and “Cádiz” by Albéniz. Henry played “Study No. 3” by Carcassi and “Legende” by Shand. Finally, a duet with Henry and Julian, “Sonata” by Scarlatti/arr. Pujol.[129]

Late July

The Breams travel to Manchester in search of a guitar and finally meet Terry Usher. Julian played for the Manchester Guitar Circle members. Usher lends Julian his new Clifford Essex Hauser guitar.[130]

Julian decides to stop biting his fingernails around his 14th birthday. Until now he had played with the flesh of his fingertips. He had been jealous of the tone his father obtained when playing the guitar by having fingernails. His father was constantly after him to stop biting his nails so he could improve his sound.[131]

August

Henry Bream finds a José Ramírez guitar in very poor condition at Barnes and Mullins in London. He decides to buy it and restore it. It ends up sounding very good once repaired.[132] This became the first guitar that Julian strung up with Augustine nylon strings; strings that Henry had bought from Perott back in May and were very difficult to acquire and expensive to buy. Julian would only use these strings for performance, washing them and hanging them up to dry until his next concert.[133]

August 30

Julian performs a live broadcast for the Spanish section of the BBC Overseas Service (European Service). This is notable because it is the first time a British artist performs Spanish compositions to the Spanish nation on the radio! Julian plays "Study in D minor" by Sor, "El Testament d' Amelia" by Llobet, "Study in A" by Tárrega and "Cádiz" by Albéniz. Julian performs with the refurbished Ramírez guitar and gets paid an increased fee of three guineas for the performance. Julian had auditioned for this broadcast a few days prior and he felt that the sound of his Ramirez guitar helped him get chosen.[134] Henry is very impressed with Julian’s playing and finds himself comparing Julian to Segovia.[135]

Julian performs at the PSG meeting on the same day as the broadcast above. As not all present could get the short wave band of the overseas service, Julian played the 4 pieces played earlier on the radio show. Julian’s father notified the PSG committee that he will no longer have time to organize the programmes at the meetings since he is too occupied with organizing Julian’s career. [136]

Earlier in the year, Julian's father, Henry, bought a copy of Thomas Morley's First Book of Ayres by Stainer & Bell and edited by Dr Fellowes in the 1920s.[137]

In the summer of 1947, Henry buys a German "lute-guitar" from a sailor on Charing Cross Road for 2 pounds. A six-stringed instrument with a bowl-backed, lute-shaped body. Julian did not initially take to the odd-shaped guitar-like instrument.[138]
Webmaster's note: Some references state that the year might have been 1948. [120] In a lecture Bream gave in 2002 to the Lute Society members, he stated that he was likely around 13 years old when the lute-guitar was bought so that would have made it 1946-47.[139]

September
Wilfred Appleby, Terry Usher, A. P. Sharpe and Henry Bream meet to discuss the formation of a trust for Julian to advance his musical career with the classical guitar. They also consider having Julian taught by the celebrated Austrian guitarist, Luise Walker. This meeting was in response to the lack of commitment from Dr Perott and the rest of the PSG members to aid Julian financially. [140]

Terry Usher composes two new pieces at Henry’s request, “Impromptu, Op.2, No.1” and “Minuet, Op.2, No.2”. Both are dedicated to Julian and the “Impromptu” is included in the recital scheduled for the 5th of January at Cheltenham. Both pieces were published by Scott Music in April 1948. Likely due to his interest in jazz, Henry wanted more modern avant-garde compositions than Usher was composing. He felt Usher was too focused on the “nineteenth-century guitarist-composer” style reminiscent of Shand and Sor.[141]

October

The tentative date for a debut recital at the Wigmore Hall in October. The event was supposed to be arranged by Dr Perott and the PSG committee but once again they fail to come through with the recital arrangements. [142]

October 14

Julian plays his second broadcast for Spanish Section on the BBC Overseas Service (European Service). He performs in an ensemble of 4 guitars, 2 flutes, and 2 violas. The ensemble pieces are from Eduardo Martínez Torner's La Cueva de Salamanca and La Cárcel de Sevilla. Afterwards, he performs two solos, "Chaconne" by Bach and "Marizapalos". [143] Henry writes a note on the BBC booking form asserting that while Julian is not technically a professional, he is a good guitarist and he is disappointed with the fee he received on August 30. The fees remained the same - 3 guineas. [144]

October 27

Julian plays for the British Federation of Banjoists, Mandolinists and Guitarists at Kensington Town Hall. Julian performs a Bach "Prelude", "Serenata Española" by Malats, and Bellini/ arr. Mertz: "I Capuletti ed I Montecchi". [126]

December 7

Andrés Segovia travels to London for a broadcast on the 25th of November. On the 7th of December, he performs Castelnuovo-Tedesco's “Concerto in D. Op. 99 for guitar and orchestra” with the New London Orchestra and Alec Sherman conducting. The concert takes place at the Cambridge Theatre in London and Julian and his father are in attendance.[146] Julian's father was able to get two tickets near the front of the balcony. Julian brings his binoculars so he can concentrate on Segovia's technique, primarily his right hand. Julian recalls being so young and struggling to keep the heavy binoculars fixated on Segovia's hands.[147]

December 8

Segovia attends a PSG reception at Alliance Hall with classical guitarist and singer Olga Coelho. Segovia invites Julian to play. After Julian's unscheduled performance is finished, Segovia acknowledges that the young guitarist has great promise.[148]

December 18

Segovia invites Julian to his hotel and he is accompanied by his father and a PSG representative. Julian played for the maestro for over 2 hours.[149] Julian recalls playing horribly, especially since he was not accustomed to playing with nails and he had just let them grow out. Segovia didn’t say much about Julian’s technique but he did make comments about his interpretation.[150] Segovia then states that Julian not only has a great love for the guitar but a great ability to play it. He extends to Julian, with his father's consent, the possibility of teaching him full-time if the funds could be raised to cover the cost of teaching and travel.[151] Julian seems to remember a second lesson soon after the first and then a third a year later.[152]

December
Henry formulated a programme for Julian to play at his second recital in Cheltenham on the 5th of January. The programme highlights 3 British composers as the centrepiece of the recital.[153]

December 20

Cheltenham Art Gallery displays an exhibition of photographs of guitarist and composers interested in the guitar. The exhibit runs from December 20th, 1947 to January 6th, 1948. Despite Julian having had his first professional recital within the year, a photograph of the young performer was included among the likes of Segovia, Gomez and Ponce.[154]

1948

January 4
Julian is a guest artist with Arthur Cole’s Cheltenham Spa Palm Court Orchestra at the Town Hall. He was billed as the ‘Famous Boy Guitarist’. He played the “Serenata Española” by Malats, “Fandanguillo” by Turina and the “Fantasia” from Bellini’s opera I Capuletti ed I Montecchi transcribed by Mertz. Cole publicly praised Julian on his 'vivacious imagination', 'sense of phrasing' and 'perspicuity'. It ensured that the recital the next day would be well attended. Julian played with the Panormo guitar he had bought last month. [136]

Webmaster’s Note: Wilfrid Appleby’s article in the February 1948 BMG magazine incorrectly states the day as the 3rd of January. [137]

