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PSG Bulletin No. 1, July 1945

Not available at this time.

PSG Bulletin No. 2, September 1945

Secretary's Report excerpts by Hon. SecretaryMiss J. Vollers

"Mr. Perot Junior notified the Society that in view of his present work, he would not be able to give any time to the Library. The Secretary
has sent Mr. Perott a letter thanking him for his active interest in the past and his very great help with the Library, also as assistant
treasurer. The meeting elected Mr. [Henry] Bream as Librarian and Mrs. Edwards as Assistant Librarian. We are greatly indebted to both
Mr. Bream and Mrs. Edwards for coming forward to help the Library. They have already begun sorting and indexing the music. Several
members have repaired music."

"Mr. Bream and Julian played duets by Scarlatti and Carulli. Interspersed by tea this was a most pleasant afternoon."

"On August 18th we again met but I am not going to say that each of our meetings is more successful than the previous one. This one was very 'sticky' to begin with. Everyone was late including the Secretary. No one wanted to play. :- The aftermath of VJ Day was very noticeable -
everybody suffering from all sorts of surfeit; in our youngest member it was apparently ice cream! However, a talk by Dr. Perott soon set
us thinking about the guitar, and fingers reached out for instruments." "Julian Bream played a study by Carulli, a Waltz by
Carcassi and a short piece by Cesar Frank."

It was decided to hold a CHRISTMAS PARTY which will give us something to work for. It may be of interest that I have heard on fairly good
authority that Señor Segovia is well and playing in S. America; this is from someone who saw his sister in Paris recently."

Librarian's Report excerpts by Hon. Henry G. Bream
"At. our meeting on July 21st I was appointed Librarian of the Society, with Mrs. Edwards as Assistant Librarian. In accordance with the agreed procedure we are now re-arranging the Library, so please bear with us patiently until the work of re-classification and labelling is concluded... There is still music to be returned. Please don't fail us!"

PSG Bulletin No. 3, November 1945

Not available at this time.

PSG Bulletin No. 4, January 1946

Presidential Message excerpts by President Dr. Boris Perott

"A Very Happy New Year our dear members and many successes. Next month our Society will be seventeen years old. After a long unavoidable
slumber during the war the Society started again its activities but naturally did not reach its pre-war level. "

Secretary's Report excerpts by Hon. Secretary Miss J. Vollers

OUR ANNUAL NEW YEAR PARTY. This will be held at the Alliance Hall, Plamer Street, Westminster on January 5th at 6p.m. to 10:30 p.m.

The November meeting: This was the first meeting at our new home the Alliance Hall. The Hall is suitable in both name and character, with its fine oak panelling and good acoustics. Mr. Fuller whom we welcome on his return from war service played "Studio Poeticus" by Fortea and several 'encore' solos. Julian Bream followed with "Rondoletto" (Darr), "Etude No 7" (Carcassi) and "Fragment" a gem by Shand. Mr. Moy Thomas sang to his own guitar accompaniment. Mr. Bream and others continued until tea was served by
the lady members in our own canteen attached to the hall.

B.M.G. commencing with the January issue there will be a regular Spanish Guitar column in this magazine.

Editorial Notes by Hon. "Bulletin" Editor Wilfred M. Appleby
Manchester: Jack Duarte and Terry Usher gave their second guitar recital at Manchester Ballet Club on Dec . 16th. They are both writing music for
the guitar in the classical style. A Northern Brmich of P. S.G. has been formed. The first meeting will be held after the holidays.
Cheltenham: A "P.S.G." Circle has been formed and will hold its first meeting on Jan 26th."

PSG Bulletin No. 5, March 1946 (first professionally printed bulletin)

Presidential Message excerpts by President Dr. Boris Perott

The masterly playing of Miss Alice de Belleroche was the embodiment of Beauty and Harmony, while the virile performance of our junior member, Master Alex. Julian, might aptly be described as symbolic of Youth and Aspiration. His playing suggests maturity and experience far beyond his tender age.

