Julian Bream: Guitar Revival
The first post-war musician to revive classical guitar, Bream’s wide ranging interests in repertory and his technique and style has made him a legend in 20th century guitar music.
One of the most distinguished classical guitarists of the 20th century, London-born Julian Bream played a significant role in reviving the public interest of the guitar and the lute as a classical instrument.
Born on July 15, 1933 the young Bream was first attracted to the guitar from jazz guitarists such as Django Reinhardt. Bream’s father encouraged him to play the piano, but also taught him to play the guitar. By the age of 12 he won a junior exhibition award for his piano playing, enabling him to study piano and cello at the Royal College of Music in London. In the same year his father took him to play at a meeting held by the London Philharmonic Society of Guitarists, where his musical talent prompted Dr. Boris Perott, the Society’s president, to offer to teach him the classical guitar. Perott, introduced Julian Bream to Andrés Segovia, who was so impressed by what he heard that he offered to give the 13-year old some lessons.
After his studies Bream’s career took off. He made his London debut in 1950, but it was his appearance in 1951 at Wigmore Hall that propelled his career to international success. Despite three years of National Service with the Army (1952–1955), he continued to appear frequently on radio and television programmes as well as at public concerts. He toured extensively throughout Europe, North America, Asia, India, Australia and the Pacific Islands.
Julian Bream’s solo recitals include pre-Baroque transcriptions, popular Spanish pieces, and contemporary music, much of which was written exclusively for him. Eminent composers who dedicated pieces to him include Malcolm Arnold, Lennox Berkeley, Benjamin Britten, Peter Racine Fricker, Alan Rawsthorne, Michael Tippett, Heitor Villa-Lobos, and William Walton.
Bream currently resides in Wiltshire, England with his dog Django.
Mauro Giuliani: Guitar Concerto in A major, Op. 30 (Julian Bream, Melos Ensemble, 1959)
Federico Moreno Torroba: Burgalesa Fis-dur (Julian Bream, 1955)
Julian Bream’s interest and repertory is widespread, reaching from pre-baroque music to Spanish and contemporary music. But Spanish music for guitar and lute has been a favourite for many years. He has recorded many works by Spanish composers and has even made some films in which he explores the history of this music.
Francis Cutting: Greensleeves (Julian Bream, 1960)
British music for lute is another favourite of Julian Bream, and here we have a lesser-known, but beautiful arrangement of the very popular folk tune “Greensleaves” by 16th century composer Francis Cutting.
Thomas Morley: It was a lover and his lass (Peter Pears, Julian Bream, 1956)
With tenor Peter Pears (as well as with Alfred Deller and his Consort) Bream has recorded numerous songs and madrigals from the 16th and 17th century, including this very popular piece by Thomas Morley.
Malcolm Arnold: Guitar Concerto, Op. 67 (Malcolm Arnold, Julian Bream, Melos Ensemble, 1959)
Like many other contemporary works Malcolm Arnold’s guitar concerto was written especially for Julian Bream who played the world premiere performance in 1959.
Joaquín Turina: Homenaje a Tárrega, op. 69 (Julian Bream, 1955)
Albert Roussel: Segovia, op. 29 (Julian Bream, 1960)
Heitor Villa-Lobos: 5 Preludes for guitar (Julian Bream, 1955)
Johann Sebastian Bach: Prelude, Fugue and Allegro in E flat major, BWV 998 (played in D major, arr. for guitar) (Julian Bream, 1956)
John Dowland: Batell Galliard (Julian Bream, 1960)