January 5
The second formal public recital at Cheltenham Art Gallery was a success. Julian plays a George Panormo guitar from 1856. The Ramírez guitar Julian had been using had a full, robust sound but it was not playing dependably beyond the 12th fret making Julian apprehensive to play the higher notes. The Panormo was also a smaller scale length so easier for a 14 year-old boy to play. This is the first guitar known to be bought by Julian, not his father Henry. He made the decision to buy it and paid for it himself. [138]

Mrs J. Saunders-Davies introduced Julian at the recital and then afterwards had an informal gathering at her home. Julian played for an additional 2 hours at this gathering. [139]

January 12
Julian played on a television programme called Teen-Age with conductor Eric Robinson. He played the “Minuet” by Sor and “Serenata Española” by Malats. He was introduced to the programme with an endorsement by Andrés Segovia. They stated that when Segovia recently heard Julian play, he had commented that Julian would one day be a famous guitarist. [140]

Webmaster’s note: it appears that this was later aired on the programme Music for You. [141]

February
Segovia sends a letter to Dr Perott requesting that the PSG should financially support Julian's classical guitar education. [142]

February 28

PSG meeting, Julian and Henry perform but no significant details are provided in the Bulletin. [143]

March 13
PSG Annual General Meeting. Julian performs “Minuet’ by Sor and “Sonata Clasica” by Ponce. Dr Perott has decided that it is time to discuss Julian’s future and establish financial support in the form of a trust. Also, Julian’s London debut was discussed. Perott had shown reluctance to have the PSG show definitive support for Julian until now. Not only did he not address the possibility of raising money to aid in Julian’s musical education with the guitar but he had also failed to schedule Julian’s London debut recital in the past, despite promising to do so twice before. [144]

March 31
Julian plays at the Social and Athletic Club of Gays (Hampton) Ltd. It was a benefit concert with soprano Eve Webb, bassist Alfred Terrell and pianist Reginald Evans. The post war premier of Concerto pour Guitare et Quatuor, Op. 48. by Ernest Shand. Julian was accompanied by Reginald Evans on the piano. Julian used a prototype guitar constructed by the Abbott-Victor Music company. Initially, after construction, the guitar sounded better than any other guitar Julian had owned to that point. For Julian’s solo portion and the concerto accompanied by the piano, Julian’s guitar was fixed with an amplifying apparatus due to the poor acoustics of the venue.[145]

April
Julian played as a ghost guitarist in the movie Saraband for Dead Lovers. Julian played behind the scenes while an actor in the movie was strumming the guitar. Julian played a saraband based on "Les Folies d’Espagne", Op. 15 by Sor. He also played an obbligato part with the London Philharmonic Orchestra, a score by Alan Rawsthorne. Although very brief, this is the first time Julian played with an orchestra. Again, he played with the Abbott-Victor guitar. [146]

After the rehearsal, Julian attended a party at Sir Michael Balcon’s house. Here he meets Barnett Freedman, a notable painter and lithographer. [147] Later on in the year, Freedman will speak to Sir George Dyson at the Royal College of Music on Julian’s behalf in reference to admission into the college. [148]

May-June
The Julian Bream Fund was announced in the bulletin for PSG and the BMG magazine. [149]

June 10
Julian plays a radio broadcast concert at Hanworth Town Hall. He played Shand’s concerto. For this broadcast, Julian had to revert back to the Panormo guitar because the new Abbott-Victor guitar started losing its vibrancy and the wood started warping. [150]

Julian performed on the BBC Light Programme radio show called Nocturne which aired on Thursday evening. The show featured many different fretted instruments and was broadcast over different countries. This radio show helped establish Julian outside of England. [151] A few months later, a poll was held of the best musicians that appeared on the Nocturne programme. Julian Bream came in third. [152]

July 12

Julian performs at the July PSG meeting. He played compositions by Tárrega, Fortea, Sor, Clavero, Mertz, Albéniz and Turina. Julian’s father Henry also performs. Julian’s performance is again noted on the pages of the prestigious New York magazine, Guitar Review. [153]

July 17
PSG arranged Julian’s first London debut at Alliance Hall but Henry would have preferred the prestigious Wigmore Hall instead. The stage at the Alliance Hall was very low and Julian had to sit and play on top of a table that was just wide enough for his chair and footstool. Julian was accompanied once again by Reginald Evans on the piano for the Shand concerto. For the concerto, Julian’s guitar was once again fixed with an amplifying apparatus. Due to non-profit status, they were not permitted to sell tickets. A silver collection organized by Dr Perott only raised a small amount of money. [154] Once again, the reviews of the concert were excellent despite the fact that Julian had a bruised thumb. A couple of days prior, Julian had bruised his thumb playing cricket but insisted that the concert did not have to be cancelled. [155] Mrs Louie Nellie Shand, the widow of Ernest Shand, took a keen interest in Julian Bream's recital of her husband's concerto despite being ill and passing away a few days prior to the concert. [156]

July 19
The Times and the Daily Mail wrote a very favourable review of the Alliance Hall recital but criticized the small hall selected and the poor advertising. [157]

Performed at a reception in honour of the Swedish Olympic Team at Hampton Court Casino. The reception held by the Anglo-Swedish Society. [158]

August 9
Julian played on a television programme for a second time. This programme was called Teen-Age. Julian played "Danza No. 5” by Granados. [159]

August 24 and 28
Radio broadcast where Julian played “Los Mayos” from Pièces Caractéristiques by Moreno Tórroba and “Minuet” by Sor. [160]

Webmaster’s note: This broadcast was likely for the Music at Teatime for the BBC Light Programme.

August
This is the month that Segovia was scheduled to be back in the UK and consider taking Julian on as a full-time student. Segovia does not make any contact with the Breams despite Henry writing him multiple letters that went unanswered. [161]

September 11?

A brief mention of Julian Bream with a portrait being published alongside that of Segovia and Schubert in an article on Segovia in a magazine called Everybody's. [162]

September 18

Julian performs at the PSG meeting. Many members play at this meeting so Julian just plays two pieces at the end, “Tango” by Albéniz and “Prelude” by Tárrega. [163]

September 26
Julian plays a recital at Witney Social Centre, Oxfordshire. This is the first time that Julian performs a recital that is mainly attended by non-guitarists. His prior recital had been attended mainly by people that were aficionados of the guitar. Witney would emerge as Julian's most successful performance of 1948. A Witney Gazette reporter interviewed Julian. The interviewer and his wife believed that they were in the presence of a [musical] genius. The article was titled "The Boy Guitarist is a Wonder". [164]

October 7
Julian plays a radio broadcast for the BBC Light Programme on a show called Music in Your Home. [165]

October
Barnett Freedman, who had met Julian earlier in the year, decides to contact his acquaintance, Sir George Dyson at the Royal College of Music on Julian’s behalf. Barnett informs Dyson that Julian is a young musical genius despite lacking significant musical education. [166]

November

Segovia asks to meet with Henry, Julian and Miss Vollers for an interview. Segovia brings up a discussion questioning Julian’s need to be taught by him. Segovia commented on why should he consider teaching Julian when he had heard that Henry had been critical of him and did not feel he had much to offer Julian as a teacher of the classical guitar. Henry assured him that he would never have made such a comment, how ever accomplished he thought his son was at playing the guitar. By the end of the meeting, all discrepancies on rumours heard were resolved and all seemed to be well. Segovia mentioned at that time that Julian had a great facility. Although Julian would benefit from the best musical training, he felt that Julian could likely manage without his instruction in that department. Segovia did offer to be available to advise Julian musically. Henry felt at this time that Segovia’s offer to take on Julian as a full-time student was no longer a possibility. [167]