Secretary's Report excerpts by Hon. Secretary Miss J. Vollers

January 5th, 1946: We have had our first party; it was a great success and I should like to express my grateful thanks to all friends who helped in various ways. Mr. Bream and his helpers had tastefully decorated the hall with banners which he designed to incorporate the guitar and the names of its famous executants and composers.
Dr. Perott opened the programme with a few suitable words and a welcome to our visitors. The items were as follows:

Excerpts of the most notable players:

Mr. Wilfred M. Appleby played "Prelude" Op. 28, No. 20 (Chopin, arr. V. Olcott Bickford) and "Andante Pastorale" (Verini). Master Alex Julian played "Preludium" (Giuliani), "Rondoletto " (Darr) and "Calme du Soir " Op. 58 (a) (Shand)
Mr. Eugene W. Fuller played "Estudio Poetica" (Forte) and "Prelude" (Bach).
Madame Alice de Belleroche played "Recuerdos" (Tarrega), "Granadinos" (flamenco) and "Serenata Espagnol" (Malats).

February 16th, 1946: The "guest instrument " was the balalaika, played by Mr. Birse and also by Dr. Perott. Both were accompanied by Mr. Bream.

Webmaster's note: While Henry Bream is mentioned as a performer in the February meeting, Julian is not mentioned in the bulletin as playing during the meeting despite the fact that both events were at the Alliance Hall.

Editorial Notes by Hon. "Bulletin" Editor Wilfred M. Appleby

On the afternoon of January 5th, Mrs. Appleby and I, with Mr. Morton Lawrence paid a visit to Dr. Perott at his home at Baron's Court. Neither of us had previously met our President, but from his letters and a photo or two, we had formed some idea of his personality. We were welcomed by
the genial Doctor himself and soon felt very much at ease. Soon we were taken to the Music Room, with its walls almost covered with portraits of famous guitarists. Dr. Perott explained that originally he had more but some had been lost in the bombing of his previous homes during the war. He showed us several of his guitaristic treasures and then brought out his favourite guitar, a Russian-made instrument with extra strings for playing as "open" basses. We were allowed to play on it, and we appreciated its rich, responsive tones. Dr. Perott then played a selection and showed himself to be a thorough master of the instrument. We could have spent hours in that guitar-room with its guitaristic treasures, but the New Year Party was due to begin early that evening.

PSG Bulletin No. 6, May 1946

Not available at this time.

PSG Bulletin No. 7, July 1946 (first bulletin with PSG logo)

Secretary's Report excerpts by Hon. Secretary Miss J. Vollers
May 25th, 1946: Programme excerpts

Mr. Desmond Dupré played "Catalan Song" (arr. Llobet), "Mozart Variations" (Sor) and "Prelude and Allemande" (J.S. Bach).

Alex Julian played "Legende" (H. Albert) and "Valse favori" (N. Coste).

June 15th, 1946: Programme excerpts

Mr. Desmond Dupré played "Spanish Dance" (Granados), "Serenade" (Malats) and "Carrando" (arr. Llobet).

Alex Julian played "Salut d' Amour" (Elgar arr. Obregon) and "Song of India" (Rimsky Korsakov arr. Bickford).

Mr. Henry Bream and Alex Julian played a "Duet No. 1" (Carulli).

Mr. Desmond Dupré played "Mozart Theme and Variations" (Sor)

The Guitar in Britain Manchester Guitar Circle

May 1946: Programme excerpts

Mr. D. Pettinger played Prelude and Sarabande from 17th-Century Suite (Usher) (Webmaster's Notes: Written for Julian Bream)

Mr. Terry Usher played Sonata in A Major (Usher) (Webmaster's Notes: Written for Julian Bream)

"Sonata in A" for Spanish Guitar by Terry Usher - "It is certainly the most important composition for guitar by a British composer for the last 50 years."

PSG Bulletin No. 8, September 1946
Not available at this time.

Limited information obtained from Graham Wade's book The Art of Julian Bream. Alex Julian played "No. 5 Waltz" by Diaz, "Minuet" by Coste. By request Julian "Study No. 23" by Sor and "Grand Vals" by Tárrega. He then performed a duet with his father, "Duet No. 2" by Darr and "Sarabande" by Drigo. Desmond Dupre also performs and is asked to play additional pieces. 

