JulianBreamGuitar.com
Biography
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 7, 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. Julian knew he was not born at home, as were most children in Britain at this time, and was aware that his place of birth was 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 but it seems he was actually 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 my 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 births 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 are now living at 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, a black Bechstein baby grand. He would lie underneath it to feel the vibrations while his father played. [9]
1936
January 2
The birth of Julian's sister, Janice Bream. (Janice Bream studied at Twickenham Art School as a junior student, and later at Banbury College of Art and Brooke’s University, Oxford. She became an accomplished professional painter and is known professionally as Janice George-Allen). [10]
1940
In late 1940, Julian (7 yrs old) and his sister Janice (4 years) are evacuated in the wintertime 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 arrive back home in Hampton from being evacuated for the first time due to WWII. [12]
1943
The birth of Julian's first brother, Anthony J. Bream. (Anthony Bream studied at the Royal Academy Schools and became an accomplished professional painter. He is known professionally as Antony Bream). [13]
Julian started to have piano lessons with a local music teacher. Like most children, Julian liked playing but not practising. [14]
December
Julian and Janice are 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]
Webmaster's note: In my conversations with Janice (Bream) George-Allen she stated that the second time they were evacuated they were not kept together. They were selected by different families so they went to different homes. Julian was sent to Camborne in Cornwall and she was sent to Redruth, also in Cornwall. These were very difficult times for children.[]
1944
Julian gave his first public performance playing the piano at his maternal grandmother's pub in Battersea called "The Princess Royal" but known locally as "The Drum and Monkey" beerhouse. Julian would play 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 and they referred to the instructional manual Eddie Lang's Finger-Board Harmony for 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 the celebrated 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 begins to lose interest in his dance band. They set about learning the classical guitar together through tutorial books, starting with Thorough Guitar Method by Herbert J. Ellis. [25]
1945
January
Henry starts 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 confirmed the resuming activities of the PSG and asked for all those who burrowed sheet music prior to the war to please return them to establish a proper inventory. Finally, the April issue announced that the first meeting would be on April 21 [28]
April 21
The London Philharmonic Society for Guitarist (PSG) resumes its meetings as the war ends and Julian and his father attend the first meeting at Mrs Kingsmill-Lunn’s flat on 38a Holland Park Avenue, in the Kensington area of London. 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 receives 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 to Wilfrid M. Appleby for the first time. As the librarian for the PSG, he submits 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. His astonishing progress is noted by members. [45]
September
Julian begins his four-hour-long Saturday sessions at the Royal College of Music. Tuition was funded by the Junior Exhibition Award that he was awarded for playing the piano earlier that year. [46]
After 2 sessions at the Royal College of Music, the professor, 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 and allow his fingers to strengthen further. [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]
November
Julian performs at the November PSG meeting in their new venue, Alliance Hall, Westminster. 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
Wilfrid 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 meetings 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]
At 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 is not mentioned in the bulletin as a performer during the meeting despite both events 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 about the possibility of Julian learning a second instrument and suggested the cello. The classical guitar was something Julian was practising for pleasure and was not part of his academic studies at the Royal College of Music. Mindful of future opportunities for employment, Henry feels that the study of an orchestral instrument would serve him well later on. Julian considered the cello as a potential second instrument. At this time, the piano was the only instrument officially part of Julian’s educational curriculum at the college. [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 “Légende” by H. Albert and “Valse favori” by N. Coste. Desmond Dupré performs as well. [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 Dupré performs as well. [66]
June-July
Julian starts learning from the study material sent by Wilfrid 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]
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 Dupré 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 they 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, “I Capuleti ed I Montecchi” 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 most 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 Dupré is currently helping Julian with his guitar technique or that Dupré's 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 perform, he then plays "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 guests of Prince and Princess Galitzine. They are related to Queen Mary and the concert is at their mansion in Wilton Crescent, in Knightsbridge. He played mainly Russian and Spanish compositions.[89] This was the first live performance in which Julian received a cheque 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 develops 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, a smaller, more suitable venue, aesthetically pleasing and with sympathetic acoustics.[92]
December
The December issue of BMG is published with a summary and stunning review by Wilfrid Appleby. The article focuses on Julian’s performance at the British Federation of BMG Junior Trophy Rally on the 26th of October. Dr Perott stated that in his whole 56 years of experience with the guitar, he had never had such a brilliant pupil. 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. The event is essentially a private concert held by Cheltenham Guitar Circle.[95] He plays with an adult-sized Salvador Ibáñez classical guitar loaned to him by W. Appleby about 2 hours prior to the recital. To Appleby’s complete dismay, Henry had written previously to state that Julian wanted to perform with the Maccaferri guitar (an instrument with extra base strings). Appleby had recently acquired the Ibáñez guitar and was intent on persuading Julian to consider not using the Maccaferri guitar for the recital. Julian was allowed to play both guitars privately to see which one he preferred. Either due to preference or knowing that selecting the Ibáñez would help keep tempers low, Julian opted to play Appleby’s traditional six-stringed instrument. The concert is reported in glowing terms in the Gloucestershire Echo in the December 9 issue and 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] For complete recital selections performed refer to Repertoire as a youth page.
December 12
Julian performs at the PSG meeting. He plays "Prelude" by Carcassi, "Waltz" by Lebedeff and "Serenade" by F. Abt/arranged by Dr Perott. After a few other members perform, Julian plays a second time, "Tonadilla" by Granados and "Sonata" by Scarlatti. He then plays 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 and within the next couple of weeks writes ‘Nocturne’, which he also dedicates to him.[98]
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 in January 1947. Julian was recommended by Gwenn Knight, a guitarist and member of PSG that had also appeared on the show.[99]
December 17
Julian plays the cello for the London County Council Junior Exhibitioners (public concert).[100]
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.[101]
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.[102]
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 “trial” Cheltenham recital on the 7th of December. The bulletin is no longer referring to Julian as Alex Julian.[103]
John Duarte composed and dedicated “Meditation on a Ground Bass, Op. 5” for Julian Bream.[104]
January 7
Julian plays his first radio show for the BBC Home Service called Children's Hour, in the "Young Artists Entertain" segment. He performs Turina's "Fandanguillo", a 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.[105] He performs with the Maccaferri guitar (guitar with additional unfretted bass strings) which gave Appleby significant displeasure when he tuned in to hear the broadcast. Appleby was under the impression that Julian had decided to direct his full attention to the traditional six-stringed guitar, hoping that the Maccaferri distraction was part of the past. [106]
Webmaster’s note: Julian is not credited for this show in the BBC Archives for the Home Service programmes.
January 18
Julian plays at the January 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' "Tonadilla" and Bellini's "I Capuleti ed I Montecchi". A Spaniard and his Russian wife attending the meeting stated that while Segovia's technique was superb, Julian plays from the heart.[107]
Henry graciously declines Turland Hill's offer for Julian to play for free at the British Federation Rally for Banjoists, Mandolinists and Guitarists.[108]
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 two days later at his first public recital in Cheltenham.[109]
Webmaster’s note: Terry Usher was the first to perform his “Sonata in A” (only the first movement) in public at 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.[110]
February 17
Julian's first formal public recital is held at the Cheltenham Art Gallery.
For several months, in the background of the arrangements for this concert, a very frank exchange of views has been taking place by letters exchanged between Henry and Wilfrid Appleby about the merits or otherwise of Julian playing his Maccaferri guitar with the extra bass strings. Appleby finds this particular guitar "variant" especially abhorrent. This guitar has been used at PSG meeting performances and is favoured by Dr Perott and Henry. Appleby argues that playing such "novelty variants" will not further Julian’s career and suggests the use of his own recently acquired Ibáñez, which Julian already has on loan, in the hope that this will sway his argument. However, Henry will not make a definite commitment not to use the Macccaferri guitar and provides numerous reasons why Julian's performance would benefit from this instrument. In the end, Appleby issues an ultimatum that he will withdraw all support for the Cheltenham concert if the Breams’ intention is to use what he terms the ‘freak’ guitar. Due to his limited finances and connections, Henry has no option but to agree to Appleby’s demand and in a letter apologizes profusely for his offence.[111]
The event goes ahead as planned with Julian’s smaller-sized ‘traditional’ Ibáñez instrument used for the performance due to its ease of playing with the more difficult pieces. Julian considers this recital his official debut and the beginning of his professional career. Julian is only 13 years old but shows considerable maturity in his ability to rise above the problems he encounters. Not only does Julian realize how to best ease the tense relationship between his father and Appleby, but he also learns how to deal with the problems that tend to arise during a performance such as the really cold conditions in the gallery that night caused by post-war heating restrictions. (Button p. 42) Julian’s fingers need to be warmed between pieces. The programme includes Schumann's "Romanza", Bach's "Prelude and Minuet", Granados' "Tonadilla", Shand's ‘Chanson’, Paganini's ‘Sonata’, Coste's "Concert Study", Albéniz's "Serenata - Granada", Sor's "Theme and Variations" and he premiers "Sonata in A" by Terry Usher.[112]
The recital is very well received. "The audience sat enraptured and then burst out in a great ovation of applause", writes Appleby in the April BMG, and he notes that the majority of the audience was under 30 years of age. The local newspaper, the Gloucestershire Echo, headlines its report "Boy Guitarist Impresses in Local Debut".[113] Fifty years later, Julian related his feelings that day in an interview for Classical Guitar. "I was initially nervous at this concert, the first piece, but not after that. I thought the whole thing of performing was just a wonderful experience… the sensation of having an audience, and they’re all listening. I found it magical. It’s phenomenal!... I can remember how it felt playing those pieces 50 years ago".[114]
Webmaster’s note: Bream would keep the Usher sonata in his repertoire for almost 20 years.[115]
Julian plays the cello for the London County Council Junior Exhibitioners (his second public concert as a cellist).[116]
March 15
Julian plays at the March PSG meeting. He performs three pieces the first being “Prelude” written for and dedicated to him by Reis de Hilster from the Netherlands.[117] Julian plays a newly acquired used Martin guitar.[118]
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[119] 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 edition of the Gloucestershire Echo that Appleby had forwarded to 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.[120] 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.[121] 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.[122]
April 19
Julian plays at the April PSG meeting and performs “Prelude” by Tárrega, “Minuet” by Sor and “Valse Favorite” by Coste.[123] Henry raises the question of a trust fund for Julian.[124]
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 Hindoue” and Usher’s “Sonata in A”. The audience is thrilled and requests that he repeat “Chanson Hindoue”. 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.[125]
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 Hindoue” 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 is held to compare the guitars present at the meeting with the ultimate goal of selecting the better instrument in reference to construction and tone. Julian is selected to play all the guitars at the back of the hall while everybody in the audience continues to face forward. Eleven guitars are played and it is nearly a tie between a modern Spanish-built guitar and a modern English-built guitar. Julian is asked to opine on which of the two he thinks is the better instrument and he selects the Spanish-built instrument.[126]
May 31
Julian Bream plays his Spanish guitar before an audience of over a thousand on May 31 at the Twickenham Technical College Musical Festival.[127]
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.[128]
June 25
Henry writes to 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.[129]
June 28
Julian performs at the June PSG meeting and plays “Study No. 4” by Coste and “Fandanguillo” by Turina. He then plays “Andante from Sonata Romántica” by Ponce. Finally, after more members play, he closes the meeting with “Tonadilla” by Granados and “Chanson Hindoue” by Korsakov.[130]
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.[131]
July 12
Julian performs at the July 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, “Malagueña” by M. Sarablo Clavero (a flamenco piece), “I Capuleti ed I Montecchi” by Bellini/arr. Mertz, “Granada” by Albéniz , “Fandanguillo” by Turina and “Cádiz” by Albéniz. Henry plays “Study No. 3” by Carcassi and “Legende” by Shand. Finally, a duet with Henry and Julian, “Sonata” by Scarlatti/arr. Pujol.[132] Julian’s performance is again noted on the pages of the prestigious New York magazine, Guitar Review.[133]
Late July
The Breams travel to Manchester in search of a guitar and finally meet Terry Usher. Julian plays for the Manchester Guitar Circle members. Usher lends Julian his new Clifford Essex Hauser guitar.[134]
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.[135]
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.[136] 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.[137]
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 B 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 is 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.[138] Henry is very impressed with Julian’s playing and finds himself comparing Julian to Segovia.[139]
Julian performs at the August 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 plays the 4 pieces played earlier on the radio show. Julian’s father notifies 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. [140]
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.[141]
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.[142]
Webmaster's note: Some references state that the year might have been 1948.[143] 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.[144]
September
Wilfrid 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 is in response to the lack of commitment from Dr Perott and the rest of the PSG members to aid Julian financially.[145]
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.[146]
Webmaster's note: 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.[147]
September 5
Henry writes to Albert Augustine in New York about his young son’s exceptional gift for playing the guitar and asks about buying more nylon strings.[148]
September 8
Albert Augustine has already heard of Julian’s success and is watching his progress with great interest. He responds to Henry’s letter about obtaining more nylon strings and generously offers to provide them without charge.[149]
October
The tentative date for a debut recital at the Wigmore Hall was planned for 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. [150]
October 11
At the PSG meeting, Julian plays “Cradle Song” by Pujol, “Serenade Espagnol” by Malats and “Anecdote No. 5” by Segovia.[151]
Cossack Recollections; R.Korsakov-Bickford’s “Chanson Hindoue”, “Manolinata” by Thomé-Garcia.