Julian has a third lesson with Segovia at this month. Julian was so nervous that he forgot the guitar on the train.[168]

November 7
Perott held a meeting with PSG committee to discuss Julian’s future as a guitarist. They created an advisory body that included Vollers, Perott, Sharpe, Kingsley and Kennard. [169]

November 17
Vollers and Kingsley meet with Sir George Dyson, Principal of the Royal College of Music, to discuss the possibility of Julian becoming a student at the college. Dyson recalls being informed about Julian several weeks prior by his friend Barnett Freedman. Dyson offers Julian the possibility of becoming a student at the college but with the purpose of studying composition and the piano as his first instrument. Julian is allowed to continue to play the guitar and can continue playing publicly. The school would not provide free tuition. [170]

November 19
Leonard Priestley, an organist, was very impressed with Julian’s Alliance Hall recital and requested that Julian join him in an organ concert at St. Cuthbert’s Church, London. Priestley also referred to Julian as a genius. [171]

November
Henry had separated from his wife earlier this year and had filed for divorce this past May. He now has been granted custody of Julian and Janice but has lost custody of his two younger children. Henry sell’s Julian’s piano to pay for expenses. [172] By early next year, he will have been divorced and soon afterwards remarried to Winifred Hutton. [173]

November 27
Julian auditions for Sir George Dyson. Dyson is impressed with Julian’s musical brilliance and accepts him into the Royal College of Music without fee or exam. He is allowed to play the guitar as long as it does not interfere with his piano studies. [174] Henry had sold the piano so arrangements are made for Julian to move to Beckingham to live with Miss Vollers in January. Miss Vollers agrees to care for Julian. She has a large home with a Steinway grand piano that Julian can use. [175]

December 12
PSG member David Caplan organizes Julian’s final recital for the year at the Linguists' Club in London. [176]

The Cultural Society of Brazilian Guitarists in São Paulo, founded by Isaias Savio, sent a letter to Sir Dyson signed by 36 guitarists thanking him for granting Julian Bream a scholarship. [177]

1949

January
Julian initiates his full-time studies at the Royal College of Music. [178]

Julian mainly concentrates on his studies at the Royal College of Music from January 1949 to 1952. He played numerous engagements including college concerts and continued to perform at PSG meetings. Julian started playing duets at this time with Deric Kennard and started becoming involved with chamber music. [179]

The January BMG magazine has the first advertisement of Julian’s edited and fingered works by famous composers. [180]

March 23
Julian plays a radio broadcast for the BBC Light Programme on a show called Music in Your Home. Romeo and his Gypsy Orchestra with Julian Bream (guitar). [181]

May 5
Julian plays a radio broadcast for the BBC Light Programme on a show called Tango Time. Eugene Pint and his Tango Orchestra with Julian Bream (guitar). [182] The performance is repeated on June 16.

June 15, 16
Julian plays a radio broadcast for the BBC Third Programme. An English version of Lorca's Blood Wedding, the music written by Eduardo M. Tomer. Bream plays with Desmond Dupré. The show is recorded on June 15th and repeated on June 16th and July 7th. [183]

June 27
Julian plays a radio broadcast for the BBC radio. Gordon Walker (flute), Julian Bream (guitar), Mary Peppin and Geraldine Peppin (two pianos) performed on the BBC Home Service Aubade programme. Julian played “Andante” by Haydn [184]

July 23
Julian plays a radio broadcast for the BBC Light Programme. Fred Alexander and his Players with Julian Bream (guitar). [185]

December 20
Julian plays a radio broadcast for the BBC Light Programme on a show called Southern Serenade. Southern Serenade Orchestra directed by Lou Whiteson with Julian Bream (guitar). [186]

December 25

Julian Bream played incidental music on guitar while Alicia Langham sang on Christmas Day at the Interval Club’s annual party for members and friends. [187]

Late 1949

Due to some of the incidental music Julian was asked to play by the BBC, he starts becoming interested in sixteenth and seventeenth-century music. Here is how he first developed an interest in the lute and its music. Initially, he adapted the music for the guitar but he then started using a German 6-string "lute guitar" (a six-string guitar with a rounded ribbed back to mimic the appearance of a true lute) that his father had bought over a year ago. [188]

1950

January 31
Julian plays a radio broadcast for the BBC Light Programme on a show called Southern Serenade. Southern Serenade Orchestra directed by Lou Whiteson with Julian Bream (guitar). [189]

Julian meets Thomas Goff the harpsichord and clavichord maker in the early spring of 1950. A fellow student at RCM invites Julian to visit Goff and play his harpsichords. [190]  A short time later, Goff offers to refashion the “lute guitar” bought by Henry years prior into an actual renaissance lute. The aristocratic Goff was aware of Julian and had seen him at the BBC studios but had never met him. It was not long before he became Julian’s good friend and patron while he was trying to establish his career. [191] Soon, Goff would build him a new lute that he would play for the next 12 years. The lute was based on a Tieffenbrucker lute in the Victoria and Albert Museum. [192]

March 6
Julian plays a radio broadcast for the BBC radio.[141]

March 9
Julian plays a radio broadcast for the BBC radio.[142]

April 2
Julian plays a radio broadcast for the BBC radio.[143]

May 7
Julian plays a radio broadcast for the BBC radio.[144]

March 23
Julian plays a radio broadcast for the BBC radio.[145]

August

Henry has Dr Perott invite Douglas Lawrence, the BBC Light Music supervisor, to the upcoming Julian Bream concert at Cowdry Hall. He then writes Lawrence a letter on the 14th of August asking him for a favour - to release Julian from a contractual obligation to play on the Music for Tea Time television programme on the 31st of August. The engagement would interfere with Julian performing on the Othello production in Manchester that would run for about a months’ time. Julian would also need to be excused by Sir George Dyson from the first week of term at the RCM. He writes Sir George a letter on the 16th of September requesting to be excused and Dyson approves the request and documents it by writing on the letter “The lad needs the money”. [146]

August – September
The Phillip Brown’s Music Agency employs Julian to play guitar for an Arts Council production of Othello in Manchester getting paid 15 pounds per week. [147]

It was at this time that Julian went to the Manchester Library and found a treasure trove of old music from the renaissance and baroque periods. He pulled out a book that was titled Thirteen Lute Solos by John Dowland arranged for piano by Peter Warlock. He played the piano music on his guitar and he was captivated by the beauty of Dowland's music. It was then that his interest and love for the music of that period intensified. [148]

August 31
Julian plays a recital broadcast for the BBC radio. [149]

Julian meets Thomas Goff the harpsichord and clavichord maker. Goff offers to refashion the “lute guitar” bought by Henry years prior into an actual renaissance lute. The aristocratic Goff was aware of Julian and had seen him at the BBC studios but had never met him. It was not long before he became Julian’s good friend and patron while he was trying to establish his career. [150] Soon, Goff would build him a new lute that he would play for the next 12 years. The lute was based on a Tieffenbrucker lute in the Victoria and Albert Museum. [151]

October 26
Julian plays a radio broadcast for the BBC radio. [152]