PSG Bulletin No. 9, November 1946
Presidential Message excerpts by President Dr. Boris Perott

"Of special interest was the performance of our youngest member, Alex Julian. I believe that it is the right time to introduce him to all our readers, here and abroad, who have not yet had the opportunity of hearing his performance. Alex Julian is a real "English Lad", born in London in 1933 and a son of our Hon. Librarian, Mr. H. G. Bream. When he joined our Society a little more than a year ago, he was noticed as a very talented aspirant, but it was evident that he was lacking in proper technique and intimate knowledge of the guitar as an instrument. The basic object of our Society is to "find, encourage and gμide " new talents, so he was offered friendly help. He gladly accepted it and started to work in earnest. Week after week for nearly a year I have guided and watched his unbelievable progress in mastering the instrument. As he was a student of the Royal College of Music (studying piano and 'cello) the reading of music and the understanding of all its intricacies were no obstacle for him at all. Three hours journey there and back for his weekly lessons did not diminish his enthusiasm and his perseverance, neither did long hours of practising. His extraordinary talent of a born musician generally and his devotion to the instrumeμt of his choice, the classical guitar, allowed him to master with amazing ease all difficulties that always hamper the average player."

"His choice of programme shows cultivated taste in avoiding monotony. His present-day repertoire consists of about forty items by composers of
more than seven nationalities and he plays them in different ways. Spanish composers are always well represented in his repertoire but they do not
dominate the whole programme. The music of the past is also not forgotten and our great teachers like Carcassi, Giuliani, Sor, Zani-de-Ferranti and
others occupy an honourable place in his programmes. His duet with cello clearly shows that as a junior partner to such a musician par excellence
as Mr. D. Dupre he can play brilliantly, all the time keeping up to the standard required in such a harmonious combination. We wish him fully deserved success. He has still a long way to go before reaching the highest standard of perfection, but even now it is quite clear that amongst a galaxy of stars he will occupy his own rightful place, and that the guitar under his fingers will charm every lover of good music."

Secretary's Report excerpts by Hon. Secretary Miss J. Vollers
September 21st, 1946 meeting:
Alex Julian played "Prelude No. 3" (Carcassi) and "Nocturne" Ferranti.

October 1946 meeting:

"Our star performer was Julian, who, although only thirteen years old, has mastered so much of the technique that he can play with ease and expression, and moreover, seems thoroughly to enjoy himself. When later Mr. Dupre joined him with his guitar and later with his 'cello, he too
seemed to have caught this happy spirit. It was a revelation how well the deep sonorous tone of the cello blended with Julian's concert guitar,
made and played on by Maccaferri (one of our old members, now in America). This guitar has three bass strings which seemed to form a bridge
between the two instruments. Personally, I prefer the tone of the usual six-stringed guitar for solo playing."

"Mr. Bream had decorated the platform with two reproductions in charcoal from portraits of Carcassi and Sor, while in the middle was a banner portraying the World floating in space among blue clouds with a band of guitars chasing each other round this World. There are many kinds
of guitar, electric, plectrum and should I now add spectrum! I hope these were magnetic, attracting an ever-increasing host of devotees from all over the Globe!"

Programme excerpts:

Julian played "Prelude" (Carcassi), Montechi Ed. I Capuletti (Bellini-Mertz), Fandanguillo (Turina), Barcarolle (Schubert-Lebedeff).

Mr. Dupre played "Corando" (Grau-Llobet), Serenade Espagnole (Malats), "Fragment" (Shand), "Nocturne" (Appleby)
Mr. Dupre and Julian (2 guitars) Andante Cantabile (Sor)
Mr. Dupre and Julian (cello and guitar) Gavotte (Hebbel)

Rally and Festival.

"The Southern Rally was held on October 26th in the Central Hall, Westminster, before a large audience. After the Classical Guitarists had
competed, the Secretary invited our 13-year-old P.S.G. member, Julian, to play., (He was not competing.) He gave a brilliant performance
and receive a great ovation."

PSG Bulletin No. 10, January - February 1947

Programmes of London Meetings by Mr. Henry G. Bream:

Programme excerpts for November 16:

Julian played "El Testament D'Amelia" and "Estilo Popular (Llobet), Study and Andantino (Sor).