October 14
Julian plays his second broadcast for the 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". [152] 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. [153]
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 Capuleti ed I Montecchi".[154]
November 15
Julian performs at the PSG November PSG meeting. He plays "Minuet" Sor; "Manolinata" Thomé-Garcia, "Valse Favorite" Coste, "Study in A" Tárrega and "Fandanguillo" Turina.[155]
December 7
Andrés Segovia had travelled 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.[156] 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.[157]
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.[158]
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.[159] 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.[160] 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.[16] Julian seems to remember a second lesson soon after the first and then a third a year later.[162]
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.[163]
December 20
Cheltenham Art Gallery displays an exhibition of photographs of guitarists and composers associated with 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.[164]
1948
January 4
Julian is a guest artist with Arthur Cole’s Cheltenham Spa Palm Court Orchestra at Cheltenham 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 Capuleti 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. [165]
Webmaster’s Note: Wilfrid Appleby’s article in the February 1948 BMG magazine incorrectly states the day as the 3rd of January. [166]
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. [167]
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. [168]
January 12
Julian played on a television broadcast for the BBC Television Service called The Teen-Age Show. The show is introduced by Leslie Mitchell and the orchestra is conducted by Eric Robinson. Julian performed solo guitar and performs the “Minuet” by Sor and “Serenata Española” by Malats. He is 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.[169]
Webmaster’s note: This show was incorrectly reported as Music for You instead of The Teen-Age Show in the S.W. Button book Julian Bream: The Foundations of a Musical Career, 1997. It appears that Julian Bream never performed on the programme Music for You. [170]
Henry had allowed the management of Julian’s musical career to take up most of his time and his business as a freelance artist had started to decline and now was nearing bankruptcy.[171]
February
Segovia sends a letter to Dr Perott requesting that the PSG should financially support Julian's classical guitar education. [172]
February 28
At the February PSG meeting, Julian and Henry perform but no significant details are provided in the Bulletin. [173]
March 3
At a PSG committee meeting, the proposal for a Julian Bream Fund recommended by Appleby, Usher and Sharpe is accepted. Along with Dr Perott and Johanna Vollers, they form the trustees. Also, Julian’s London debut is discussed but the committee cannot agree on appropriate action and deliberate for several months.[174]
Webmaster's note: it is not clear why Dr Perott was repeatedly reluctant to have the PSG membership commit to financially supporting Julian's musical education as a guitarist until this point. With the insistence of others that had far less contact with Julian, he has finally agreed that it is now time to discuss Julian’s future and establish financial support in the form of a trust. Not only did he not address the possibility of raising money earlier to aid in Julian’s musical education but he also failed repeatedly to schedule Julian’s London debut recital. Additionally, when the Julian Bream Trust was reported in the May-June 1948, Bulletin of the PSG, it did not clearly state who was behind the movement of financial support, leading most to assume that the whole idea originated with the PSG.[175]
March 13
PSG Annual General Meeting. The creation of the Julian Bream Fund is confirmed with the sole purpose to assist Julian in furthering his career as a guitarist and with a view to building on the generous offer of Segovia to "instruct and foster" this child that not only has a great love for the guitar but a great ability to play it. At the end of the meeting, Julian performs “Minuet’ by Sor and “Sonata Clásica” by Ponce. [176]
March 31
Julian plays at the Social and Athletic Club of Gays (Hampton) Ltd., where Henry had worked during the war.[177] 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.[178]
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. [179]
After the rehearsal, Julian attended a party at the house of the producer, Sir Michael Balcon. Here he meets Barnett Freedman, a notable painter and lithographer. [180] 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. [181]
April-May
Violet permanently leaves her home in Hampton and takes the two youngest children, Anthony and Paul, with her to her mother's home in Battersea. Henry petitions the High Court for their return and custody. Henry is in arrears with his taxes and is considering selling Julian's piano for additional funds.[182]
In May, Henry files for divorce in May. He now has been granted custody of Julian and Janice but has lost custody of his two younger children.[183]
May 29
Henry Bream writes to Wilfrid Appleby that his financial difficulties are so great that he will have to sell Julian’s piano, a black Bechstein baby grand.[184]
May-June
The Julian Bream Fund was announced in the Bulletin for the PSG and BMG magazine. [185]
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. [186]
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. [187] A few months later, a poll was held of the best musicians that appeared on the Nocturne programme. Julian Bream came in third. [188]
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. [189] 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.[190] 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. [191]
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. [192]
Julian performed at a reception in honour of the Swedish Olympic Team at Hampton Court Casino. The reception held by the Anglo-Swedish Society. [193]
August 9
Julian plays on a television programme for the BBC Television Service on a show called The Teen-Age Show for the second time. Julian plays "Danza No. 5” by Granados[194]
August 24
Julian plays a radio broadcast for the BBC Light Programme on a show called Music at Teatime. Julian performed “Los Mayos” from Pièces Caractéristiques by Moreno Tórroba and “Minuet” by Sor.[195]
August 28
Julian plays a radio broadcast for the BBC Light Programme on a show called Promenade Players directed by Sidney Bowman with Tom Jenkins as leader.[196]
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. [197]
September 11
A brief mention of Julian Bream with a portrait being published alongside that of Segovia and Schubert accompanying an article titled “Segovia and the Guitar” by James Becket in the popular magazine Everybody's. It mentions Segovia’s ‘generous gesture’ to take Julian ‘under his wing’ [198]
September 18
Julian performs at the September PSG meeting. Many members play at this meeting so Julian just plays two pieces at the end, “Tango” by Albéniz and “Prelude” by Tárrega. Dr Perott mentions that Julian lacks a really good guitar, suitable for concert performance, and he appeals to members for assistance in finding him a first-class instrument which can be loaned or purchased. [199]
September 26
Julian plays a recital at Witney Social Centre in Oxfordshire. This is the first time that Julian performs a recital that is mainly attended by non-guitarists. His prior performances 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”. [200]
October 7
Julian plays a radio broadcast for the BBC Light Programme on a show called Music in Your Home with Billy Mayerl.[201] The BMG editor, A.P. Sharpe, took offence when a promoter of the show referred to Julian in a manner not in keeping with the dignity of the music he plays. The BBC announcer introduced Julian by saying "Our little shrimp is going to play...I hope he won't mind me calling him a 'little shrimp'...".[202]
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.[203] Dyson replies on October 21, explaining that Julian is no longer able to attend the Saturday sessions as they are only open to children still at school, but he could certainly compete for a scholarship, albeit not for the guitar alone.[204]
October 30
Julian and Henry play at the October PSG meeting. After a couple of performances, Henry Bream played “Study No. 19” by Carcassi and “Cantalene” by Rousseau. He performed on a Panormo guitar. After a mandolin player played two pieces, Julian performed on an unknown brand guitar that his father reconstructed. He played “Minuet in G” by Haydn, “Study in B flat” by Sor, “Courant” by Bach and a Llobet arrangement “Danza No. 5” by Granados. Later on, Henry Bream played two more pieces “Legende” by Shand and “Study No. 3” by Carcassi. Julian closed out the performances for the meeting with four pieces, “Gagliarda” by Frescobaldi, “Petit Valse” by Ponce, “Tango” by Albeniz and “Andantino in F major” by Sor.[205]
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.[206]
Julian has a third lesson with Segovia at this month. Julian was so nervous that he forgot the guitar on the train.[207]
November 7
Dr 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 and came up with a proposal to seek advice from Sir George Dyson, Principal of the Royal College of Music, which Henry Bream accepts. Victoria Kingsley wastes no time in contacting Sir George by letter on November 10.[208]
November 16
Julian plays a radio broadcast for the BBC Home Service for a programme called Melody Mixtures with Jack Byfield and his Players. Julian plays solo guitar.[209]
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 would be allowed to continue to play the guitar as an extracurricular activity and also play publicly. The college would not provide free tuition. An audition is arranged. [210]
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, Kensington, London. Priestley also referred to Julian as a genius.[211] The vicar of St Cuthbert’s, however, begs his parishioners not to ‘swoon with horror’ at the idea of a guitar featuring in an evening of church music. He assures them: ‘The guitar can be played as a serious musical instrument… Mr Bream is a very young man, but he is a virtuoso on his instrument… and he is to play us Bach and Handel’.[212]
November
Henry had separated from his wife Violet earlier this year in April 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 had sold Julian’s piano to pay for expenses and salvage the house.[213] By early next year, he would be divorced and would soon remarry Winifred Hutton in January 1949.[214] Given this unhappy state of affairs at home, Julian’s achievements this year seem all the more remarkable and indicative of his strong character and ability to find comfort in his music.
Webmaster’s note: He later touches on this subject in My Life in Music: ‘[It]broke my heart, my mother and father coming adrift. … I had a lot of emotional difficulties to contend with and so music has been my real solace and that’s why I play music …’[215]
November 22
Miss Vollers meets with Julian and his father at her home in Beckenham to suggest that he might come and live with her in January while he is studying. She has a large home and would give Julian access to her Steinway grand piano for practice. Henry is very appreciative of the offer, having had to sell their own piano, but not without regret. He writes to Appleby: ‘Needless to say I will miss Julian more now than at any time, but I have suffered so much for his career that I suppose I can stand some more…’. Henry still has the company and support of his daughter Janice as he begins to step back from the weighty responsibility of guiding Julian to the fulfilment of his ambition to become a professional guitarist.[216]
November 27
Julian auditions for Sir George Dyson. Julian undergoes a very exacting and exhausting audition for Sir George Dyson. He plays pieces on both the guitar and the piano and Dyson is so impressed with Julian’s musicality that he accepts him without fee or exam. He is to spend 16 hours a week on their curriculum, studying piano with Hubert Dawkes, but will be permitted to pursue his career on the guitar as long as it does not interfere with the rest of his musical studies.[217] Julian regarded this moment as a great turning point in his life.[218] Arrangements are made for Julian to move to Beckenham to live with Miss Vollers in January. Miss Vollers agrees to care for Julian.[219]
It does not appear that Henry and Julian attended the PSG meeting on the 27th of November.[220]
December 12
PSG member David Caplan organizes Julian’s final recital for the year at the Linguists' Club in London.[221] Caplan gave a short address called “The Guitar” and then introduced Julian and the pieces to be performed. The programme did not provide specific information on the Renaissance and Baroque pieces performed but the program mentions a pavane by Luis Milan, a sarabande by Weiss and a gavotte and bourree by Bach. He then played “Allegretto” by Rameau, “Menuett and Trio” by Haydn and the “Study in B minor” by Sor before the intermission. The second part of the program included “Study in A” by Tarrega, “Granada” by Albeniz, “Danza No. 5” by Granados, “Andante” by Ponce and “Fandanguillo” by Turina. The PSG bulletin No. 21 reported that Julian played two encores, “Theme Varie” by Sor and a study by Carcassi.[222]
The Cultural Society of Brazilian Guitarists in São Paulo, founded by Isaias Savio, sent a letter to Sir George Dyson signed by 36 guitarists thanking him for granting Julian Bream a scholarship.[223]
December 18PSG meeting. Due to Dr Perott and Miss Voller not attending the December PSG meeting, Henry Bream took charge of the meeting in their absence.[224]
1949
January 6
Julian plays a radio broadcast for solo guitar for BBC Home Service radio programme Melody Mixtures with Jack Byfield and his Players.[226]
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. [227]
The January BMG magazine has the first advertisement of Julian’s edited and fingered works by famous composers. [228]
The January BMG magazine has the first advertisement of Julian’s edited and fingered works by famous composers. The collection of sheet music was published by Clifford Essex Music Co. Ltd. and printed on good quality white paper with a blue protective covering.[229]
Wilfred Appleby writes an article for the January-February PSG bullet. In the article, he complains about how a talented musician/guitarist such as Julian would have received a scholarship in many different countries and how that has not been available to Julian Britain. He then thanks members of the PSG and others, mainly Sir George Dyson, Director of the Royal College of Music, for providing him with the formal musical education that Julian deserves by granting him a full-time scholarship. Julian will be allowed to perform certain engagements with the guitar with the school's permission. He also mentions that Julian will be living with Miss Vollers when college is in session.[230]
Webmaster’s note: Appleby misleads the bulletin readers to some degree by implying that Julian will be studying the guitar at the college when he in fact will be studying the piano, music theory and composition. Julian could practice the guitar on his own time but it could not interfere with his studies.