November 3
Second London benefit recital sponsored by the PSG at Cowdray Hall in Cavendish Square. The recital was a huge success. Dr Perott invites several influential guests: Sir George Dyson (principal of the RCM), Harry Stubbs and Hubert Dawkes (Julian’s teachers at the RCM), Emmie Tillet (doyenne of music agents), Douglas Lawrence (BBC’s Light Music Supervisor) and Arthur Jacobs (music critic). The Times reported a glowing review on the 6th of November. [153]

November 10
Henry Bream dies of lung cancer. His death was registered at the General Register Office on the 13th by his then-wife, Winifred Hutton. A young Janice found herself in the home alone with her newly acquired stepmother and Julian, at seventeen, without money or a steady job, feels obligated to leave his father's home in Hampton, Middlesex. []

November 12
Julian plays a radio broadcast for the BBC radio. [154]

While Julian is 17 years old, he starts teaching guitar technique and theory to the older Hector Quine. They became good friends and Julian, along with Thomas Goff, inspired and encouraged him to try building guitars. [155]

1951

January 10
BBC Arts Committee met to discuss Julian’s request to play a morning recital as opposed to short radio broadcasts. This is something Henry had been trying to set up for Julian before his death. This is something Henry had asked Douglas Lawrence to try and arrange for Julian for some time. One of the two requests that he made when he gave Lawrence a ticket for the Cowdry Hall recital. [156]

March 16
Douglas Lawrence contracted Julian to play a morning recital for radio broadcast on the Home Service for BBC Arts. Julian plays two Dowland galliards, “Fantasia” by Weiss, “Minuet in D” by Haydn and “Granada” by Albéniz. [157]

April 21
Douglas Lawrence contracted Julian to play a broadcast for BBC Arts with the BBC Opera Orchestra conducted by Stanford Robinson. They perform Joaquin Rodrigo’s Concierto de Aranjuez. [158]

Julian was offered 5 pounds for his performance but he asked for more. The BBC finally agreed to pay him 7 guineas. This was Julian's first time playing soloist with an orchestra. [159]

April 23
Sir George Dyson sends E. Tillet, the doyenne of music agents, a letter on 14th of November requesting her help in establishing Julian’s career. She soon arranges for Julian to appear with a well-known singer, Winifred Radford, at the Mercury Theatre. Julian accompanied Radford while she sang Elizabethan ayres and also played some solo pieces. The concert is financed by Thomas Goff. [160]

April 24
The first broadcast of Rodrigo’s Concierto de Aranjuez recorded 3 days prior. [161]

Shortly after the broadcast of the Concierto de Aranjuez, Terry Usher sends Len and John Williams a recording of the last two movements of the concerto. They were both reportedly very impressed. [162]

June 15

Julian is 18 years old and is now officially an adult.

November 10
Henry Bream [163]

November 26
Julian’s first Wigmore Hall recital. His Wigmore Hall concert debut is considered a huge success. Arranged by Emmie Tillet and financed by Thomas Goff. This was the first time Julian prepared a recital programme without his father’s input. [164] Julian played the Martin guitar. [165]

A new musician performing at the Wigmore Hall is considered a “baptism by fire” due to the level of exposure and the reviews from all the news media. All the reviews were glowing. Arthur Jacobs of The Times wrote, “He left no doubt that the promising boy has now grown into a mature and remarkably finished musician.”. Osbert Sitwell was one of the many notable attendees and he stated that it’s “the most marvellous thing I have heard.” [166]

At some point in 1951, Thomas Goff finishes building a slightly more authentic 7-course Renaissance lute after having converted a German "lute guitar" into a 7-course lute earlier that year. [167] Goff stated he modelled the new lute after a ‘Vendelin Tieffenbruker’ lute which he had borrowed and arranged to have radiographed for that purpose in the Courtauld Institute. [168] More recent references use Wendelin instead of Vendelin for Tieffenbruker's given name. [169]

December

Julian meets Peter Pears at a memorial concert for Dr Fellowes. Pears is asked to sing at the memorial and Julian was asked to accompany him. They performed two or three songs of Rosseter and one or two from the First Book of Ayres of Dowland. Julian recalls this memorial concert as the first time he meets Peter Pears and Benjamin Britten. [170]

1952

June

Julian plays at the Aldeburgh Festival for the first time. Julian meets Benjamin Britten and Peter Pears at a party after the concert. While at the party, Pears asked Julian to play Elizabethan tunes so he can sing. Here the seed was planted that would lead to the beginning of Peter Pears and Julian's musical relationship. [171]

John Williams meets Julian Bream at  PSG meeting. [172]

July

Julian enlists with the British Army to comply with his National Service. Initially based at Devizes in the Pay Corps and then is transferred to the Royal Artillery at Woolwich. [173]  He is not allowed to bring his guitar and his lute so he leaves them in his car and places the car in long term storage. [174]

Once at the Royal Artillery, he performed on the cello with the Artillery’s symphony orchestra and played electric guitar with the Artillery dance band. Julian on occasion would play the piano as well. Julian is in the service from 1952 to 1955. [175]

1953

Julian remains in service for the British Army. Julian plays classical guitar in clubs and small recital halls whenever he is on leave. [176]

Bream plays the guitar on the "Third Chinese Cantata" by William Bradwell.

Julian Bream encouraged Stephen Dodgson to write for the guitar, resulting in his "Suite for the Guitar: Prelude, Nocturne and Toccata". Dodgson was disappointed when Bream strained his arm, delaying the first performance scheduled for October 14th, 1953. [177]

October 14

Wigmore?

Stephen Dodgson composes "A Pastoral Sonata" (for flute, cello and guitar) (1953) at Julian Bream's request. First performed in 1957 by Musica da Camera (featuring Harold Clarke, Joy Hall and Julian Bream).

1954

Julian is approaching his last year of service for the British Army. Julian continues to play classical guitar for additional income whenever he is on leave.

The first recording session destined for release on a phonograph record. The recording sessions were for Westminster as a session lutenist accompanying the vocal ensemble Golden Age Singers. He is still in the service at this time.

Julian played a concert in Switzerland in 1954, followed by his first European tour.

September 29

Julian Bream plays his fourth Wigmore Hall recital. Julian performed on a Quine guitar, the second guitar Hector Quine had ever built. Bream gives the first performance of Stephen Dodgson's "Suite for Guitar: Prelude, Nocturne and Toccata" which had originally been scheduled for October 14th, 1953 but cancelled due to a hand injury.

November 12

Peter Pears and Julian Bream give the first performance of the song cycle "Shepherd's Warning" by James Bernard. The piece was commissioned by Pears and Bream.

Denis ApIvor composes Concertino for Guitar and Orchestra, Op.26 with Julian Bream in mind. It wasn't until February 11th, 1958 that Bream premiered it with the BBC Scottish Orchestra, conducted by Berthold Goldschmidt.

1955

Julian finishes his required time of service in the British Army. He is discharged from the service.

Julian records an album of Elizabethan lute songs with Peter Pears on Decca label- Elizabethan Lute Songs: vol. 1 of An Anthology of English Song. While this was not his first recording session destined to be released on a phonograph record, it was his first released phonograph record. It was also the first released recording where he was considered one of the main artists of the release receiving essentially equal billing with Peter Pears (an already established performer).

First recordings for Westminster as a primary artist, not a session musician.