Henry Bream played "Legende" (E. Shand) and "Lullaby" (H. Bream)

Julian played "Rondoletto" (Darr) and "Fandanguillo" (Turina)

Julian and Henry Bream played a duet (un-named).

Programme excerpts for December 12:

Julian played “Prelude" (Carcassi),  "Waltz" (Lebedeff) and “Serenade” (F. Abt/arranged by Dr Perott),

Julian played a second time “Tonadilla” by (Granados/arr. Llobet), “Sonata” (Scarlatti/arr. Segovia).

Julian plated a third time "Rondoletto" (Darr)

Henry and Julian Bream played "duets including an arrangement for two guitars from "Alice where art thou".

Henry Bream plays two waltzes (Carcassi).

Julian Bream closes the meeting with "Cádiz" (Albéniz)

Secretary's Report excerpts by Hon. Secretary Miss J. Vollers

     "Music-lovers and representatives of the musical and cultural societies of Cheltenham were invited by Cheltenham Guitar Circle to hear a recital of guitar music played by Julian on December 7th. Nearly eighty people accepted the invitations sent to them and the salon was full to capacity. Some, when invited, said they had never previously heard the guitar played as a serious musical instrument but others had heard Segovia and other guitarists when travelling abroad. The latter frequently required assuring that it was the normal six•stringed classic guitar 'as played in Spain' before they would accept the invitation.

      Mrs. Saunders-Davies, President of the Cheltenham Circle, welcomed the visitors and introduced Julian. Mr. Appleby announced the items with brief comments on the composers.

The programme was as follows :
"Chorale" .......................... Handel-Tarrega
"Sonata in  C" ................... Scarlatti-Segovia
"Cadiz " ............................. Albeniz-Garcia
"Courante" ........................ Bach-Segovia
"Song of India" .................. Rimsky-Korsakoff-V. 0. Bickford
"Estilo Popular" ................. Llobet
"Andantino" ........................ Sor
"Spanish Dance No . 5" ...... Granados-Garcia
"Fandanguillo" ................... Turina
"Sonata Classica" ............... Ponce

During the interval Mr. Bream was called on to say a few words and, as the audience by their applause after the last item showed that they wanted more, Julian played Darr's "Rondoletto" and a Carcassi "Prelude". He used a concert guitar by the Ibáñez Brothers of Valencia for this recital. At the conclusion, he was invited by the Curator to give a public recital at the Art Gallery and this will take place on February 17th, at 3 p.m. This venture was an undoubted triumph both for Julian and the Spanish guitar.Julian has also played at two functions in London. On St. Cecilia's Day (November 22nd) he played a programme consisting mainly of Russian and Spanish compositions at a reception by Prince and Princess Galitzine at their home in Knightsbridge. Julian's performance was well-received and the Ambassadress of Chile, who was present, especially congratulated him.  He also played at the Annual Social of Brampton Conservative Association on December 5th. On January 7th he broadcast in the B.B.C. Children's Hour."

PSG Bulletin No. 11, March - April 1947
Programmes of London Meetings by Mr. Henry G. Bream:

Programme excerpts for January 18:

Julian Bream played a study (Coste) and "Sarabande" (Weiss).

Julian Bream played a second time "Tonadilla" (Granados) and "I Montechi ed Capuletti" (Bellini).

Programme excerpts for February 15:

Julian Bream “Prelude and Minuet” (Bach) and “Granada" (Albéniz).

For the first half of the meeting, the members played in the darkness due to the National Electricity Crisis.

Julian Bream later played “Chanson” (Shand) and “Sonata in A” (Usher).

Impressions of P.S.G. Meeting, March 15th by Wilfred M. Appleby

"The first hour passed all too quickly in conversation, examining guitars and so on. Julian showed us a fine old Martin guitar which his father had just bought for him, and on which we heard him play later."