February 15
Henry marries his second wife Winifred Hutton.[231]
February 26
Julian plays at the February PSG meeting. After a couple of member performances, Julian performs a study by Aguado, “Andantino” by Sor and a minuet by Haydn. The guitar used for these pieces was not mentioned. Later on, Julian performed “Study in A” by Tarrega on a guitar by Bouchier [likely Bouchet] of Paris. The guitar belonged to Deric Kennard, another performing PSG member.[231] **************
March 19
PSG Annual Meeting at Alliance Hall- There were many things to discuss during the annual meeting so only a limited amount of time was dedicated to performances by the members. Julian played “Fughetto” by Handel and “Mazurka” by Tansman. Henry resigns as Honorary Librarian for the PSG.[232]
Webmaster’s note: In 1949, Henry is overwhelmed with all the complications that have arisen in his life in addition to trying to manage Julian’s emerging career as a professional musician. He resigns his librarian position for the PSG and he is replaced by John Freeman. It is unclear if Henry was already starting to have medical problems due to his lung cancer that would eventually take his life the following year.
March 23
Julian plays a radio broadcast for the BBC Light Programme on a show called Music in Your Home with Romeo and his Gypsy Orchestra.[233] The PSG Bulletin reports that this BBC Light Programme broadcast was a solo performance and Julian played independently from all other musicians on the show.[234]
March 25
Both Julian Bream and Desmond Dupre play the guitars with the Boyd Neel Orchestra in Weber’s one-act comic opera “Abu Hassan” broadcast on BBC’s Light programme and then rebroadcast the performance on March 27. Wilfred Appleby commented in the PSG bulletin on how well you could hear the guitars in the production.[235]
April
In Dr Perott’s Presidential message for the March-April PSG Bulletin, he discusses the changing meaning of the word “amateur”. It originally had a noble meaning such as doing something with frequency for the love of it. There was no financial gain but with no indication of what level had been achieved. Perrott states that now the word is used disparagingly in contrast to the word “professional” which would imply superiority to an amateur. Perrot goes further to state that there are amateurs that play better than professionals and that would include certain members of the PSG. These guitar performers should not be classified as amateurs, in the current sense of the word, just because they are not professionals. He suggests that they should be referred to as NON-PROFESSIONAL GUITARIST as a distinction from the current suggestion of the word amateur.[236]
Webmaster’s note: while Perott does not mention PSG member's name in the message, no other member fits the description of an amateur guitarist that plays better than most professionals than Julian Bream.[237]
April 9
The South Western Star newspaper publishes an article about Julian Bream practising piano and guitar at his maternal grandmother’s pub The Princess Royal (affectionately referred to as “The Drum and Monkey”) on Condray Street in Battersea. Mrs Alice Wildgoose (second marriage, nee MacDonald) frequently takes care of her grandson while at her pub and enjoys hearing him play Bach for the customers on the old piano.[238]
April 9
Does not appear that Henry or Julian attended the April PSG meeting.[239]
May 5
Julian plays a radio broadcast for the BBC Light Programme on a show called Tango Time with Eugene Pint and his Tango Orchestra. Not known if this was a solo guitar performance. The performance is repeated on June 16 but it may have been a different performance.[240]
May 22
Julian plays at the May PSG meeting. After a couple of member performances, Julian plays a chaconne by Weiss, two minuets by Rameau, the “Study in B flat’ by Sor and a mazurka by Tansman. Miss Vollers had invited Abel Carlevaro to the meeting so he could listen to the members play and he then closed the performances for the meeting by playing “Piezas Características” by Tórroba and “Confesión” by Barrios.[241]
Mr John Freeman has now been appointed Honorary Librarian after Henry Bream’s resignation.[242]
June
In Dr Perott’s “Presidential Message” for the May-June PSG Bulletin, he writes an article in reference to the classical guitar's rise in stature in the eyes of the professional music community. He then states how the younger generation of guitarists worldwide have aided in this movement through their dedication to the classical guitar. He ends by writing “In this country, young Julian Bream is making rapid progress in this direction”.[243]
June 15, 16
Julian plays a radio broadcast for the BBC Third Programme. An English version of Lorca's Blood Wedding. The music is written by Eduardo M. Torner, a Spanish musicologist. Julian and Desmond Dupré both play guitars. The show is aired and recorded on June 15th and repeated on June 16th and July 7th. [244]
Webmaster’s note: The BBC Archive log does not credit either guitarist (Julian Bream or Desmond Dupre) for this production. The programme that aired twice the following year on March 6 (Home Service) and September 19, 1950 (Third Programme) was a new production with Bert Weedon on second guitar.
June 25
The scheduled PSG meeting does not appear to have taken place. There were no meeting minutes reported in the following PSG Bulletin.[245]
Webmaster’s note: Miss Ewa Sundquist, the secretary of the Swedish Guitar Society, visited a PSG meeting while doing a cycling tour of the British Isles. Julian was not present to the meeting she attended but Johanna Vollers scheduled a later time where she could spend some time with Julian and hear him play.[247]****
June 27
Julian plays a radio broadcast for the BBC Home Service on the programme Aubade. Gordon Walker (flute), Julian Bream (guitar), Mary Peppin and Geraldine Peppin (two pianos) were the performers. Julian played “Andante” by Haydn.[246]
July 16
Julian plays at the July PSG meeting. After a couple of member performances, the “Concerto for lute and strings” by Kohaut c. 1710 was performed by Julian Bream (guitar), with Trevor Connor (violin), Simon Stradfield (violin), John Wingham (cello). Julian closed the meeting performance with four solo guitar pieces, an andante by Haydn, a siciliana by C. P. E. Bach, “Serenata (Espanola)” by Malats and a minuet by Haydn. The Kohaut concerto was repeated at the end of the meeting due to request.[247]
July 23
Julian plays a radio broadcast for the BBC Light Programme in a show called Fred Alexander with Fred Alexander and his Players.[248] The PSG Bulletin reported that Julian played three solos in the Saturday afternoon programme, "El Testament de Amelia" arranged by Llobet, a minuet by Sor and a tonadilla by Granados.[249]
August 27
Neither Henry nor Julian appears to have attended the August PSG meeting.[250]
September 17
Neither Henry nor Julian appears to have attended the August PSG meeting.[251]
Webmaster’s note: Julian's attendance at the PSG meetings would not be consistent for the next few years.
October 29
PSG October Meeting – appropriate PSG Bulletin not available for review.[252]
November 26
PSG November Meeting – appropriate PSG Bulletin not available for review. The BMG magazine reported that Jean Fuller, the famous young guitarist and broadcaster from France, attended the meeting and performed. He was very impressed with the PSG members that performed as well. Henry and Julian did not appear to be present for this meeting.[253]
December 10
Julian plays at the December PSG meeting. After a couple of member performances, Julian plays a sarabande with variations by Handel, a minuet by Rameau, a gavotte by J.S. Bach and “Olivares” by Torroba.[254]
December 20
Julian plays a radio broadcast for the BBC Light Programme on a show called Southern Serenade with the Southern Serenade Orchestra directed by Lou Whiteson. Julian Bream appears on guitar.[255] The PSG Bulletin reported that Julian played solo guitar pieces on this programme. No details are available about the selections played on the broadcast. This same broadcast may have been repeated on January 31, 1950, on the BBC Light Programme.[256]
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. [257]
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 a couple of years prior.[258]
1950
January 10
Julian Bream and the PSG is briefly mentioned in Le Soir, a newspaper in Beyrouth, Lebanon on January 10. A lengthy article interviews Professor V. Mazmanian on the guitar and he mentioned Julian when he spoke of guitar music abroad. Additionally, the important guitar articles in the BMG were mentioned.[259]
January 31
Julian plays a radio broadcast for the BBC Light Programme on a show called Southern Serenade with the Southern Serenade Orchestra directed by Lou Whiteson. Julian Bream appears on guitar. [260] The PSG Bulletin reported that Julian played solo guitar pieces on this show. [261] No performance details available for this broadcast - this programme may be a rebroadcast of the December 20, 1950 show on the BBC Light Programme a month earlier.[262]
February 4
There is no evidence that Henry or Julian attended the February PSG meeting.[263]
February 26
Julian played a radio broadcast for the BBC Light Programme on a show called Twentieth-Century Serenaders conducted by Monia Liter. Julian Bream appears on guitar.[264] The PSG Bulletin reported that Julian played solo guitar pieces on this show. His solos included a gavotte by Bach and a tonadilla by Granados. These were studio broadcasts without audiences so it was rather surprising to hear enthusiastic applause after Julian Bream's inspired rendering of the Granados Tonadilla. The announcer explained that it was a spontaneous expression of appreciation by Monia Liter and his orchestra.”[265]
Webmaster’s note: it is safe to assume that the Granados’ tonadilla that Julian performed with such a dramatic response was “La Maja de Goya”. It was one of his favourite Spanish pieces and the only Granados’ tonadilla that he was known to perform.
March 6
Julian plays a radio broadcast for the BBC Home Service that is later rebroadcast on the Third Programme on 19th of September. A NEW production of the English version of Lorca's Blood Wedding. The music was again written by Eduardo M. Torner, the Spanish musicologist. With this new production, Julian was joined on the second guitar by Bert Weedon.[266]
March 9
Julian plays a radio broadcast for the BBC Light Programme on a show called Melody Hour - Music for the Housewife with the Southern Serenade Orchestra directed by Lou Whiteson. Julian Bream appears on guitar most likely playing solos.[267]
March 18
There is no evidence that Henry or Julian attended the March PSG meeting.[268]
Spring
Julian meets Thomas Goff the harpsichord and clavichord maker in the early spring of 1950. Studying Bach at RCM, Julian was a bit frustrated playing harpsichord music on a piano. A fellow student at RCM invites Julian to visit Goff and play his harpsichords.[269] A short time later, Goff offers to refashion the “lute guitar” bought by Henry a few years prior into something that closely resembled an actual Renaissance lute. The aristocratic Goff was aware of Julian and had seen him at the BBC studios but it’s not clear if they had formally met at this earlier date. It was not long before he became Julian’s good friend and patron while he was trying to establish his career.[270] 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.[271]
April 2
Julian plays a radio broadcast for the BBC Light Programme on a show called Twentieth-Century Serenaders conducted by Monia Liter. Julian Bream appears on guitar. No details are available for this broadcast - this may be a rebroadcast of the February 26, 1950 show on the BBC Light Programme a few months earlier. [272]
May 7
Julian plays a radio broadcast for the BBC Home Service on a show called Southern Serenade with the Southern Serenade Orchestra directed by Lou Whiteson. Playing the music of the sunny South. Julian Bream appears on guitar. No details are available about the selections played on the broadcast.[273]
Webmaster’s note: No details available for this broadcast - this may be a rebroadcast of the Southern Serenade show broadcast on the BBC Light Programme a few months earlier on January 31.[274]
May 14
Julian Bream performs at the Fretted Instrument Guild’s “Hands Across the Sea” all-star show. Brewer, the BMG reviewer, stated that “The audience will long remember this 16-year-old player's interpretation of Malats' 'Serenata' and Villa-Lobos' 'Choros No. 1.'” and that Julian Bream should be "awarded chief honours as a virtuoso of the Spanish guitar". In the second part of the programme “Julian Bream then added to the laurels he had already earned by giving a truly wonderful version of Bach's " Gavotte". A picture of Julian with his Martin guitar was included.[275] The reviewer did mention that there may have been one performance that might have eclipsed Julian’s performance, the mandolin player Hugo D’Alton.[276]
June 10
There is no evidence that Henry or Julian attended the June PSG meeting.[277]
June 15
Julian plays a radio broadcast for the BBC Light Programme on a show called Continental Exchange. Twentieth-Century Serenaders conducted by Monia Liter also appear on this show independently from Julian. The PSG Bulletin reported that Julian played solo guitar pieces on this show. Unfortunately, due to bad weather, the program was not heard in some parts of Europe but the program was heard clearly throughout England and France.[278]
July 15
There is no evidence that Henry or Julian attended the July PSG meeting.[279]
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”.[280]
August – September
The Phillip Brown’s Music Agency employs Julian to play the guitar for an Arts Council production of Othello in the Library Theatre in Manchester from late August to late September. The production was directed by Kenneth Tynan. Julian is getting paid 15 pounds per week.[281] Julian was being paid at Musician’s Union rates (much more than the actors).[282] Julian played the guitar on stage during the performance and off stage, with amplification, in the interval.[283] A picture taken during a performance indicates that he was playing the Martin guitar.[284] Julian got permission to take off from school from Sir Dyson since he knew Julian needed the money.