Recording session for Spanish Guitar Music: Turina, de Falla, Sor and  Guitar Music of  Villa-Lobos and Torroba. He used a Hector Quine guitar for these sessions.

1956

February 1

Julian Bream plays the guitar in the first performance of "Mañana" for the opera Mañana by Arthur Benjamin. Mañana was the first opera made for television commissioned by the BBC.

Release of both LP recordings Spanish Guitar Music: Turina, de Falla, Sor and  Guitar Music of  Villa-Lobos and Torroba on the Westminster label.

Recording session for A Bach Recital for the Guitar and Julian Bream Plays Dowland.

1957

Release of both LP recordings A Bach Recital for the Guitar and Julian Bream Plays Dowland. These would be his last recordings for the Westminster label.

Julian Bream accompanies tenor Peter Pears in the first performance of Mátyás Seiber's musical arrangement of the poem "The Owl and the Pussy-Cat" by Edward Lear.

At the request of Bream, Roberto Gerhard composes the initial draft of Fantasia for solo guitar. It is written as an interlude for a song cycle Cantares for Pears and Bream. The piece is limited in the "modernist" style that Bream was looking for and the piece was subsequently revised. [200]

The First performance of Stephen Dodgson's "A Pastoral Sonata" (for flute, cello and guitar) by Musica da Camera (featuring Harold Clarke, Joy Hall and Julian Bream).  The sonata had been composed in 1953 at Julian Bream's request. [201    ; A Pastoral Sonata sheet music liner notes by Cadenza; John Lawrence Mackenzie, "The Guitar Works of Stephen Dodgson", 2006; DODGSON, S.: Chamber Music with Harp and Guitar - Septet Variations / Pastoral Sonata / Solway Suite (Karolos Ensemble), Naxos liner notes, Catalogue No: 8.573857, 2018. ]

1958

February 11

Denis ApIvor composed Concertino for Guitar and Orchestra, Op.26 with Julian Bream in mind back in 1954. It wasn't until February 11th, 1958 that Bream premiered it with the BBC Scottish Orchestra, conducted by Berthold Goldschmidt.

Made U.S. debut

Bream records a second album of Elizabethan lute songs with Peter Pears, again on the Decca label- A Recital of Lute Songs. Although Bream would continue to record with Peter Pears in the future, this would be the last time that Julian Bream would record on the Decca label.

Julian Bream signs on with the RCA label.

1959

September
Recording sessions for Guitar Concertos with the Melos Ensemble, Conductor Malcolm Arnold at Decca Studios in London. These recordings would later be released on the RCA label. It would be his second LP release on that label.

October

Recorded his first sessions for RCA Victor at RCA Studio B in New York City, New York, USA- The Art of Julian Bream.

November
Additional recording sessions for The Art of Julian Bream at RCA Studio B in New York.

1960

Release of the LP recording A Recital of Lute Songs with Peter Pears on the Decca label.

Formed the Julian Bream Consort, one of the first groups to specialize in early ensemble music (1961).

September
Recording sessions for The Golden Age of English Lute Music at Decca Studios in London.

November
Release of the LP recording The Art of Julian Bream on the RCA Victor Red Seal label.

1961

January
Release of the LP recording Guitar Concertos on the RCA Victor Red Seal label.

September
Release of the LP recording The Golden Age of English Lute Music on the RCA Victor Red Seal label- Soria Series.

1962

June 21-23
Recording sessions for An Evening of Elizabethan Music with the Julian Bream Consort at Decca Studios in London.

November 27, 28
Recording sessions for Popular Classics for Spanish Guitar.

December 4, 17, 18, 27, 29
Additional recording sessions for Popular Classics for Spanish Guitar.

December (1962 or 1964)

Julian's second Bouchet guitar (built in 196_) was stolen from his car. Julian had stopped at the Queen's Elm Pub in Chelsea London for a quick pint and a smoke. When he returned to his car he found that the guitar was gone.

1963

Release of the LP recording An Evening of Elizabethan Music with The Julian Bream Consort on the RCA Victor Red Seal label- Soria Series.

April 4, 6
Live recording session for Julian Bream in Concert (featuring Peter Pears) – at the Westley Hall in Massachusetts and Town Hall in New York. All the selections on Side A were recorded live at Westley Hall except for selections 2 and 5 that were recorded live at Town Hall in New York. This was a Julian Bream solo tour of the US without Peter Pears. These recordings are found on Side A of the album that did not include Peter Pears.

September
Recording sessions for Music for Voice and Guitar with Peter Pears.

October 10
Live recording session for Julian Bream in Concert (featuring Peter Pears) – at the Wigmore Hall with Peter Pears. These recordings with Peter Pears only comprised Side B of the album.

October 22, 24-26
Recording sessions for Rodrigo, Vivaldi, Britten with the Melos Chamber Orchestra, Conductor Colin Davis and The Julian Bream Consort

1964

January
Release of the LP recording Popular Classics for Spanish Guitar on the RCA Victor Red Seal label.

March
Additional recording sessions for Music for Voice and Guitar with Peter Pears to re-record selection 13 "Fain would I change that note" from Anon in Love by William Walton.

Spring

Julian visits his friend, the poet Robert Graves in Deià, Majorca, Spain. Julian moves into a shepherd's hut in the olive grove on Grave's property and completely isolates himself for 10 days to work on Britten's "Nocturnal after John Dowland, Op. 70".

May
Release of the LP recording Rodrigo, Vivaldi, Britten with the Melos Chamber Orchestra and The Julian Bream Consort on the RCA Victor Red Seal label.

May 12

Grammy Award for Best Chamber Music Performance at the Grammy Awards in 1964 for the year of 1963 was for An Evening of Elizabethan Music performed by the Julian Bream Consort. (6th Annual GRAMMY Awards).

June

Julian plays the first performance of Britten's "Nocturnal after John Dowland, Op. 70" at the Aldeburgh Festival.

Julian Bream was awarded Officer of the Order of the British Empire (OBE).

Julian Bream met his future wife, Margaret Williamson. They would not marry until October 1968.

1965

February
Release of the LP recording Music for Voice and Guitar with Peter Pears on the RCA Victor Red Seal.

March 9, 11, 12
Recording sessions for Baroque Guitar.

August
Release of the LP recording Julian Bream in Concert (featuring Peter Pears) on the RCA Victor Red Seal label.

September 21-23
Recording sessions for J.S. Bach: Suites, Nos. 1 and 2.

October 12-14
Additional recording sessions for J.S. Bach: Suites, Nos. 1 and 2.

Bream met Igor Stravinsky in Toronto, Canada in 1965. He tried unsuccessfully to persuade the composer to write a composition for the lute and actually played a pavane by Dowland for him. The meeting between Bream and Stravinsky, including Bream's impromptu playing, was filmed by the National Film Board of Canada in making a documentary about the composer.

1966

April
Release of the LP recording Baroque Guitar on the RCA Victor Red Seal label.

April 22-24, 28, 30
Recording session for Lute Music from the Royal Courts of Europe.

May 1, 17, 25
Additional recording session for Lute Music from the Royal Courts of Europe.

Summer

Julian Bream purchases Broad Oak, an 18th-century farmhouse in Semley, Wiltshire.

August
Release of the LP recording J.S. Bach: Suites, Nos. 1 and 2 on the RCA Victor Red Seal.