"Julian played three solos, the first being a Prelude dedicated to him by Mr. Reis de Hilster, the Dutch guitarist who often broadcasts from Hilversum. I sent to Mr. de Hilster a copy of the Gloucestershire Echo with a report of Julian's Public Recital at Cheltenham Art Gallery. He was so impressed that he wrote this Prelude and sent it to me to give to Julian. A paragraph about this dedication appeared in the Gloucestershire Echo on March 19th. The tones of the Martin guitar were quite pleasing."

PSG Bulletin No. 12, May - July 1947
Reports from the Secretary excerpts by Miss J. Vollers:

     "Julian Bream had another opportunity to play privately to some friends from Spain and especially invited guests. This was kindly arranged for him by Mrs. Edwards at her flat. Madame Alice de Belleroche was also present and she delighted us with her exquisite playing. In spite of the intense heat, Julian did himself great credit."

Reports of London Meetings by Mr. Henry G. Bream:
Programme excerpts for April 19:

Julian Bream played Prelude (Tárrega), Minuet (Sor) and Valse Favourite (Coste)

May 17th, 1947

     "Real enthusiasm was shown by members in an audition for guitars which was held at this meeting. The idea was to submit for comparison various guitars, to find which the audience considered to be the best instrument for tone and volume.

     Julian Bream was selected to be the guitarist for the occasion. He played the instruments at the back of the Hall, the audience facing the other way. Not until the end of the contest was the audience able to know what guitars had been played. Eleven guitars were entered for the contest. Several of them were by famous modern makers, including two modern English, and also guitars by older masters, among them guitars made a century ago.

     These guitars were played in groups of five and six respectively, the same piece of music for all and the one selected in each section was submitted for final comparison.

     The considered best guitar of the first group was a modern English guitar and the second group winner was the latest in modern Spanish instruments, probably the most costly in the contest. Somewhat surprising as this may seem, these two instruments received equal votes in the final. To arrive at a decision Julian, who played the guitars; was asked his opinion and he favoured the Spanish make. 

     This result might have been different with another audience but the fact that the English and Spanish makes were so level in the final does seem to suggest that guitar-makers in England can feel encouraged to go ahead and produce the instruments we so badly need."

Programme excerpts for May 17:

Julian Bream plays “Prelude” (Bach/trans. by Segovia) and “Chanson Hindou” (Rimsky-Korsakov/arr. V.O. Bickford). 

Julian played the final piece “L’armonia” (Giuliani).

"B.M.G." article excerpts:
     Regular articles on the " Spanish Guitar," by W. M. Appleby, appear in this monthly · fretted-instrument magazine.  A portrait of
Julian Bream appeared on the front cover of the June number with an article about him by the Editor, Mr. A. P. Sharpe."

"This issue contains portraits of Ries de Hilster." (Hilster recently wrote a Prelude for Julian).

Colonia Hostal Recital

     "The large room of the Colonial Hostel at Earl's Court was filled to capacity on May 4th when Julian Bream gave a guitar recital to an audience
representative of many parts of the world. Playing on a Panormo guitar, Julian, held the audience for two hours and even then they wanted more. Terry Usher's "Sonata in A" and Vahdah Bickford's arrangement of Rimsky-Korsakov's "Chanson Hindou'' were particularly well-received, a repeat of the latter being demanded. Our member, Mr. A. M. Opoko, introduced each item and the organiser of the recital declared that "in Julian, we have a Liszt of the guitar." Julian was presented with a suitably inscribed book on music."

PSG Bulletin No. 13, August - October 1947
Reports of London Meetings by Mr. Henry G. Bream:
Programme excerpts for June 28th:

Julian Bream played "Study No. 14" (N. Coste), "Fandanguillo" (Turina).

Henry Bream played "Recuerdos de la Alhambra" (Tárrega) and "Study" (N. Coste).

Julian Bream played a second time. "Andante" from Sonata Romantica (Ponce).

Julian Bream played a third time "Tonadilla" (Granados) and “Chanson Hindou” (Rimsky-Korsakov/arr. V.O. Bickford). 

Programme excerpts for July 12th, 1947.
This meeting showed that Julian proves to be the mainstay of our programme. Owing to the fewness of playing members the meeting developed
into a Recital by Julian, supported by others. Though not prepared for such an emergency he ably provided the major part of the programme, thoroughly enjoying playing Mr. Glover's fine Yacopi guitar which was willingly lent to him.