Webmaster’s note: BMG magazine incorrectly states that Julian started playing with the production in September.[285]
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. [286]
August 31
Julian was scheduled to play in the radio broadcast for the programme Music for Tea Time but Henry was successful in cancelling the engagement so Julian could perform with the extended Othello production in Manchester.[287]
Soon after becoming friends with Thomas Goff, the instrument maker introduces Julian to the Cambridge music professor, Bob Thurston Dart and Dart’s student David Lumsden. Dart had Lumsden doing research on English lute music so both provided Julian from time to time with handwritten pieces of lute music.[288]
September
Julian started advertising his teaching services in the September issue of BMG.[289]
September 16
Henry Bream request that an announcement should be made during the September 16 PSG meeting to notify the membership of his terminal illness.[290] Wilfrid Appleby writes Henry a letter in response letting him know how sorry he is to hear of his illness and how he appreciates all of his hard work and enthusiasm for the guitar despite the often-difficult circumstances.[291] Henry replies to Appleby in a letter thanking him for all he did for Julian and that it goes on record that “Cheltenham was the first to truly sponsor Julian”.[292]
September 19
A rebroadcast on the Third Programme of the English version of Lorca's Blood Wedding. The original radio broadcast was for the BBC Home Service on March 6, 1950. This NEW production of the English version of Blood Wedding that aired twice this year was recorded earlier this year but Julian had participated in an earlier production in 1949. Both productions had Eduardo M. Torner, writing the accompanying music but with this new 1950 production, Julian was joined on second guitar by Bert Weedon.[293]
October 26
Julian plays a radio broadcast for BBC.[294]
Webmaster's note: Button's book reports that Julian had a broadcast on October 26, 1950, but no entries were found for Julian Bream in the entire month of October 1950.
October 21 or 28
There is no evidence that Julian attended the October PSG meeting.[295]
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.[296] BMG reviewer Ray Dempsey stated that Ponce’s “Sonata Romantica” was played exquisitely and that for him it was the high point of the night. He also mentioned that Julian needs a better guitar.[297] Henry Bream is very ill at this time and sends Julian’s sister, Janice, to represent the family at Julian’s important London concert.[298] Julian was still using a Martin guitar during this time period.
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. [299]
Webmaster’s note: Stewart W. Button book, Julian Bream: The Foundations of a Musical Career, 1996, reported Henry G. Bream’s death as the 9th of November 1950 when he died on the 10th of November 1950.[300] In the chronology at the end of the book he mistakenly writes 1951 as the year of death instead of 1950.[301]
November 12, 16
Julian plays a radio broadcast for the BBC Third Programme. An English version of Lorca's Yerma with Marjorie Westbury. The music written by Eduardo M. Torner, the Spanish musicologist. Julian and Desmond Dupré both play guitars. The show is aired on November 12 and then rebroadcast on November 16. [302]
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. [303]
November 18
Julian plays at the November PSG Meeting. Julian, accompanied by 3 fellow students from the Royal College of Music, play the Schubert’s quartet. This quartet was adapted by Schubert from W. Matiegka's “Trio for flute, viola and guitar” by rewriting it and adding a part for violoncello. He was J.W.H. Underwood on viola, Vivian Couling on violoncello, Colin Curd on flute and Julian Bream on guitar.[304]
Webmaster’s note: Julian’s first performance before an audience after the passing of his father 8 days prior.
November 24
Julian plays a solo concert at the Manchester Library Theatre on November 24. His standing ovation was extremely enthusiastic and was called back out on stage for 4 encores.[305]
November-December
In the new PSG Bulletin, Dr Perott dedicates his presidential message to the passing of two beloved PSG members, one of them being Julian’s father, Henry George Bream.[306]. Additionally, there is also a column dedicated to the life of Henry G Bream that incorporates his importance in the musical development of his son Julian. [307] The bulletin also published a thank you letter from Julian Bream showing his appreciation for the flowers sent for his father’s funeral and the support the PSG members gave him and his mother during his father’s illness. Finally, he thanks the PSG for sponsoring his successful recital at Cowdry Hall in Cavendish Square.[308] The Bulletin also includes a very favourable review of the recital at Cowdry Hall.[309]
December 16
There is no evidence that Julian attended the December PSG meeting.[310]
The world-famous guitarist Angel Iglesias came with a Spanish Ballet company to the Saville Theatre, London in the last few weeks of 1950. Angel Iglesias is equally expert in classical and flamenco styles and is a teaches at several conservatories throughout Europe. During his visit Miss J. Vollers arranged for him to meet Julian Bream and Mr. Robert Blackett of Sydney, Australia at her house.
1951
January
The January BMG issue is published and Wilfrid Appleby uses a section of his monthly column “The Spanish Guitar” to address the unforgivable actions of the FIG and BBC broadcast titled “Unfortunate Broadcast”. He starts by referring to a column in the Radio Times that he felt suggested that the classical guitar would not just be featured but the actual focus of the broadcast. The only performers selected for the broadcast excerpt of the Guitar Festival were electric and plectrum guitarist. He suggests that the “outrageous attempts to misrepresent and discredit the real guitar” is worthy of protest to the BBC and the FIG.[1]
Webmaster’s note: This column by Appleby would start a flood of response letters, both pro and con, and many were published in the “Correspondence” section of the following BMG issue.
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 asked Douglas Lawrence to try and arrange for Julian for some time before his death. This is one of the two requests that Henry made when he gave Lawrence a ticket for the Cowdry Hall recital [156]
January 13
There is no evidence that Julian attended the January PSG meeting. Hector Quine performed at the meeting.
Webmaster’s note: Quine was a classical guitar student of Julian Bream and they both shared a flat in London. Soon he would start constructing his first guitar and his second guitar turned out so well, Julian used it on his fourth Wigmore Hall engagement.
February
The February BMG issue is published and it contained a barrage of letters criticizing Wilfrid Appleby’s negative comments toward the Guitar Festival, FIG and the BBC broadcast despite sympathizing with his love for the Spanish Guitar.[1] The letters would continue coming in the March BMG issue but Appleby did not provide any response to his critics in his column.[2]
February 3
Julian performs at the February PSG meeting. Deric Kennard and Julian Bream play guitar duets on "Rondo " by Carulli, "Tiento" by Carezom and the "Minuet in Cannon" by Adolt; Julian Bream plays a solo, " Study in D Major" by Sor.[3]
February 12
Julian plays the Kohaut “Guitar Concerto” at the Queen Alexander House in Kensington with the Royal College of Music Student Orchestra. The work was originally for Lute and string trio and Julian re-arranged it for guitar and orchestra.[4]
February 16, 19
Julian plays a radio broadcast for the BBC Third Programme , 5 part series called Music of the Renaissance. Julian plays guitar on two of the programmes. The program also included Geraint Jones on organ, The Deller Consort and The Consort of Viols of the Schola Cantorum Basiliensis. It is not known if Julian plays exclusively on solo guitar or if he serves as an accompanist.[5]
February 20
The Bishopsgate Institute in London held regular lunchtime concerts and Julian is the featured artist on this day.[6] The concert was reviewed very favourably by Eric Blom of "The Observer".[7]
March 10
PSG March Annual Meeting – no information available at this time.[8]
March 13
Julian plays a radio broadcast for the BBC Light Programme on a show called Southern Serenade with the Southern Serenade Orchestra directed by Lou Whiteson.[9]. Appleby reported that Julian Bream appears on guitar as a soloist. He performed the “Study in B minor” by Sor, “Burgalesa” by Torroba and “Soleares” by Turina.[10]
Webmaster’s note: Appleby reported that Julian performed on this show on March 9 but the BBC Archives stated the date as March 13. It is possible that this performance was broadcast on both days. It is also possible that this is a rebroadcast of the March 9, 1950 show (the year prior) where Julian again performed in the same show with the Southern Serenade Orchestra. The inaugural issue of Guitar News magazine published in June-July 1951 covered broadcasts from many months prior to its release. Appleby kept extensive notes on Julian’s progression as a professional guitarist and could have easily mistaken the two dates that took place in March, roughly, within a year of each other.[11]
March 16
Douglas Lawrence contracted Julian to play a morning recital for a radio broadcast on the BBC Home Service with tenor John Turner. Solos performed by Julian included two Dowland galliards, “Fantasia” by Weiss, “Minuet in D” by Haydn and “Granada” by Albéniz.[1] Appleby reported that Julian shared the 30-minute recital with Mr Turner but did not expressly indicate that he accompanied the tenor on this performance.
March-April
Douglas Lawrence contracted Julian earlier in the year to play a broadcast for BBC Arts on the Light Programme with the BBC Opera Orchestra conducted by Stanford Robinson. They schedule to perform Joaquin Rodrigo’s Concierto de Aranjuez. Julian has 3 weeks to learn it before the recording day.[1] Julian was offered 5 pounds for his performance but he asked for more. The BBC finally agreed to pay him 7 guineas.
April 1
Julian Bream plays 16th-century French and Spanish lute and Vihuela music arranged for the guitar for the BBC Third Programme’s Madrigals and Music for Guitar.[1] W. Appleby reported that Julian performed three pavanes by Luis Milan, a very beautiful pavane in the Spanish style by a French composer, Antoine Francisque (who died in Paris, 1605), and the variations on Conde Claros by Luis de Narvaez (transcription by Emilio Pujol).[2]
April 6
Julian plays a radio broadcast for the BBC Light Programme on a show called Friday Fretwork. He plays pieces for solo guitar. Mandolinist, Hugo d’Alton also played classical solos. A Hawaiian guitarist also performed.[3] W. Appleby protested that a classical performance should not have been aired with a Hawaiian guitar player.[4]
April 13
Harold Rutland wrote a sizable introduction paragraph dedicated to Julian Bream in the Radio Times - Journal of the BBC. A guide to radio and television programming. It appeared in both the radio and television/radio editions. The article was accompanied by a large photo of Julian with what appears to be the Martin guitar. The guide is released weekly a few days before the scheduled programming for the week.[5]
Webmaster’s note: While the article detailing Julian’s history did not mention why they were featuring him this week on the Music Diary, the reason for the feature is that he is playing soloist on Rodrigo’s Concierto de Aranjuez, that week on a BBC broadcast of the concerto.[6]
April 14
PSG April Meeting – no information available at this time.[7]
April 21
Julian performs his first radio broadcast of Rodrigo’s Concierto de Aranjuez with the BBC Orchestra, conducted by Stan Robinson for the BBC Light Programme show Stan Robinson Presents. The performance was likely recorded over a week prior to the broadcast date. Only the second and third movements were aired.[1] This was Julian's first-time playing soloist with an orchestra.
Webmaster’s note: it is not known if the first movement of the concerto was recorded but omitted from the broadcast. All future rebroadcasts only included the second and third movement as well. It can be assumed that Julian used his Martin guitar. It was his favourite guitar during 1949-1952. Button’s book states that the first broadcast was the 24th of April but it was actually the 21st.
April 22
Julian performed with a quartet accompanying tenor Jan van der Gucht for a radio programme based on songs and extracts from Shakespeare titled The Pretty Ringtime. The music was composed by Hugh Young. Julian on guitar, George Barret on flute, Cyril Chapman on clarinet and Norman Jones on cello.[1]
Webmaster’s note: This radio programme was briefly reviewed by Appleby for the Guitar News but he did not mention if it was broadcast on one of the BBC stations or some other independent radio station. We could not find an obvious reference to this programme in any of the BBC Archives.
April 23
Sir George Dyson sends E. Tillet, the doyenne of music agents, a letter on the 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]
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.[1]
Webmaster’s note: It is not known if the BBC recording or the tape given to John Williams still exists.
May
The May BMG issue is published and Wilfrid Appleby used his column to resign all of his associations with BMG for supporting the Fretted Instrument Guild and the Guitar Festival. He gave the BMG editor, A.P. Sharpe, an ultimatum, essentially wanting assurance that the word “guitar” would only be used in association with the Spanish classical instrument. Sharpe felt his request and his entire argument to be “ridiculous” and gave him no such assurance. Additionally, Sharpe reported that Appleby had also resigned as editor from the PSG Bulletin over the same issue.[1]
May 3
Julian accompanied three BBC musicians to play Schubert’s “Quartet in G” for the BBC Third programme on a show called Schubert. The piece is a Schubert adaption from W. Matiegka’s “Trio for Flute, Viola and Guitar”. The performers were Eileen Grainger on viola, Bernard Richards on cello, Edward Walker on flute and Julian Bream on guitar.[2] This show was rebroadcast on October 23, 1951, and again on November 27, 1951.[3]
Webmaster’s note: This is the same Schubert quartet that Julian had performed with at the PSG meeting on November 18, 1950 (his classmates from the RCM).