September 16-18, 23-25
Recording sessions for 20th Century Guitar at the Wardour Chapel in Wiltshire.

Julian Bream made an Honorary Member of the Royal Academy of Music.

1967

January
Release of the LP recording Lute Music from the Royal Courts of Europe on the RCA Victor Red Seal label.

March 2
Grammy Award for Best Classical Performance – Instrumental Soloist or Soloists (with or without orchestra) at the Grammy Awards of 1967 for the year of 1966 - Baroque Guitar (Works of Bach, Sanz, Weiss, etc.). (9th Annual GRAMMY Awards).

Recording sessions for Dances of Dowland at the Wardour Chapel in Wiltshire. Exact session dates unknown.

August
Release of the LP recording 20th Century Guitar on the RCA Victor Red Seal label.

September 13-15
Recording session for Classic Guitar at the Wardour Chapel in Wiltshire.

November
Recording sessions for Julian Bream and His Friends at the Bishopsgate Institute.

December
Additional recording sessions for Julian Bream and His Friends at the Bishopsgate Institute.

1968

February

Release of the LP recording Dances of Dowland on the RCA Victor Red Seal label.

August
Release of the LP recording Julian Bream and His Friends on the RCA Victor Red Seal label.

September 15-17
Additional recording sessions for Classic Guitar at the Wardour Chapel in Wiltshire.

Honorary Doctorate from the University of Surrey

Edison Award

1969

January 2, 3
Recording sessions for Sonatas for Lute and Harpsichord with George Malcolm at the Bishopsgate Institute.

February
Release of the LP recording Classic Guitar on the RCA Victor Red Seal label.

April 8-9
Recording sessions for Elizabethan Lute Songs with Peter Pears at Conway Hall in London.

May

Nominated for Grammy Award - Sonatas for Lute and Harpsichord with George Malcolm was nominated for a Grammy Award but did not win.

September
Release of the LP recording Sonatas for Lute and Harpsichord with George Malcolm on the RCA Victor Red Seal label.

1970

March
Release of the LP recording Elizabethan Lute Songs with Peter Pears on the RCA Victor Red Seal label.

May 15-17, 28-30
Recording session for Romantic Guitar at the Wardour Chapel in Wiltshire.

September
Release of the LP recording Romantic Guitar on the RCA Victor Red Seal label.

1971

February 1
Recording sessions for Julian Bream Plays Villa-Lobos at EMI Studios in London.

May
Additional recording sessions for Julian Bream Plays Villa-Lobos at the Wardour Chapel in Wiltshire.

July 4

Bream at Stratford was aired on Omnibus. Bream had held a 10 day masterclass in Stratford, Ontario (1969-70?). Liona Boyd was one of the students selected from an audition tape. At the end of the masterclass, 5 students were chosen to play a public recital at Stratford's Festival Theatre. Liona Boyd was one of the 5 students selected. The masterclass and recital were filmed and aired on the Omnibus programme about a year later.

July 12, 13, 31
Recording session for Julian & John (“Together”) at the Wardour Chapel in Wiltshire.

August 1
Additional recording session for Julian & John (“Together”) at the Wardour Chapel in Wiltshire.

September
Release of the LP recording Julian Bream Plays Villa-Lobos on the RCA Red Seal label.

1972

February
Release of the LP recording Julian & John (“Together”) on the RCA Red Seal label.

March 15

Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra) at the Grammy Awards from 1972 for the year of 1971 - André Previn (conductor), Julian Bream & André Previn (conductor) with the London Symphony Orchestra for Villa-Lobos: "Concerto for Guitar and Orchestra" from the Julian Bream Plays Villa-Lobos album. (14th Annual GRAMMY Awards).

Summer

Bream played three movements from one of Bach's lute suites at the funeral of the Poet Laureate Cecil Day-Lewis in the church at Stinsford, Dorset.

June 30
Recording sessions for The Woods So Wild at the Wardour Chapel in Wiltshire.

July 1, 2
Additional recording sessions for The Woods So Wild at the Wardour Chapel in Wiltshire.

September 30
Recording sessions for Julian Bream ‘70s at the EMI Studios in London.

November
Release of the LP recording The Woods So Wild on the RCA Red Seal label.

Julian Bream has an in-depth interview with Kenneth Allsop - Kenneth Allsop In Conversation with Julian Bream.

1973

Edison Award

February
Additional recording sessions for Julian Bream ‘70s at the Wardour Chapel in Wiltshire.

March 3
Grammy Award for Best Chamber Music Performance at the Grammy Awards from 1973 for the year of 1972 - Julian Bream & John Williams for
Julian and John (Works by Lawes, Carulli, Sor, Albéniz, Granados, de Falla and Ravel)(15th Annual GRAMMY Awards).

May

Julian plays at the funeral for British broadcaster, author and naturalist Kenneth Allsop who died on the 23rd of May. Allsop had interviewed Bream in 1972. [100]

June
Recording sessions for Julian and John/2 (“Together Again”) with John Williams at the Wardour Chapel in Wiltshire.

September
Release of the LP recording Julian Bream ‘70s on the RCA Red Seal label.

1974

February 1-3
Recording sessions for Giuliani and Sor at the Wardour Chapel in Wiltshire.

April
Release of the LP recording Julian and John/2 (“Together Again”) with John Williams on the RCA Red Seal label.

March 22-24
Additional recording sessions for Giuliani and Sor at the Wardour Chapel in Wiltshire.

October
Release of the LP recording Giuliani and Sor on the RCA Red Seal label.

November 18
Recording session for Rodrigo and Berkeley with the Monteverdi Orchestra at the Walthamstow Town Hall in London.

1975

May 7
Additional recording session for Rodrigo and Berkeley with the Monteverdi Orchestra at the Rosslyn Hill Chapel in London.

June 3
Recording sessions for Concertos for Lute and Orchestra with the Monteverdi Orchestra at the Rosslyn Hill Chapel in London.

October
Release of the LP recording Concertos for Lute and Orchestra with the Monteverdi Orchestra on the RCA Red Seal label.

October
Release of the LP recording Rodrigo and Berkeley with the Monteverdi Orchestra on the RCA Red Seal label.

1976

The subject of a television biography, A Life in the Country, on BBC TV.

April 23-25, 28, 29
Recording session for Lute Music of John Dowland at the Wardour Chapel in Wiltshire.

September
Release of the LP recording Lute Music of John Dowland on the RCA Red Seal label.

The Villa-Lobos Gold Medal was personally presented to Julian Bream by the composer's widow.

1977

December

Recording of the BBC televised series Julian Bream Masterclass at his home, Broad Oak, in Semley.

1978

January

A series of masterclasses televised throughout the month of January called Julian Bream Masterclass. Four masterclasses in total on BBC TV.

May 26-28
Recording sessions for Villa-Lobos: 12 Etudes for Guitar and Suite Populaire Bresilienne at the Wardour Chapel in Wiltshire.

June 3, 4, 11
Additional recording sessions for Villa-Lobos: 12 Etudes for Guitar and Suite Populaire Bresilienne at the Wardour Chapel in Wiltshire.

October
Release of the LP recording Villa-Lobos: 12 Etudes for Guitar and Suite Populaire Bresilienne on the RCA Red Seal label.

October 15
Live recording session for Julian Bream and John Williams “LIVE” - a concert at Symphony Hall in Boston.