Julian Bream played

"Waltz" (Chopin/Tárrega)

"Mandolino" (Thomé/Fortea)

"Study" (F. Sor)

"Malagueña" (M. Sarabia Clavero)
Flamenco (traditional)
"I Montechi ed I Capuletti" (Bellini-Mertz)
"Granada" (Albéniz)
"Fandanguillo" (Turina)
"Cadiz" (Albéniz)
(Repeats of many by request)
 His recital was interspersed by supporting items from some of the members
Mr. H. Bream played "Study No. 3" (Carcassi) and "Legende" (Shand)
Mr. H. Bream and Julian played a duet "Sonata" (Scarlatti/Pujo)

Report from the Secretary excerpts: Miss J. Vollers

Programme excerpts for August 30th, 1947

"As Mr. Bream is so occupied in organizing Julian's career he feels he cannot arrange the programmes at the meetings. May I here thank him for his efforts in the past. For the present, I have taken over that duty and I shall be glad to hear of members who are willing to play. Julian Bream has consented to round off the programme with three or four solos and will also play a few impromptu request numbers. As our meeting on August 30th coincided with Julian Bream's broadcast in the Spanish programme of the B.B.C's Overseas Service, I asked him to play those pieces, as not all of us can get the short wave band on our sets. I hear the broadcast has been a great success."

Julian played Study, B minor (Sor), El Testament d' Amelia (Llobet), Study in A (Tárrega), Cádiz (Albéniz).

These were the Julian solos played on the broadcast.

The Guitar in Britain excerpts by Wilfred M. Appleby

Manchester:

"In his search for a guitar Mr. Bream took Julian to Manchester. A few of the members were hurriedly called together and they were thrilled by Julian's wonderful mastery of the guitar."

"Julian Bream played guitar solos at Twickenham Technical College Musical Festival to an audience of over 1,000."

STOP PRESS NEWS
Congratulations to Mr. and Mrs. Bream on the birth of another brother for Julian.

PSG Bulletin No. 14, November - December 1947

Report from the Secretary by Miss J. Vollers

London Meeting:

Programmes excerpts from October 11th, 1947

Julian Bream played "Cradle Song" (Pujol), "Serenade Espanol" (Malats) and "Anecdote No. 5" (from "Guitar Review" Segovia).

Julian Bream played a second time "Manolinata" (Thomé/Garcia) and “Chanson Hindou” (Rimsky-Korsakov/arr. V.O. Bickford).

Programmes excerpts from November 15th, 1947

Julian Bream played "Minuet" (Sor), "Manolinata" (Thomé/Garcia) and Valse Favorite (Coste).

Henry Bream played "Minuet" (Sor) and The Farewell (Shand).

Julian Bream played a second time Study in A (Tárrega).

Julian Bream closed the meeting with Fandanguillo (Turina).

ANDRES SEGOVIA
As this issue of the P.S.G. Bulletin goes to press just before the anticipated arrival in E.gland of Segovia, and will probably not reach members until that visit is over, it is too early to give reports of his recitals and too late to give further information about them.

Arrangements to date are:
Broadcasts (London B.B.C.) Nov. 25th an,d 28th and Dec. 2nd (evenings.)

Recitals at Harperuien, Bradford and Welwyn Music Cl1,1bson December 3rd, 9th and 12th respectively; 

A Sunday recital at the Cambridge Theatre, London Oil December 7th at 3 p.m. 

A recital at Wigmore Hall, London on Thursday evening December llth.

COMING EVENTS
EXHIBITION OF GUITARISTS' PORTRAITS
At Cheltenham Art Gallery there will be a display of portraits (mostly photographs) of Guitarists-including many famous artists and some fine guitars. The Exhibition will be on view from December 20th, 1947 to January 6th, 1948. Ad.mission is free.

JULIAN BREAM'S RECITAL
On Monday, January 5th., Julian Bream wll give a Guitar Recital at Cheltenham Art Gallery at 5:15 p.m. Mrs. Saunders-Davies, President of
Cheltenham Guitar Circle will take the chair and Mr. Wilfred M. Appleby will introduce the programme. A few seats can be reserved for P.S.G.
members (without charge) if Mr. Appleby 1s notified in advance.