May 19
PSG May Meeting – no information available at this time.[4]
May 28
Julian plays a radio broadcast for the BBC Home Service on a show called A Serenade of Saxophones. The Michael Krein Saxophone Quartet also performed. No information is available on performances.[5]
June
Terry Usher reviewed the BBC radio broadcast concert of the Concierto de Aranjuez in April with Julian Bream as the soloist. Usher reviewed Julian’s playing very favourably but mentioned that the BBC could have done a better job of making the guitar sound louder instead of balanced with the orchestra. He also criticized the use of the word “young” when referring to Julian. He felt Julian was not only old enough to be considered an adult but his playing was more mature than most musicians twice his age (Julian is just a few months shy of 18 years of age at the time of the broadcast).[6]
Webmaster’s note: W. Appleby had a falling out with numerous people in the guitar community over the BBC broadcast of the Fretted Instrument Guild festival. This eventually led him to resign from being the editor of the PSG Bulletin and he discontinued writing his column The Spanish Guitar for BMG. Terry Usher filled in with a Spanish classical guitar column after Appleby’s departure called The Guitar. Appleby introduced his journal exclusively dedicated to the Spanish classical guitar called Guitar News.
June 9
PSG June Meeting – no information available at this time.[7]
June 16
The BBC Third Programme appears to rebroadcast the English version of Lorca's Yerma with Marjorie Westbury. The music written by Eduardo M. Torner, the Spanish musicologist. Julian and Desmond Dupré both play guitars. The show originally aired on November 12 and 16, 1950.[1]
June 20
Julian plays a radio broadcast for the BBC Third Programme on a show called Recital. Baritone Frederick Fuller and violinist Henriette Cantor were part of the recital but not know if Julian accompanied them. This show was rebroadcast on July 3, 1951.[2] W. Appleby reported that Julian played Robert de Visée “Suite for D minor” on solo guitar and “it was absolutely delightful”.[3]
June 21
Julian plays a radio broadcast for the BBC Third Programme on a show called Recital. Julian accompanies soprano Victoria de los Angeles on guitar with violas, a viola da gamba, harpsichord and flutes.[4]
June 28
Julian plays a radio broadcast for the BBC Light Programme on a show called Music in Miniature. Julian accompanies soprano Victoria de los Angeles on guitar with a string section.[5]
July 1
Julian plays a radio broadcast for the BBC Light Programme on a show called South American Way with the Southern Serenade Orchestra directed by Lou Whiteson. No programme notes available but Julian likely played solo guitar pieces. W. Appleby reports that Julian performed "Adelita” by Tarrega and “Two Mexictan Songs” by Ponce.[6]
July 15
Julian is 18 years old. In England in 1951, you were not legally considered Age of Majority till 21 but men did have a military obligation at the age of 18 years.[7]
July 20
Julian’s first known performance outside of the UK and likely the first time out of the country, to attend a gathering of guitar enthusiast in Paris France. A miniature “Convention of Guitarist” at a meeting of Les Amis de la Guitare. Julian meets several notable people from the guitar world at this meeting represented by people from four different countries, among them guitarist Ida Presti and luthier Robert Bouchet from France and guitarist Alexandre Lagoya from Egypt. During the meeting it was reported that both Ida Presti and Julian Bream played solos from their repertoires to the great delight of all of the attendees.[8]
August 9
Julian plays a radio broadcast for the BBC Home Service on a show called Music in Miniature. Julian played “Andante” by Torroba.[9]
August 19
Julian plays a radio broadcast for the BBC Light Programme on a show called South American Way with the Fredric Cooper and his Tipica Orchestra. No programme notes available but Julian likely played solo guitar pieces.[10]
August 26
Julian played at a St. Ives (Cornwall) concert presented by S.A.M.A. Julian played the entire second
half of the concert. It was the first time a guitarist had visited St. Ives for a solo recital.[11]
August 27
Julian plays a radio broadcast for the BBC Home Service on a show called Recital. The programme opened with a harpsichord piece, Air and Hornpipe by Purcell arranged by Julian for solo guitar. This was followed by Sonata in D by Josef Kohaut. After the interval performance by a tenor, pianist and string quartet, Julian played a prelude by Bach and concluded with Choros No. 1 by Villa-Lobos.[12]
September
Julian plays at the PSG September meeting along with many other guitarists. Julian performs "Air and Hornpipe" by Purcell, "Andantino" by Sor, "Melodia" by Torroba and "Adelita" by Tarrega. Afterwards, Deric Kennard and Julian Bream perform a duet on two preludes by Bach and “Intermezzo" by Granados.[13]
September 12
Julian Bream plays 16th century music arranged for the guitar for the BBC Third Programme’s Madrigals and Music for Guitar.[14] No programme information available for this broadcast. May have been a rebroadcast of the April 1, 1951 show.
September 16
Julian plays a radio broadcast for the BBC Light Programme on a show called South American Way with the Southern Serenade Orchestra directed by Lou Whiteson. No programme notes available but Julian likely played solo guitar pieces. This may have been a rebroadcast of the July 1, 1951 show.[15]
October 15
Julian Bream plays 16th music arranged for the guitar for the BBC Third Programme’s Madrigals and Music for Guitar.[16] W. Appleby reported that the Dorian Singers, conducted by Matyas Seiber, sang the Madrigals and Julian played the guitar solos.[17]
October 17
Julian plays a radio broadcast for the BBC Home Service on a show called Music in Miniature. Julian accompanies soprano Victoria de los Angeles on guitar with a string section.[18] This show is likely a rebroadcast from the June 28, 1951 show on the Light Programme.[19]
November 26
Julian plays his 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]
November 28
Heolgam Music Club in conjunction with the Arts Council from Wales presented Julian Bream on guitar, Henriette Canter on violin and Paul Hamburger on piano in a concert at Bridgend. The guitar solos included a group by Purcell, a gavotte by Bach, an andantino by Sor, a minuet by Haydn and compositions by Spanish composers Chile, Columbia and Torroba, Malats, Albeniz and Turina. It is not known if Julian accompanied the other performers. This appears to be the first time Julian performs in Wales.[1]
At some point in 1951, Thomas Goff finishes building a more authentic 7-course Renaissance lute after having converted a German "lute guitar" into a 7-course lute earlier that year.[2] 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.[3]
Webmaster's note: More recent references use Wendelin instead of Vendelin for Tieffenbruker's given name.
December 10
Julian plays a radio broadcast for the BBC Third Programme on a show called French Chamber Music.
Julian performs on guitar with Musica da Camera: Harold Clarke on flute, Vera Kantrovitch on violin, Cecil Aronowitz on viola, Joy Hall on cello and Hubert Dawkes on harpsichord. No programme notes are available.[1] Appleby reported that it was England’s first broadcast of an Entracte for flute and guitar composed by Jacques Ibert.
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]
December 30
Julian plays a television broadcast for the BBC Television Service in a play called The Sire de Maletroit’s Door on the television series BBC Sunday-Night Theatre featuring Alan Wheatley as the Sir de Maletroit. The story is by Robert Louis Stevenson and adapted for television by Winston Clewes. It is a very small cast and Julian is actually on set playing guitar and “acting” as a guitar minstrel.[1]
1952
January
Julian attends the January PSG meeting and plays three familiar pieces and one less well-known. He played “ Study in B minor” by Sor, “ Soleares” by Turina, a minuet by Haydn and Andantino by Sor.[1]
January 15
Julian plays a radio broadcast for the BBC Light Programme on a show called The Pavilion Players, directed by David Wolfsthal.[2] No programme notes are available but W. Appleby reported in a general manner on the multiple shows of The Pavilion Players that aired throughout January and February where Julian appeared. Julian played guitar solos including a bourrée by Bach, “Catalan Folk Song” by Grau, a minuet by Aguado, “Tango” by Albeniz, “Adelita” by Tarrega, “Soleares” by Turina, a mazurka by Tansman, “Study in D” by Sor and “Tango” by Pujol, among other.
Webmaster's note: It is not clear if Julian was the only performer on the show or if the pieces performed were all played in each broadcast or scattered throughout the different broadcasts. The following shows on January 22, 29 and February 5 may have been rebroadcast or new shows. All broadcasts were at 23:15. [3]
January 17
Julian plays a radio broadcast for the BBC Home Service on a show called First House Michael Miles presents ‘Accent on Youth’. A revue by professional artists under twenty-one years old.[4]
February
Julian receives a letter from Her Majesty’s Forces stating that he has to report for his National Service.[5]
February 1952
Terry Usher records two pieces arranged by Julian Bream for Decibel Records. The first piece was published as “Minuet in A major” by Sor. While Usher plays it as published with only minor changes, he recorded it more in the style of an andantino, so it was labelled on the record as “Andantino (Minuetto)”. Similarly, the Haydn piece was published as “Andante” in D minor but Usher recorded the piece as an andantino leaning towards a minuet. Usher had the record company label the flip side of the disc as Andantino (Quasi Minuetto).[6]
March 13
Julian plays for the BBC Home Service in a show called Songs of Spain and South America. He accompanies baritone Frederick Fuller on guitar.[7]
March 15
Julian is scheduled to play a recital in Cheltenham but cancels once he receives notice from Her Majesty’s Forces that he has to comply with his National Service.[8]
Webmaster’s note: most likely this was Bream’s Basic Training period (often called “boot camp”), a period of anywhere between 8 to 14 weeks where recruits are prepared for all elements of service.
Within 3 weeks of boot camp, Julian has a breakdown during bayonet practice and starts crying. He is immediately escorted away from the other soldiers and is asked the reason for crying. He explains that he is a musician and has not played a note in 3 weeks and that he just came close to having another soldier accidentally cut his hand with a bayonet during practice. The officer was sympathetic to his cause and allowed him to bring his instruments on base so he could practice for at least 30 minutes a day.[9] Initially, Julian had not been allowed to bring his instruments to boot camp so he leaves them in old 1936 Austin Seven fish van he had recently bought and drove the van to a long-term storage garage.[10]
April 16
Julian plays a radio broadcast for the BBC Home Service on a show called Francesco Landini. The programme is arranged and introduced by Thurston Dart. Counter-tenor Alfred Deller and tenor Rene Soames are accompanied by an instrumental ensemble and Julian on guitar.[11]
April 17
Julian plays a radio broadcast for the BBC Home Service with the Golden Age Singers on a show called The Thursday Concert before an audience in the Concert Hall, Broadcasting House, London. The programme was directed by Margaret Field-Hyde (also singing soprano) along with soprano Eileen McLoughlin, counter-tenor Alfred Deller, tenor Rene Soames and baritone Gordon Clinton. Julian accompanies them on the lute and guitar. No programme notes are available for selections.[12]
Webmaster’s note: This appears to be the first time that Julian performs with the lute on a radio broadcast. He would record with the Golden Age Singers in a couple of years as a session lute player for their Westminster label release. It was to be Julian’s earliest recordings destined for an official vinyl LP release.
April 19
Julian performed at the April PSG meeting. He was noted to have played Bach's Prelude and Fugue exquisitely. John Williams also performed "on a full-size guitar with a competence that Julian Bream said he himself “did not command at the same age."[13]
April 28
The New Orpheus Singers gave a concert at Cowdray Hall, London and Julian Bream is featured as a soloist.[14]
May
Julian performs at the May PSG meeting. Over 100 people attended the PSG meeting. Julian Bream and Deric Kennard played several duets, "Unnamed Piece" by Dowland, No. 9 of the “Little Preludes" by Bach, "Cantabile" by Sor and "Therezinha de Jesus" by Villa-Lobos. Julian played several solos, "Bouree and Double" by Bach, "Andante" by Torroba and Soleares" and "Fandaguillo" by Turina. Len and John Williams also attended and performed.[15]
Webmaster’s note: This meeting is assumed to have been the May PSG meeting. The BMG magazine failed to include a date when reporting on the events but they had usually been reporting PSG club notes 2 months after the meeting had taken place. The information could not be verified with the PSG Bulletin because they had yet to resume publishing a bulletin since W. Appleby’s (editor) stormy departure a little over a year ago. The Guitar News would not include any information pertaining to PSG meetings.