October 18
Live recording session for Julian Bream and John Williams “LIVE” - a concert at Avery Fisher Hall at Lincoln Center in New York.

1979

February
Release of the LP recording Julian Bream and John Williams “LIVE” on the RCA Red Seal label.

April/May
Recording sessions for Music of Spain, vol. 1 - Plays Milán & Narváez at the Wardour Chapel in Wiltshire.

September
Release of the LP recording Music of Spain, vol. 1 - Plays Milán & Narváez on the RCA Red Seal label.

RCA presented him with a platinum disc to mark record sales of 500,000 in the UK alone, as well as gold and silver discs for duo recordings with John Williams.

1980

Julian Bream decides to expand on his Music of Spain LP series to include a film on the history of the guitar in Spain. The preparation process for the series of films would take four years. During this time he continued to record and release LPs that would follow with the "Music of Spain" theme.

October 27
Recording sessions for Music of Spain, vol. 4 - The Classical Heritage: Sor and Aguado at the Wardour Chapel in Wiltshire.

November 1-4
Additional recording sessions for Music of Spain, vol. 4 - The Classical Heritage: Sor and Aguado at the Wardour Chapel in Wiltshire.

Julian Bream married Isabel Sánchez.

1981

May
Release of the LP recording Music of Spain, vol. 4 - The Classical Heritage: Sor and Aguado on the RCA Red Seal label.

Fellowship of the Royal College of Music

October

Recording sessions for Dedication at the Wardour Chapel in Wiltshire.

December
Additional recording sessions for Dedication at the Wardour Chapel in Wiltshire.

1982

January
Additional recording sessions for Dedication at the Wardour Chapel in Wiltshire.

June
Recording sessions for Music of Spain, vol. 5 - Plays Granados and Albéniz at the Wardour Chapel in Wiltshire.

July
Additional recording sessions for Music of Spain, vol. 5 - Plays Granados and Albéniz at the Wardour Chapel in Wiltshire.

Julian Bream authors a book along with Tony Palmer called A Life on the Road. The book deals with Julian Bream's life as a professional musician on the road.

October 2
Recording sessions for Music of Spain, vol. 8 – Joaquín Rodrigo at St. John's, Smith Square in London.

December
Additional recording session for Music of Spain, vol. 8 – Joaquín Rodrigo at the Wardour Chapel in Wiltshire.

1983

January
Additional recording session for Music of Spain, vol. 8 – Joaquín Rodrigo at the Wardour Chapel in Wiltshire.

February 19
Recording sessions for Music of Spain, vol. 7 - A Celebration of Andrés Segovia at the Wardour Chapel in Wiltshire.

March
Release of the LP recording Music of Spain, vol. 5 – Plays Granados and Albéniz on the RCA Red Seal label.

May 6

Additional recording session for Music of Spain, vol. 7 - A Celebration of Andrés Segovia at the Wardour Chapel in Wiltshire.

September 30
Recording sessions for ¡Guitarra! The Guitar in Spain at the Wardour Chapel in Wiltshire. Some of the outtakes for this recording session were to be used in other "Music of Spain" releases that never materialized. Some of those outtakes were used in a 1991 release titled La Guitarra Romantica: Llobet, Pujol, Tárrega.

Fellowship of the Royal Northern College of Music

1984

January
Release of the LP recording Music of Spain, vol. 8 – Joaquin Rodrígo on the RCA Red Seal label.

April 22

Additional recording sessions for ¡Guitarra! The Guitar in Spain at the Wardour Chapel in Wiltshire. Some of the outtakes for this recording session were to be used in other "Music of Spain" releases that never materialized. Some of those outtakes were used in a 1991 release titled La Guitarra Romantica: Llobet, Pujol, Tárrega.

June
Release of the LP recording Dedication on the RCA Red Seal label.

July 21

Bream is in a car accident. Loses control of his open-top MG car and hits a railway bridge, resulting in significant soft tissue damage and a fractured right elbow. He attempted to drive home to phone for help but lost consciousness behind the wheel. The car eventually came to a halt halfway up a bank. A Good Samaritan found him and he was taken to a hospital in Salisbury. Bream has stated that the 2.5-hour surgery was performed under a local anaesthetic so he spoke to the surgeon during surgical intervention. Bream felt that the surgery was a success and he retained permanent hardware in his arm from the orthopaedic repair.

(Webmaster's note: a surgery of this level would never be performed on a local anaesthetic. The medical details of the story have yet to be verified, although Bream has told this story more than once throughout the years.

The accident happened after all the segments for the ¡Guitarra! film series were filmed except for the "Concierto de Aranjuez". This delayed the filming of the final segment and the release of the project for over a year.

Bream self-imposed a stringent rehabilitation program for his arm to get himself back to performance level and toured the US three months after the accident.

September
Release of the LP recording Music of Spain, vol. 7 - A Celebration of Andrés Segovia on the RCA Red Seal label.

Honorary Doctorate from the University of Leeds

1985

¡Guitarra! A Musical Journey Through Spain. An 8-part television series originally aired on Channel 4. The television series was made available on VHS.

March

Release of the LP recording ¡Guitarra! The Guitar in Spain on the RCA Red Seal label. This double LP was released as a companion to the 8-part television series ¡Guitarra! A Musical Journey Through Spain.

Julian Bream was awarded the medal of Commander of the Order of the British Empire (CBE).

1986

Recording of programme by ITV titled ‘A Full Life’. Julian Bream is interviewed by Jill Cochrane at his home in Wiltshire. 

1987

July 7-9
Recording sessions for Guitar Concertos: Rodrigo and Brouwer with the RCA Victor Chamber Orchestra and Leo Brouwer at the Henry Wood Hall in London.

September
Recording sessions for Fantasies, Ayres and Dances with The Julian Bream Consort at the Wigmore Hall in London.

1988

February
Release of the CD recording Guitar Concertos: Rodrigo and Brouwer on the RCA Red Seal label.

April 22
Recording sessions for Two Loves with Peggy Ashcroft at the Wardour Chapel in Wiltshire.

September 20-22
Additional recording sessions for Two Loves with Peggy Ashcroft at the Wardour Chapel in Wiltshire.

October
Release of the CD recording Fantasies, Ayres and Dances with The Julian Bream Consort on the RCA Red Seal label.

Honorary Member of the Royal Philharmonic Society

1989

August
Release of the CD recording Two Loves with Peggy Ashcroft on the RCA Red Seal label.

October 1-2
Additional recording sessions for use in additional "Music of Spain" releases that never materialized. Some of those outtakes were used in a 1991 release titled La Guitarra Romantica: Llobet, Pujol, Tárrega. These recording sessions took place at the Wardour Chapel in Wiltshire.

1990


June
Recording session with the City of Birmingham Symphony Orchestra and conductor Simon Rattle at Butterwick Hall Warwick University. Julian decided to record Joaquín Rodrigo's Concierto de Aranjuez for the fifth time! This recording would be used in a later release when Julian Bream had left RCA and had signed with EMI record label. This recording would eventually be released on a 1992 compact disc album titled To the Edge of Dream.

August 23-24
Additional recording sessions for use in additional "Music of Spain" releases that never materialized. Some of those outtakes were used in a 1991 release titled La Guitarra Romantica: Llobet, Pujol, Tárrega. These recording sessions took place at the Wardour Chapel in Wiltshire.