On Sund ay, January 4th, Julian Bream. will be the Guitar Soloist at a Concert at Cheltenham Town Hall to be given by the Spa Palm Court
Orchestra directed by Arthur Cole. The concert is from 7:00 to 9:30 p.m. Admission 1/

PSG Bulletin No. 15, January - February 1948
Not available at this time.

PSG Bulletin No. 16, March - April 1948

Programmes excerpts from February 28th

PSG meeting, Julian and Henry perform but no significant details are provided on the Bulletin.

Report from the Secretary by Miss J. Vollers.

Julian Bream Fund. It was decided that a fund is to be opened with our account at the bank to further Julian Bream's career and help to materialise the generous offer of Segovia to instruct and foster Julian Bream in playing the guitar, for which he has a natural disposition. An official letter to this effect has been received by Dr. Perott from Senor Segovia.

Programmes excerpts from March 13th

Julian Bream played "Minuet" (Sor) and "Sonata Clasica" (Ponce).

Julian Bream played guitar solos in the "Teen-Age " Television programme on January 12th. Members of the orchestra at the studio were much
interested in Julian's broadcast. "That was music in its most pure form" was the comment of one of these musicians.

PSG Bulletin No. 17, May - June 1948
Not available at this time.

PSG Bulletin No. 18, July - August 1948
Not available at this time.

PSG Bulletin No. 19, September - October 1948
Julian performs at the PSG meeting. Many members play at this meeting so Julian just plays two pieces at the end, “Tango” by Albéniz and “Prelude” by Tárrega. Perott mentioned that anybody who has a concert guitar that is no longer using it should consider allowing Julian to buy it since he is in dire need of a good quality guitar.

JULIAN BREAM AT WITNEY  Sunday, September 26th by Wilfrid M. Appleby

Witney is a picturesque town famous for blanket-making, ten miles beyond Oxford on the west road from London. The Social Centre there has organised a series of concerts including a number of celebrities and the first of these was a recital by Julian Bream with myself as compere. Actually I was allowed to give a short address about the guitar and to introduce the items.
The following programme was given :
Minuet .............................Sor
Romance ..........................Schumann
Theme and Variations .....Mozart-Sor
Minuet ..............................Haydn
Bourree .............................Bach
Petite Valse .......................Ponce
May Dance ........................Torroba
Morning Serenade ............Torroba
Interval
Dance No. 5 .......................Granados
Serenata .............................Malats
Granada .............................Albéniz
Tango .................................Albéniz
Tonadilla ............................Granados
Study in A ...........................Tárrega
Encore items
Study ..................................Carcassi
" The Bee"...........................Pujol
Tango .................................Pujol

The audience was enthusiastic in its applause and the recital was a great success. Representatives of the local press interviewed us during the interval and it was suggested that I should say something about the guitar which Julian was using. It was embarrassing to have to admit that it was really a mediocre instrument though in spite of this Julian performed marvellously on it. If only he had a really good guitar! He urgently needs an instrument of the Simplicio or Hauser class. Anyone who can help in finding such a guitar for Julian will be doing an act of the greatest service towards the achievement of P.S.G's first Aim and Object- "to make the guitar better known and appreciated and to maintain it in its rightful place in the realm of music."

MAGAZINES "Everybody's" (September 11th, 1948)

This issue of Everybody's contained a full pa ge article on " Segovia and the Guitar '' by James Becket, with portraits of Schubert, Segovia and Julian Bream. Such an article in one of the most popular British magazines with a huge circulation must have given to the guitar publicity of very considerable value. P.S.G. thanks and congratulates 'Mr. Becket' and the P.S.G. member who assisted him.