May 11
Julian plays a television broadcast for the BBC Television Service in a play called Martine by Jean-Jacques Bernard on the BBC Sunday-Night Theatre. The play is starring Claire Bloom and Denholm Elliott and Julian plays incidental music.[16] IMBd reports that Julian is part of the music department and not on screen.[17]
May-June
Soon after starting with the Royal Artillery, Julian is asked by Thurston Dart to play lute continuo in a studio production of Monteverdi’s Orfeo on the BBC Third Programme. Julian would attend the rehearsal in army attire and would often have to “break barracks” hoping that nobody would notice his absence. He would pay someone to keep his area clean for inspection. Bream has stated that it was one of the greatest musical experiences of his life. Diana Poulton played the chitarrone and Desmond Dupre played the lute and viola de gamba. They were played for 6 rehearsals and 2 performances.[18]
June 4
Thurston Dart talks to the BBC Third Programme about Monteverdi's opera Orfeo in preparation for the airing of the 2 performances of the opera. Each performance will be aired in two parts. The first performance is to be aired on the Third Programme on Friday, June 6 and next Monday, June 9.[19]
June 6
The first broadcast of the first recorded performance of Claudio Monteverdi’s Orfeo - Part One. After a brief break, Part Two of the first recorded performance is broadcast.[20]
June 8
Julian plays a radio broadcast for the BBC Home Service. An English version of the Brothers Quinero's The Women Have Their Way translated by Helen and Harley Granville-Barker, with radio adaptation and production by Raymond Raikes. The scene takes place in a small town in Andalusia and Julian accompanies the dialogue with the guitar.[21]
June 9
The first broadcast of the second recorded performance of Claudio Monteverdi’s Orfeo - Part One. After a brief break, Part Two of the second recorded performance is broadcast.[22]
June 9
Julian plays a radio broadcast for the BBC Third Programme on a show called French Chamber Music. Julian performs on guitar with Musica da Camera: Harold Clarke on flute, Vera Kantrovitch on violin, Cecil Aronowitz on viola, Joy Hall on cello and Hubert Dawkes on harpsichord. No detailed programme notes are available. This may be a rebroadcast of the December 10, 1951 show or maybe a new broadcast with the same musicians.[23]
June 15
Julian plays at the Aldeburgh Festival for the first time at the Jubilee Hall. He performs on guitar with flautist John Frances on Schubert’s Variations on Trock’ne Blumen, op. 160 for flute and piano in addition to some guitar solos including a Villa-Lobos piece.[1] Julian meets Benjamin Britten, who was in the first row, when a draft blew all his sheet music off the music stand and Britten helped him pick it up from the floor.[2] He later formally met Britten and Peter Pears at a party after the concert that same night. 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 Britten-Pears and Julian's musical relationship.[3] BMG reported on Julian’s performance by quoting a review from the Musical Opinion by D.M.. The guitar and flute sonata was poorly reviewed and the reviewer felt Bream’s incredible talents should not be wasted on an instrument like the guitar.[4] John Duarte and Ann Fischer write strong rebuttals to the Musical Opinion article.[5]
Webmaster’s note: It is often reported that this was the first time that Julian had ever met Britten and Pears but it is believed that Julian had actually met Pears a few months earlier at a memorial concert for Dr. Fellowes. Verify this statement.
June
Julian performs at the June PSG meeting. Nearly 100 people attended the PSG meeting. Julian Bream and Deric Kennard played several duets, a Nocturne in three movements by Carruli and two of the “Little Preludes" by Bach. Julian played a group of solos. The BMG magazine failed to include an exact date when reporting on the event.[1]
June 16
Julian plays a radio broadcast for the BBC Light Programme on a show called Continental Serenade with Eugene Pini and his Tango Orchestra. No programme notes available but Julian likely played solo guitar pieces.[2]
July
Concierto de Aranjauez with the BSO. 19 ys old.
July 15
Julian plays at the July PSG meeting. The meeting coincided with Julian’s 19th birthday. The organization provided a guitar in the shape of a guitar and well over 100 people attended. A new trio assembled by Julian Bream (viola, guitar and double bass) performed a work by the lutenist Kohaut. Julian closed the meeting with a group of guitar solos, "Granada” by Albeniz, a sarabande by Haydn and his own arrangement of a harpsichord sonata by Cimarosa.[1]
July
Julian enlisted with the British Army early in the year to comply with his National Service. Initially based at Devizes in the Pay Corps for his initial training and then, after a short period off, he is transferred to the Royal Artillery at Woolwich roughly around the month of July.[1]
Thomas Goff’s cousin, Lieutenant-Colonel O. Greary (a very senior officer in the army and associated with the Royal Artillery Band, was able to have Julian transferred to the Royal Artillery in Woolwich. In order to accomplish this transfer, Julian had to sign up for 21 years with the option of resigning every 3 years. Had he signed up for the minimum two-year period required for new cadets, he would not have been transferred to Woolwich. Once at the Royal Artillery, he performed on the cello with the Artillery’s symphony orchestra and in one picture is observed playing the classical guitar with the orchestra. He also played electric plectrum guitar with the Artillery dance band. Julian on occasion would play the solo piano as well. Julian is in the service from 1952 to 1955.[2] Soon after his transfer to the Royal Artillery, Julian was able to secure a pass that would allow him to live primarily off base which would allow him to continue to participate in performances at night as well as teaching classical guitar.[3]
July 29
Julian plays a radio broadcast for the BBC Third Programme on a show called Bach St. John Passion – Part One. The performance is in English with soprano Jennifer Vyvyan, contralto Kathleen Joyce, tenor Raymond Nilsson, Bass, Richard Standen and the BBC Chorus with chorus-master Leslie Woodgate. Tenor William Herbert as the Evangelist, Bass Harvey Alan as Jesus, bass Scott Joynt as Peter and Paul. The instrumentalist are Julian Bream on lute, Desmond Dupre on viola da gamba, Ambrose Gauntlett on cello, Charles Spinks on organ and Cconducted by Paul Sacher.[1]
July 30
Julian plays a radio broadcast for the BBC Third Programme on a show called Bach St. John Passion – Part One. The performance is in English with soprano Jennifer Vyvyan, contralto Kathleen Joyce, tenor Raymond Nilsson, Bass, Richard Standen and the BBC Chorus with chorus master Leslie Woodgate. Tenor William Herbert as the Evangelist, Bass Harvey Alan as Jesus, bass Scott Joynt as Peter and Paul. The instrumentalist are Julian Bream on lute, Desmond Dupre on viola da gamba, Ambrose Gauntlett on cello, Charles Spinks on organ and Cconducted by Paul Sacher.[2]
Webmaster’s note: In both the Radio Times magazine and the BBC Archives, this broadcast is labelled as “Part One” just like the July 29 broadcast. This is either a rebroadcast of the July 29th show or it was mislabeled as “Part One” but it was actually “Part Two”. There does not appear to have been any other broadcast around this time.
August
Julian plays at the August PSG meeting and nearly 100 people attend. Julian closed the meeting with a group of guitar solos, "Sonata” by Cimarosa, an allegretto by Rameau and an allegretto by Tórroba.[1]
August 29
Julian plays a radio broadcast for the BBC Light Programme on a show called Southern Serenade with the Southern Serenade Orchestra directed by Lou Whiteson. No programme notes are available but Julian likely played solo guitar pieces.[2]
September 8
Julian plays a radio broadcast for the BBC Home Service on a show called First House Michael Miles presents ‘Accent on Youth’. A revue by professional artists under twenty-one years old. No detailed programme notes are available. Not clear if this is a rebroadcast of the January 17, 152 show or a new broadcast.[3] W. Appleby reports that Julian performed one guitar piece.[4]
September 8
Julian plays a radio broadcast with his guitar for the BBC Home Service. No detailed programme notes are available.[5] W. Appleby reports that it was a short guitar recital of four pieces.[6]
September 17
Julian plays his second Wigmore Hall recital. His second appearance at the famous hall is considered a huge success. The first part of the programme is dedicated to Renaissance pieces and is played on the Thomas Goff lute and the remaining pieces are played with the classical guitar.[7]
September
Julian plays at the September PSG meeting. He performs a duet with Deric Kennard. Two of Milhaud's "Saudades do Brasil" and the Intermezzo from de Falla's "La Vida Breve" in one of the "most stimulating and exciting sessions of duet playing yet heard in the Alliance Hall". John Williams (aged 11) made a welcome reappearance to play Sor's well-known Mozart variations and a Mozart minuet.[8]
September 28
Julian plays a radio broadcast for the BBC Third Programme on a show called Chamber Music. Julian performs on guitar with Musica da Camera: Harold Clarke on flute, Robert Cattermote on oboe, Sidney Fell on clarinet, Archie Camden on bassoon, Vera Kantrovitch on violin, Tessa Robins on violin, Cecil Aronowitz on viola, Joy Hall on cello and Hubert Dawkes on harpsichord. No detailed programme notes are available. This may be a rebroadcast of the December 10, 1951 show or may be a new broadcast with the same musicians.[9] W. Appleby reports that Boccherini’s Quintet No. 1 in D was performed.[10] Haydn’s Quartet in D for violin, viola, cello and guitar was also performed.[11]
October 3
Julian plays a radio broadcast for the BBC Home Service on a show called The Friday Recital. Julian plays a guitar solo recital playing his own transcription of the famous Bach “Chaconne”. Appleby reported that “he gave a truly magnificent performance”. Other pieces performed were “Overture” by Weiss, a minuet by Haydn, a prelude by Villa-Lobos and a Pujol arrangement of “Sevilla” by Albeniz.[12]
October 25
Julian performs a recital with singer Frederick Fuller for the Norfolk and Norwich Music Club at the Assembly House in Norwich. Julian plays solo guitar pieces and accompanies Fuller as well. The Eastern Daily Press wrote a very favourable review, especially in reference to Julian.[13]
November 9
Julian plays a radio broadcast for the BBC Home Service on a show called Music Magazine. A weekly review edited by Anna Instone and Julian Herbage. No programme notes are available but Julian plays in the segment called “The Guitar”.[14] W. Appleby reported that Julian, with the cooperation of Frederick Fuller (baritone), gave an excellent talk and demonstration touching on the history of the guitar and its relation to the lute. To show its wide range of tone-colour, he played a Haydn minuet.”[15]
Webmaster’s note:Guitar News incorrectly reported the date as November 7.
November 9
Julian Bream gave a recital at the Cambridge Arts Theatre.[16]
Webmaster’s note: this was the venue where Julian first saw Andrés Segovia perform.
