January 9, 1964

Jullian Bream, Guitar Recital

Part I

Robert de Visse: Suite in D minor

  • Prelude - Allemande -Courante,
  • Sarabande -Gavotte -Minuete I & II,
  • Bourrée -Gigue

Sylvius Weiss: Tombeau de Comte de Logy

J.S. Bach: Chaconne

Part II

Fernando Sor: Four studies

Frank Martin: Quatre pièces brèves (1933)

  • Prélude - Air - Pliente - Gigue

Manuel de Falla: Homenaje (pour le tombeau de Debussy)

Manuel de Falla: Danza del Molinero (from El Sombrero de Tres Picos)

Isaac Albéniz: Granada

Joaquin Turina: Sonatina

  • Allegro (Alegretto) - Andante - Allegro vivo

Julian Bream at Wigmore Hall

Wigmore Hall Recitals 1951-2001

Wigmore Hall

A picture of the 1953 programme, the actual copy owned by Julian Bream's sister, Janice. Courtesy of Janice George-Allen.

"The Guitarist"
Julian Bream, sketched soon after his final Wigmore Hall performance.

Janice George-Allen, November 26, 2001


Francis Cutting: Walsingham

Francis Cutting: Greensleeves

Hans Newssidler: German Airs and Dances

John Dowland: Mignarda

John Dowland: Fantasy

Joan Ambrosio Dalza: Pavana alla Veneziana - Piva

Gregorio Huwet: Fantasia

Past II


Dietrich Buxtehude: Suite in E minor

  • Allemende - Courante - Sarabande - Gigue

J.S. Bach Prelude and Fugue

Niccolo Paganini: Romanza e Andantino Variato

Reginald Smith Brindle: El Polifermo de Oro

Federico Moreno Tórroba: Sonatina in A major

  • Allegro - Andante - Allegro

September 17, 1952
Wigmore Hall recital.

Part I
Joan Ambrosio Dalza: Pavane
Simone Molinaro: Ballo detto "Il Conte Orlando"
Vincenzo Galilei: Galliard

John Dowland: Fantasia
John Dowland: My Lady Hunsdon's Puffe

Part II
Sylvius Leopold Weiss: Overture
J.S. Bach: Prelude and Fugue in D
Joseph Haynd: Allegretto

Domenico Cimarosa: Two Sonatas

Part II
Heitor Villa-Lobos: Prelude
Federico Moreno Tórroba: Allegretto
Joaquin Turina: Homamage a Tárrega - Garrotin

Joaquin Turina: Homamage a Tárrega - Soleares
Emilio Pujol: Sevilla

November 26, 1951
Julian’s first Wigmore Hall recital. His Wigmore Hall concert debut was 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. Julian played a Martin guitar.

Part I
Jean Baptiste Besard: Six Pieces from 'Thesaurus Harmonicus'
John Dowland: Fantasia
John Dowland: My Lady Hunsdon's Puffe
Henry Purcell: Air
Henry Purcell: Rondeau
Henry Purcell: Ground
Henry Purcell: Hornpipe
Sylvius Leopold Weiss: Fantasia
Joseph Haydn: Minuet
J.S. Bach: Suite No. 3 for Lute

Part II
Fernanado Sor: Andantino
Federico Moreno Tórroba: Prelude
Federico Moreno Tórroba: Andante
Federico Moreno Tórroba: Moring Serenade
Federico Moreno Tórroba: Melodia
Isacc Albéniz: Granada
Heitor Villa-Lobos: Choros No. 1

This page is dedicated to Julian Bream's appearances at the Wigmore Hall in London, England. Julian grew up hearing his father Henry stating that once you have played at the Wigmore, you have essentially arrived on the scene. It is a sign that you are a classical performer of stature. You have just become famous. It is difficult to say how much a child valued being on the stage at Wigmore Hall, but Julian knew that his father wanted that for him more than anything. Henry struggled to get Julian on the stage at the famous hall that had been built back in 1901 but for one reason or another, it always evaded him. Unfortunately, despite knowing that his son would likely perform at Wigmore Hall one day, he died just over a year before Julian was scheduled to perform there on the 26th of November, 1951, Henry died never knowing with certainty that his son would one day perform on the stage of the prestigious hall.

The Wigmore Hall is sought after by the world's best classical performers due to its perfect acoustics, its beauty and its intimate size. It is not a hall for large orchestras, better suited for small ensembles such as trios and quartets and it is just perfect for the intimate nature of the solo classical musician and their instrument. Andrés Segovia had played at the Wigmore Hall several times by the 1950s so it was only natural that any classical guitarist wanting a successful career would want to step on that stage with their guitar as well.

Throughout his 50-year career, Julian Bream became more associated with the Wigmore Hall than any other classical guitarist by far and he affectionately referred to the hall as "The Wiggers". He appeared on the stage nearly every year and sometimes even twice a year as a solo performer, in duets or with the Julian Bream Consort to name a few.

When Julian Bream decided to step on the stage at the Wigmore Hall for the last time on the 26th of November 2001 to celebrate the fiftieth anniversary of his debut at the hall, it was truly the end of an era not just for those in attendance, but for the classical guitar community at large.