1991

BBC Prom performance of Malcolm Arnold’s Guitar Concerto, broadcast on BBC Radio and TV

June
Additional recording sessions for To the Edge of Dream with the City of Birmingham Symphony Orchestra and Simon Rattle at EMI Abbey Road Studio No. 1 in London.

July
Release of the CD recording La Guitarra Romantica: Llobet, Pujol, Tárrega on the RCA Victor Red Seal label.

Autumn

Recital and concerto performances of works by Takemitsu at the Japan Festival in London with the London Symphony Orchestra.

1992

February
Additional recording session for To the Edge of Dream with the City of Birmingham Symphony Orchestra and Simon Rattle at Butterworth Hall Warwick University.

September
Recording sessions for Nocturnal: Britten, Lutoslawski, Martin, Takemitsu and Brouwer at Forde Abbey in Dorset.

October
Additional recording sessions for Nocturnal: Britten, Lutoslawski, Martin, Takemitsu and Brouwer at Forde Abbey in Dorset.

October
Recording sessions for J.S. Bach at Forde Abbey in Dorset.

November
Additional recording sessions for J.S. Bach at Forde Abbey in Dorset.

Performed at the Wigmore Hall for their Gala Re-opening Festival.

1993

 During the 1992/3 season, he performed on two separate occasions at the Wigmore Hall – at their Gala Re-opening Festival, and at a special concert celebrating his 60th birthday. That year he toured the Far East, visiting Hong Kong, Taiwan, Korea and Japan, and performed the premiere of Leo Brouwer's arrangement for guitar and orchestra of Albéniz's Iberia at the Proms. 

Release of the compact disc recording To the Edge of Dream with the City of Birmingham Symphony Orchestra and Simon Rattle on the EMI Classics label. This is Julian Bream's first release on EMI after having terminated his contract with RCA records.

Release of the compact disc recording Nocturnal: Britten, Lutoslawski, Martin, Takemitsu and Brouwer on the EMI Classics label.

November
Recording session for Sonata: Paganini, Castelnuovo-Tedesco, José at Forde Abbey in Dorset.

Release of the compact disc box set Julian Bream Edition - The Ultimate Guitar Collection. This box set was released in 1993 to coincide with the artist's 60th birthday.

1994

Release of the compact disc recording J.S. Bach on the EMI Classics label.

Bream made debuts in both Turkey and Israel. 

1995

Release of the compact disc recording Sonata: Paganini, Castelnuovo-Tedesco, José on the EMI Classics label.

Played for the soundtrack to the Hollywood film Don Juan de Marcos.

1996

Royal Philharmonic Society Instrumentalist's Award

1997

In celebration of the 50th anniversary of his debut, he performed a recital at Cheltenham Town Hall.

BBC dedicated a special television tribute This Is Your Life programme to Julian, filmed after a commemorative concert at Queen Elizabeth Hall, London.

1999

Doctor of Philosophy from London Guildhall University

2000

Tour of UK National Trust properties in the summer and autumn.

2001

Performed an anniversary recital at Wigmore Hall, celebrating 50 years since his 1951 debut there.

2003

Release of the DVD Julian Bream: My Life in Music. Gramophone declared it the DVD of the year.

2005

Release of the compact disc recording Guitar Recital: Bach, Sor, Turina, Tippett, Schubert on the Testament label. These BBC studio recordings for radio were extracted from BBC archives for this collection. These actual recordings were never previously released on LP or CD. While some of these selections had been recorded and released on LPs prior and following these broadcasts, some of these selections are the only available recorded versions of these pieces by Julian Bream.

-J.S. Bach: Chaconne (1975).

-Fernando Sor: Introduction and Variations on Mozart's 'O cara armonia' Op.9 (1982).

-Joaquín Turina: Sonata Op. 61 - Allegro, Andante and Allegro Vivo (1956).

-Michael Tippett: The Blue Guitar - Transforming, Dreaming and Juggling (1984).

-Franz Schubert: Duo in A - Allegro Con Brio, Andantino, Menueto and Allegro (with John Williams, 1985)

Release of the compact disc box set Music of Spain. The box set is composed of all the recordings from the "Music of Spain" series that included various LPs including ¡Guitarra! The Guitar in Spain.


2006

September

Death of Paul Henry Bream at 60 years of age. Julian's youngest sibling.

2008

Julian Bream sells Broad Oak, his 18th-century farmhouse in Semley, Wiltshire - his home for over 40 years.

2009

Julian Bream established his own charitable trust. The purpose of the trust is to commission major new works from leading composers in addition to providing scholarships for exceptionally gifted young guitarists and lutenists at the Royal Academy of Music, Royal College of Music and the Royal Welsh College of Music and Drama.

Honorary Doctorate from the Open University

2011

Release of the compact disc box set Julian Bream: My Favorite Albums. This collection included 10 of Julian Bream's favourite LP recordings from his RCA catalogue.

2013

Release of the compact disc box set Julian Bream - Classical Guitar Anthology. The Complete RCA Album Collection.

Received the Gramophone's Lifetime Achievement Award.

2015

In 2015, The Metropolitan Museum of Art organized a Historic Guitar Concert Video series. Jorge Caballero performed on this guitar for the series. He recorded 3 videos: "Allemande" from Partita in A minor for solo flute  BWV 1013 by J.S. Bach and "Evocacion" and "El Puerto" by Isaac Albéniz. Link to the Met video series.

2020

August 14,

Julian Alexander Bream was found dead in his sleep in the early morning.

Here ends his long journey to Ithaca.

"Ithaca has given you your lovely journey.
Without Ithaca, you would not have set out.
Ithaca has no more to give you now.

Poorer though you find it, Ithaca has not cheated you.
Wise as you have become, with all your experience,
you will have understood the meaning of an Ithaca."

                                                              C.P. Cavafy (1911) 

Sources for the chronological outline:

This is a list of sources used to compile this very extensive chronological outline.

- Julian Bream - The Foundations of a Musical Career by Stuart W. Button

- The Art of Julian Bream by Graham Wade.

- A Life on the Road by Tony Palmer and Julian Bream

- Classical Guitar Magazine - multiple issues

- Album liner notes on the back covers of his 50 plus LP releases

- Julian Bream: My Life in Music (film documentary, 2003)

- ¡Guitarra! A Musical Journey Through Spain (the 8 part television series for Channel 4, 1985)

- Julian Bream: A Full Life (television interview, 1986)

- Walton at 80 (television interview, 1982)

- Julian Bream: A Life in the Country (film documentary, 1976)

- Kenneth Allsop: A Conversation with Julian Bream (television interview, 1972)

- Monitor: A Film Profile of Julian Bream (television interview, 1962)

Biography

​JulianBreamGuitar.com

Endnotes:

CURRENTLY BEING REVISED 7-15-2021

[150] Stuart W. Button, Julian Bream: The Foundations of a Musical Career, (Aldershot:Scholar Press, 1997), p. 116

[82] Kenneth Allsop: In Conversation with Julian Bream (BBC 1972).

[81] Interview with Julian Bream by Victor Coelho, Lute Society of America Quarterly, Vol. 26, No. 3 August 1991

[90] sean rafferty

[100] In the Country by Kenneth Allsop: Introduction by Brian Jackson, (Little Toller Books, 2012), p. 77