November 21
Julian plays a radio broadcast for the BBC Third Programme on a show called Ode on St. Cecilia’s Day. The performance is with soprano Margaret Richie, tenor Richard Lewis and the BBC Chorus with chorus master Leslie Woodgate. The instrumentalist are Julian Bream on the lute, Keith Jewell on the organ, Charles Spinks on the harpsichord and a section of the London Symphony Orchestra with conductor Clarence Raybould.[17]
December 17
Julian plays a radio broadcast for the BBC Home Service on a show called Southern Serenade – Music of the Sunny South with the Southern Serenade Orchestra directed by Lou Whiteson. No programme notes available but Julian likely played solo guitar pieces.[18]
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]
January
The January issue of BMG published an article comparing Segovia with Julian Bream. While the author still gives Segovia the interpretive edge over Bream, “Julian Bream has reached the age when his youth is no longer a “draw." Today his drawing power lies in his skill in playing the guitar. He is already a master of his instrument - what is lacking in his playing can only come by the maturing years.”[1]
January 13
Julian plays a radio broadcast for the BBC Home Service on a show called Recital. Julian plays a recital for solo guitar. Pieces performed were a gavotte by Weiss, a sarabande and double by Bach, an allegretto by Haydn, and Zigeunerlieder op. 103.[2]
January 15
Julian plays a radio broadcast for the BBC Third Programme in a recorded performance of Claudio Monteverdi’s ballet Il Ballo Dell’Ingrate produced by Denis Stevens. Julian plays the lute and accompanies The Ambrosian Singers, the Orpington Junior Singers and The New London Quartet in addition to continuo harpsichordist Charles Spinks and Desmond Dupre on viola da gamba. The ballet to be rebroadcast on January 17 and April 28, and August 18, 1953.[3]
January 19
Julian plays a radio broadcast for the BBC Third Programme on a show called Mozart and Boccherini. Julian plays guitar with members of the London Harpsichord Ensemble on Mozart’s “Quartet in D for Flute and Strings”(K 285) and Boccherini’s “Quintet in D for Guitar and Strings”. The programme to be rebroadcast on March 31, 1953.[4]
February 2
Julian plays a radio broadcast for the BBC Third Programme on a show called Musica da Camera. Julian performs on guitar with Musica da Camera: Harold Clarke on flute, Wilfrid Smith on flute, Vera Kantrovitch on violin, Lorraine du Val on violin, Cecil Aronowitz on viola, Joy Hall on cello and Hubert Dawkes on harpsichord. The program consisted of Allessandro Scarlatti’s “Quartet in F for flute, two viols and continuo”, Haydn’s “Quartet in D for violin, viola, cello and guitar” and C.P.E. Bach’s “Sonatina in D minor for two flutes, two violins, one viola, cello and harpsichord”. The programme to be rebroadcast on April 1, 1953.[5]
March 4
Julian plays a radio broadcast for the BBC Light Programme on a show called Music in the Home with Eugene Pini and his Tango Orchestra. No programme notes available but Applebly reported that Julian played solo guitar pieces by Tarrega, Bach and Albeniz.[6]
March 6
Julian’s guitar was reported stolen. He put his guitar case on the sidewalk in the early morning while loading up his van and accidentally drove off leaving the guitar behind. When he came back to retrieve the guitar (worth £600) it was no longer there. The guitar was found by a local porter and he returned it to Julian that night when he saw in the newspaper that the guitar was missing property to the 19-year-old.[7]
April 6
Julian plays a radio broadcast for the BBC Third Programme on a show called English Lute Music – 1. The Lute’s Apology for her Excellence. A series of nine programmes arranged by Thurston Dart. Julian plays “My Sick Tune” by an anonymous composer, Dowland’s “My Lady Hunsdon’s Puff”, “Mistress Winter’s Jump” and “Melancholy Galliard” and Brewster’s “Pavane” on solo lute. Desmond Dupree accompanies counter-tenor Alfred Deller on Ford’s “Since first I saw your face”, Morley’s “It was a Lover and his las”, Jones’ “Farewell dear love” and Attey’s “Sweet was the song.” The programme to be rebroadcast on August 12, 1953.[8]
April 9
Julian plays a radio broadcast for the BBC Third Programme on a show called English Lute Music – 2. Lute Duets and Manuscript Songs. A series of nine programmes arranged by Thurston Dart. Julian and Desmond Dupre play lute duets on Dowland’s “Fortune my foe”and “The Lord Chamberlain’s Galliard”, “Toy” and “Ground” by an anonymous composer, Robinson’s “Passy Measures Galliard” and “The Queen’s Goodnight”. Julian and Dupre accompanied soprano Jennifer Vyvyan on “The willow song”, “Have you seen but a white lily grow?”, “Oh death, rock me asleep”, “Miserere, my maker” and “Lady Ann Bothwell’s lament” by anonymous composers and “Go weep, sad soul” by Handford.[9]
April 12
Julian plays a radio broadcast for the BBC Third Programme on a show called English Lute Music - 3. Dowland’s Consort Music. A series of nine programmes arranged by Thurston Dart. Julian plays lute with the London Consort of Viols (Harry Danks and Stanley Wootton on treble viol, Jacqueline Townshend and Desmond Dupre on tenor viol and Henry Revell on bass viol) on Dowland’s “Lachrimae antiquae”, “The King of Denmark's Galliard”, “From silent night”, “Semper Dowland semper dolens”, “Nicholas Collier’s Galliard”, “Go nightly cares”, “Sir Henry Umpton's Funerall” and “George Whitehead 's Almand”. Soprano April Cantelo sang on “From silent night” and “Go nightly cares”.[10]
April 29
Julian plays a radio broadcast for the BBC Third Programme on a show called English Lute Music - 8. Morley’s Consort Lessons (1599). A series of nine programmes arranged by Thurston Dart. Julian on lute, Harry Danks on treble viol, Freddy Phillips on double (bass) guitar, Desmond Dupre on cittern and Henry Revell base viol (although Bream recalls Robert Donnington playing the base viol instead of Revell) and Stanley Taylor on base recorder. Singing by soprano Eilidh McNabb. Bream commented soon after retirement that it was likely one of the first performances in modern times of the Morley Consort Lessons. The consort performed “Quadro Pavane and Galliard” by Morley, “Allison’s Knell” by Allison, “ In the departure of the Lord” by Bull, “Lachrimae” by Dowland, “My Lord of Oxenford’s mask” by an anonymous composer and “Go from my window” by Morley. The BBC recorded the session and Thurston Dart gave Julian a 78rpm transcription recording of the group.[11]
Webmaster’s note: Julian did not participate in the fourth, fifth, sixth, seventh and ninth segment of the English Lute Music series.
Part 4 - Fantasies and Italianate Songs: Hermann Leeb (lute) accompanied Hugues Cuenod (tenor).
Part 5 - The Earliest Music and Duets for Voices and Lute: Michel Podolski (lute) and Desmond Dupre (viola da gamba) accompanied Elizabeth Cooper (soprano) and Eileen McLoughlin (soprano).
Part 6 - At Home and Abroad: Hermann Leeb (lute) accompanied Hugues Cuenod (tenor).
Part 7 - Pavanes. Galliards, and Songs: Walter Gerwig (lute) accompanied Rene Soames (tenor).
Part 9 - Dances, Variations and Songs by Dowland: Desmond Dupré (lute), Diana Poulton (lute) and Robert Donington (bass viol) accompanied Wilfrid Brown (tenor)
April 28
Bream performs with Peter Pears during a memorial concert for Dr Edmund Horace Fellowes who died on December 21, 1951. Pears is asked to sing at the memorial and Julian accompanies him on the lute. 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.[12] ????????????????? Does he meet Benjamin Britten as well? Decide if to erase this or erase December 1951.
May 9
Julian plays his third Wigmore Hall recital. He plays the Thomas Goff lute for the first half and the Hauser guitar for the second. He had multiple very favourable reviews. A reviewer called him one of the greatest living classical guitar players and likely the best living lutenist since the time of Dowland. This was Julian’s first public performance of Bach's "Chaconne" and reviewer Ann Fisher praised the performance as a success despite two minor issues that she referred to as "blemishes" in the performance. She then stated that the way he compensated for these blemishes with phrasing and tone colour made the listening "experience one of real value". Like several reviewers in the past, she criticized the simplistic and flamenco suggestions of the Spanish classical guitar repertoire and praised the guitar arrangements taken from classical pieces written for other instruments. defending the use of Spanish pieces to attract a wider audience.[1] Peter Sensier wrote a rebuttal to Ann Fisher's review. He argued that Spanish compositions are what usually attract the newer following for the classical guitar and the need for worthy contemporary compositions should not be at the expense of the Spanish repertoire.[2]
May 24
Julian plays a television broadcast for the BBC Television Service in a play called Will Shakespeare on the BBC Sunday-Night Theatre. An Invention by Clemence Dane and produced by Rudolph Cartier. New songs and music by Richard Addinsell. There are six scenes with a fairly large cast. Julian is actually on set playing guitar and “acting” as a guitar player. Two performances were recorded with the second performance being broadcast on May 28, 1953.[3] IMBd reports that Julian appears on screen during the televised play.[4]
May 26
Julian plays a radio broadcast for the BBC Home Service (Midland). Julian plays a recital for solo guitar. No programme notes are available for this broadcast. Appleby reported that Julian played he played a minuet by Haydn, an andantino by Sor, “Nocturno” by Moreno Torroba and “Cadiz” by Albeniz.[5]
May 28
Two performances were recorded on the same day for a television broadcast on the BBC Television Service for the play called Will Shakespeare on the BBC Sunday-Night Theatre. The first performance was broadcast on the 24th of May (see above for information) and the second on the 28th of May.[6]
June 6
Julian plays a radio broadcast for the BBC Home Service on a show called Bernard Monshin with Bernard Monshin and his Rio Tango Band. No programme notes are available but Julian likely played solo guitar pieces.[7]
June 21
Julian plays a radio broadcast for the BBC Home Service in a recorded performance of William Templeton’s play The Same Story produced by Ayton Whitaker. Julian accompanies the singers Brian Hayes and Alan Redd on the guitar.[8]
July
Julian performs at the Serenade Concert on the lawn of the rose garden of a haunted 14th-century manor house - Nether Lypiatt Manor. Julian Bream was one of the featured artists in the 18th-century programme for the afternoon. The large concert was for the Gloucester Cathedral Restoration Fund. Bream played two programmes throughout the event. In the first, he played two minuets by Rameau, sarabande with variations by Handel and sonatas by Scarlatti and Cimarosa. On his second appearance, Julian chose to play Bach and Haydn. He received a large ovation of applause and the entire event was described as "unforgettable". Julian Bream played his Hauser guitar.[1]
Webmaster’s note: Nether Lypiatt Manor is an 18th-century manor house, not 14th century as reported in Guitar News.
August 13
Julian plays a radio broadcast for the BBC Third Programme on a show called Music in the Early Tudor Court. A three-part series transcribed and edited by John Stevens. Julian only performed in the third segment - "Instrumental Music and Lute Songs". Julian accompanied baritone Philip Hattey on lute along with an instrumental ensemble. This programme was to be rebroadcast on October 25, 1953, and on May 5, 1954.[2]
August 16
Julian plays a radio broadcast for the BBC Home Service on a show called Morning Melody with The Leighton Lucas Orchestra conducted by Leighton Lucas. No programme notes are available but Julian likely played solo guitar pieces.[3]
August 27
Julian plays a radio broadcast for the BBC Home Service on a show called Recital. Julian accompanies soprano Thelma Godfrey on guitar on Dowland’s "Come again”, Byrd’s “Cradle Song”, the traditional song “Phillis was a faire maid” and Bartlet’s “Whither runneth my sweetheart?” and three songs by Mozart “An Chloë", “Das Veilchen” and “Un moto di gioja”. Julian played several guitar solos, “Air and Rondo” by Purcell, two studies by Sor and “Prelude, Andante and Arada" by Torroba.[4]
September 29
Julian plays a radio broadcast for the BBC Light Programme on a show called Under-Twenty Parade - “A slice of life presented for family listening by compères and commentators of the Younger Generation”. Julian Bream brings his guitar to the studio to show his paces as a young professional.[5]
Bream plays the guitar on the "Third Chinese Cantata" by William Bradwell.[6]
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.[7]
October 9
Julian plays a radio broadcast for the BBC Third Programme on a show called Chamber Music. Julian plays 4 pieces for solo guitar. ”Prelude” by Tansman, “Nocturno” by Torroba and Soleares and Fandanguillo by Turina.[1]
October 14
Julian plays his third Wigmore Hall recital. He plays the Thomas Goff lute for the first half and the Hauser guitar for the second. He had multiple very favourable reviews. He was scheduled to play the first performance of "Suite for the Guitar: Prelude, Nocturne and Toccata" but due to a strained hand he decided to postpone the new piece for a later date.[2]
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).[3]
November 2
Julian plays a radio broadcast for the BBC Third Programme in a recorded performance of Claudio Monteverdi’s opera L'incoronazione di Poppea. Julian accompanies on lute and guitar along with the instrumental ensemble, the BBC Mens Chorus and the Philharmonia Orchestra conducted by Walter Goehr.[4]
December
Len Williams published a reference booklet titled, The Spanish Guitar Today - A Short History and Handbook of Reference. Thrity-six pages of general information and a biography on artists such as Julian Bream, as well as Segovia and the author's son, John Williams.[5]
December 30
Julian plays a radio broadcast for the BBC Home Service (Midland). Julian plays a recital for solo guitar.
No programme notes available for this broadcast.[6] Appleby reported that Julian played his own arrangements of two Cimarosa sonatas, “Corranda” by Grau, the “Allegretto” section of Ponce's “Sonata Clásica”, the “Etude No. 3” by Villa-Lobos and “Cádiz” by Albéniz.[7]
1954
Julian is approaching his last year of service in the British Army. Julian continues to play classical guitar for additional income whenever he is on leave.
January 3
Julian plays a radio broadcast for the BBC Third Programme on a show called John Dowland - Ayres for Four Voices. The first of four programmes of ayres by Dowland from Musica Britannica, vol. 6. The programme is introduced by Thurston Dart and The Golden Age Singers were featured with Julian Bream accompanying them on a lute. Musicians: Margaret Field-Hyde (soprano), John Whitworth (counter-tenor), René Soames (tenor) and Gordon Clinton (baritone) and directed by Margaret Field-Hyde. Selections performed: "Come again, sweet love doth now invite; Can she excuse my wrongs?; Woeful heart with grief oppressed; Awake sweet love; In this trembling shadow cast; Sleep wayward thoughts; When Phoebus first did Daphne love; O what hath overwrought?; Were every thought an eye."[1]
January 6
Julian Bream plays a recital for solo guitar in addition to accompanying John Francis on flute at Festival Hall. His programme included dances by Schubert, sonatas by Cimarosa and de Falla's "Homage to Debussy."[2]
January 12
Julian plays a radio broadcast for the BBC Third Programme on a show called Carissimi and Torelli. “Cantatas” by Giacomo Carissimi. Eilidh McNab (soprano), Eileen McLoughlin (soprano), David Galliver (tenor), Alexander Henderson (bass), BBC Chorus (Chorus-Master, Leslie Woodgate), Denis Vaughan (organ) and The Goldsbrough Orchestra (Leader, Emanuel Hurwitz). Conducted by Patrick Savill. “Double Concertos, Op. 8, No 4, in B flat; No. 5, in G; No. 6, in G minor” by Giuseppe Torelli. Musicians: Louis Kaufman (violin), Emanuel Hurwitz (violin), Julian Bream (lute), Charles Spinks (harpsichord), Terence Weil (cello) and The Goldsbrough Orchestra. Directed by Louis Kaufman.[3]
January 13
Julian plays a radio broadcast for the BBC Third Programme on a show called John Dowland - Ayres for Four Voices. Third of four programmes of ayres by Dowland from Musica Britannica, vol. 6 featuring The Golden Age Singers: Margaret Field-Hyde (soprano), Elizabeth Osborn (soprano), John Whitworth (counter-tenor), Rene Soames (tenor) and Gordon Clinton (baritone). Directed by Margaret Field-Hyde and accompanied by Julian Bream on lute and The London Consort of Viols: Harry Danks (tenor viol), Desmond Dupre (tenor viol), Henry Revell (bass viol). Selections performed: "Weep you no more, sad fountains; My thoughts are wing'd with hopes; Clear or cloudy; Dialogue, Come when I call; Where sin sore wounding; Thou mighty God; Now, oh now I needs must part."[4] To be rebroadcast on July 4, 1955.[5]
January 15
Julian plays a radio broadcast for the BBC Third Programme on a show called John Dowland - Ayres for Solo Voice. Last of four programmes of ayres by Dowland from Musica Britannica, vol. 6. Margaret Field-Hyde (soprano) and Rene Soames (tenor) accompanied by Julian Bream (lute) and Desmond Dupre (viola da gamba). Selections performed: "Come again, sweet love doth now invite; Flow not so fast, ye fountains; What if I never speed?; Awake, sweet love; Me, me and none but me; My thoughts are wing'd with hopes; Toss not my soul; Now, oh now I needs must part; Fine knacks for ladies."[6] To be rebroadcast on August 8, 1954.[7]
January 27
Julian plays a radio broadcast for the BBC Third Programme on a show called Concert of Italian Music -Part 1 (first programme) - Giuseppe Torelli. Violin Concertos Op. 8 (edited by Denis Stevens) No 7. in D minor; No. 8, in C minor; No. 10, in A. Musicians: Louis Kaufman (violin), The Goldsbrough Orchestra (Leader, Emanuel Hurwitz), Julian Bream (lute), Charles Spinks (harpsichord), Terence Weil (cello) and directed by Louis Kaufman.[8]
January 28
Julian plays a radio broadcast for the BBC Third Programme on a show called Concert of Italian Music -Part 1 (second programme) - Giuseppe Torelli. Violin Concertos Op. 8, No. 9, in E minor; No. 11, in F; No. 12, in D. Musicians: Louis Kaufman (violin), The Goldsbrough Orchestra (Leader, Emanuel Hurwitz ), Julian Bream (lute), Charles Spinks (harpsichord), Terence Weil (cello) and directed by Louis Kaufman.[9]
February 7
The PSG celebrates its 25th Anniversary at the Studio Club on Swallow Street in London. The founder, Dr. Perott spoke and presented Julian with a cheque for £55. The balance on the fund that the PSG had started on Julian's behalf when he was a youth and beginning his career as a professional classical guitarist. Julian, despite having played the plectrum guitar in his regimental dance band till three o'clock that morning, still obliged the gathered 50 or so members with a few well-chosen pieces for solo guitar.[10]
February 12
Julian plays a radio broadcast for the BBC Third Programme in a recorded performance of Claudio Monteverdi’s ballet Il Ballo Dell’Ingrate produced by Denis Stevens. Julian plays the lute and accompanies The Ambrosian Singers, the Orpington Junior Singers, Neville Marriner (violin), Maxwell Ward (viola), Patrick Ireland (viola), Terence Weil (cello), Eugene Cruft (double-bass), Charles Spinks (harpsichord) and Desmond Dupre (viola da gamba). This is a different performance from the January 15, 1953 performance.[11] The show to be broadcast on June 12, 1954.[12]
February 17
Bream played a recital at the Library of St. Mary's Hospital in Paddington. As usual, he divided his program into two parts: transcriptions and pre-classical composers and then the second half was dedicated to Spanish and Latin American composers. The reviewer mentioned that the Spanish and Latin American repertoire was easily the best-received solos.[13]
March 20
Julian Bream is scheduled to perform a solo guitar recital at Festival Hall Recital Room.[14]
April 6
Julian Bream played the guitar part in the first performance of William Bardwell’s "Third Chinese Cantata" at the Arts Council's concert at St. James's Square. While this piece, written in 1953(?), was not specifically written for Julian Bream, it was written with him in mind for the first performance.[15]
April 8
Julian plays a radio broadcast for the BBC Third Programme on a show called Guitar Recital. Julian plays 4 pieces for solo guitar. ”Prelude” by Tansman, “Nocturno” by Torroba and Soleares and Fandanguillo by Turina. This program was rebroadcast on May 19, 1954. BBC Archives - Third Programme, April 8 and May 19, 1954, both at 18:00. This short recital was actually a rebroadcast of another Third Programme show called Chamber Music that was aired on October 9, 1953.[16]
April 8
Julian plays a radio broadcast for the BBC Home Service on a show called The Thursday Concert. Julian played the “Sonatina” by Moreno Torroba.[17]
April 26
Julian plays a radio broadcast for the BBC Third Programme on a show called Chamber Music. Julian plays guitar and is accompanied by Hubert Dawkes on piano on “Sonatine for Guitar and Piano, Op. 68” by Diabelli.[18]
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.[19] VERIFY
May 9
Julian plays a radio broadcast for the BBC Light Programme on a show called Alfred Marks in The Forces Show. Julian Bream is billed as a forces instrumentalist but no detailed programme notes are available.[20]
June 7
Julian plays a television broadcast for the BBC Television Service on the show Music for You. The show is introduced and the orchestra conducted by Eric Robinson with Martha Lipton, Marika de Rivera, Thomas Rajna at the piano, Diane Dubarry, Jean Pougnet, Erno Merringer, Julian Bream on the guitar and Anthony Oliver, Josephine Crombie, John Holmes, Joan Ryan, Brendan O'Dowda, Pamela Bowden, John Boulter, Margaret Young, Fred Davies, Joan Bramhall, Wallace Stephenson, Marjorie Holt, Nigel Brooks, Denise Walker, Glenn Marten, Mervyn Dobson, Gina Servini and Sydney Sax, leader of The Concert Orchestra. No programme notes available in reference to selections performed.[21]
June 8
Julian plays a radio broadcast for the BBC Third Programme on a show called Venetian Music. The show was a six-part music series but Julian only performed in the fifth part, Motets and Organ Music. The performance included Julian on lute, the Ambrosian Singers, The Virtuoso Chamber Ensemble,, George Malcolm on harpsichord and regal and Susi Jeans on organ. Conducted by Douglas Guest. The programme does not state if Julian played on all 5 selections performed or just some of them.[22] This show was rebroadcast on December 17, 1955.[23]
June 13
Julian plays a radio broadcast for the BBC Home Service on a show called Chamber Music. Julian performs on guitar with Musica da Camera: Harold Clarke on flute, Wilfrid Smith on flute, Vera Kantrovitch on violin, Tessa Robbins on violin, Cecil Aronowitz on viola, Joy Hall on cello and Hubert Dawkes on harpsichord. The program consisted of C.P.E. Bach’s “Sonatina in D minor for two flutes, two violins, string quartet and harpsichord”. Jacques Ibert’s “Entr’acte for flute and guitar” and Durufle’s(accent on the e) “Prelude, Recitative and Variations for flute, viola and piano”.[24]
September 1
Julian plays a radio broadcast for the BBC Light Programme on a show called Bernard Monshin with Bernard Monshin and his Rio Tango Band. No programme notes are available but Julian likely played solo guitar pieces.[25]
September 26
Julian plays a radio broadcast for the BBC Home Service on a show called Recital. Julian performs a short recital on the lute and guitar. “Mrs. White’s Nothinge” by Dowland, “Pavan” by Bulman, “Almaine” by Johnson, “Allegro” from Prelude, Fugue and Allegro by Bach, “Scherzo” by Diabelli, “Sonatina” by Ponce and “Homenaje a Debussy” by de Falla.[26]
September 29
Julian Bream plays his fourth Wigmore Hall recital. Julian performed on a Quine guitar that was recently built, the second guitar Hector Quine had ever constructed.[27] 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 was omitted from the programme due to a hand injury. The concert was very favourably reviewed. “His guitar recital . . . confirmed Julian Bream's reputation as a musician who places quite exceptional technical accomplishment wholly at the service of the music he performs.”[28] Appleby reported, “The second movement, a Nocturne, was of outstanding beauty.”[29]
Webmaster’s note: Julian performed the Dodgson suite frequently early on and then he started just playing the Nocturne movement as an encore.
October 13
Julian plays a radio broadcast for the BBC Light Programme on a show called Music in the Home with the Southern Serenade Orchestra directed by Lou Whiteson. Julian Bream appears on guitar.[30] No detailed programme notes are available for this show.
October
Hector Quine, a Julian Bream guitar pupil and the builder of the guitar used in Bream’s last Wigmore Hall recital, posted an announcement on Guitar News in the October - November issue of 1954 stating that he was now offering “private tuition in modern Spanish Guitar technique, including the much-neglected art of tone production. The entirely new and unique method of instruction ensures rapid progress from the first lesson.[31]
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.[32]
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.[33]
November 22
Julian plays a television broadcast for the BBC Television Service on the show This is Show Business. Vic Oliver invites you to This is Show Business with Yvonne Mitchell, Yvette Chauvire, Amy Shuard, Ruddy Bolli, George Cameron, Ross Piquer, Victor Platt, Ereach Riley and a telerecorded appearance of Bob Hope. The British Concert Orchestra was led by Reginald Morley. No detailed programme notes are available so not known if Julian played solo guitar or if he accompanied other performers.[34]
November 28
Julian Bream was the soloist in a performance of Rodrigo's Concerto for Guitar and Orchestra (Concerto de Aranjuez) played at the Tottenham Municipal Orchestra's concert at the Municipal Hall. Julian also played several solos, including a gavotte by Bach and "Choros No. I " by Villa-Lobos.[35]
November 30
The Royal Artillery Band[36]
December 23
Julian plays a radio broadcast for the BBC Third Programme on a show called English Carols. A three-part series transcribed and edited by John Stevens. Julian only performed on the second segment – Reformation to Restoration. No detailed programme information is available. The Radio Times notes the performers and the pieces performed but does not state if Julian accompanied the other performers with the lute in all the pieces performed.[37] This programme was to be rebroadcast on October 25, 1953, and on May 5, 1954.[38]
December 26
Julian plays a television broadcast for the BBC Television Service in a play called The Captive on the BBC Sunday-Night Theatre featuring Harcourt Williams. The story is by Luigi Pirandello, translated by Arthur and Henrie Mayne and adapted for television by David Fisher and Alwyne Whatsley. It's a very small cast and Julian is actually on set playing guitar and “acting” as a guitar minstrel.[39] IMBd reports that Julian is part of the music department and not on screen.[40]
December 30
Julian plays a radio broadcast for the BBC Third Programme entitled The Guitar Outside Spain. The programme was devised, introduced and narrated by Deric Kennar and the guitar was played by Julian Bream. Some selections featured soprano Margaret Field-Hyde and violinist Peter Mountain. Dr Perott campaigned significantly to get this show aired. Selections: “Fantasy for four-string guitar” by Breyssing, “Tourdion for four-string guitar” by Adrian le Roy. “Three pieces for five-string guitar” by Corbetta, “Allemande” by R. de Visee(accent on 1st e), “Au bord d’une fountaine, for voice and guitar” by Lagarde, “Sonata No. 3 for guitar and violin” by Porro, “Two songs for voice and guitar” by Weber, “Movement from Sonata for guitar and violin” by Paganini and “Segovia” for guitar solo by Roussel.[41] Appleby reported that “Guitarists who heard this broadcast were thrilled by it …”.[42] This programme was rebroadcast on November 21, 1955.[43]
Webmaster’s note: This programme appears to have had a BBC Transcription LP pressing for limited broadcasting. This radio braodcast may have been what planted the seed for the television film idea that became ¡Guitarra! A Musical Journey Through Spain.
December 30
Julian plays a radio broadcast for the BBC Third Porgramme on a show called Chamber Music. Julian performs on guitar with Musica da Camera: Harold Clarke on flute, Richard Temple-Savage on bass-clarinet, Vera Kantrovitch on violin, Tessa Robbins on violin, Cecil Aronowitz on viola, Joy Hall on cello and Hubert Dawkes on harpsichord and piano. The program consisted of C.P.E. Bach’s “Quartet in D for flute, viola, cello and harpsichord”. Joachin Homs’s “Trio for flute violin and bass-clarinet” (first performance in the UK) and Duruflé’s “Pérlude, Récitative and Variations for flute, viola and piano”.[44]
Webmaster’s note: Wilfrid Appleby reported that the “Quintet in D” by Boccherini was also performed.
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)
Endnotes:
CURRENTLY BEING REVISED 6-30-2023
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)
William Chávez 2010, © 2013, 2023