STOP THE PRESS NEWS "The Witney Gazette"

     Most newspapers are now reduced to four pages owing to paper restrictions, and the ''Witney Gazette" is no exception. Nevertheless, it was so impressed with Julian Bream's recital and what it describes as "the delicate art of the guitar," that it devoted nearly two columns to interesting and well-written accounts of Julian's first visit to Witney. The leading article, under the heading of " Jottings," is devoted entirely to Julian Bream and the guitar. Referring to Julian as a genius and saying (in large type) that "The boy Guitarist is a Wonder" it praised his rendering of classical music. Of the Spanish compositions, it said: " These pieces which could have been creations written only for the sensitive sweetness of the guitar, were executed beautifully by the boy, whose fingers moving over the nylon string, dug deep into the very soul of this type of music which allows the guitar so much scope for expression of the tremendous feelings displayed in the
passages of the music of the composers."

PSG Bulletin No. 20, November - December 1948
Report from the Secretary by Miss J. Vollers.

"At a committee meeting held on Nov. 7th, the Julian Bream Fund came up for discussion and an advisory committee was formed to investigate the possibilities for furthering Julian Bream's musical career. At a meeting that Mr. Bream, Julian and I had with Señor Segovia, it was stressed by Señor Segovia that Julian should continue his musical studies at some school of music besides preaching the guitar. . . I would like here to express my grateful appreciation to Señor Segovia for the interest he continues to show in our Society and in Julian Bream. No doubt members who have contributed to the Fund will like to know that the money doesn't lie fallow and I hope others will be interested and become contributors. The years ahead will be vital in making Julian Bream the great artist which all his friends in the Society would like him to become and of which he has shown the promise."

JULIAN BREAM

Julian Bream played guitar solos at an organ recital by Leonard Priestley at St. Cuthbert's Church, London S.W., on November 19th.

" SARABAND FOR DEAD LOVERS "
This historical film makes as good use of music as it does of colour for heightening the interest of its romantic story. Alan Rawsthorne, who composed the music, courageously uses "plucked string tone", but for restrained beauty of sound the Saraband played as a guitar solo is an unexpected delight. (It occurs after the incident of the two children reciting birthday greetings to their father). This Saraband was played by Julian Bream, though he does not appear on the screen.

The Music Circle of the Linguists' Club, 20 Grosvenor Place, London W., is to hear a recital by Julian Bream on Dec ember 14th at 8.15 p.m. Mr. David Caplan will give a short introduction and commentary.

MUSIC FOR THE GUITAR
Messrs. Schott & Co. Ltd ., 48 Great Marlborough Street, London, W.l, have added three very welcome items to their "Series of Contemporary Music for the Spanish Guitar." They are all compositions by R. Smith Brindle. Borsi (a member of P.S.G.)
l. Nocturne. This solo was played by Julian Bream at one of his recitals and was dedicated to him. It is an Adagio with modern harmonies and varied rhythm.

2. Fuego Fatuo. A fascinating study which was played by Mr. J. Duarte at a recent meeting of Manchester Guitar Circle. It has been enthusiastically praised by the guitarists who have seen it.
3. Danza Pagano. Like the "Fuego Fatuo," this solo contains strong rhythms and varied effects, including some rasgueado. Both works are dedicated to Andres Segovia.

PSG Bulletin No.21 January-February 1949
Not available at this time.

PSG Bulletin No.22 March - April 1949

President’s Message-Perott discuses the changing meaning of the word “amateur”. It is now used disparagingly. p1

Reports from the Secretary

February 26

After a couple of member performances, Julian played a study by Aguado, “Andantino” by Sor and a minuet by Haydn. The guitar for these pieces was not mentioned. Later on Julian performed “Study in A” by Tarrega on a guitar by Bouchier of Paris. The guitar belonged to Deric Kennard, another performing PSG member. P2

PSG Annual Meeting at Alliance Hall- 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. Mr. Henry Bream has resigned his office as Honorary Librarian but has agreed to carry on until a new appointment has been made by the committee.  Fn: Vollers, Report from the Secretary, PSG Bulletin, No. 22, March-April 1949, p 2.

Webmaster’s note: By this time, Violet had left Henry and they divorced in 1948. Henry remarries later that year. His librarian position for the PSG is filled by Freeman. During this period, Henry starts having medical problems and passes away from lung cancer in 1950.

 

Radio-Both Julian Bream and Desmond Dupre play guitars with the Boyd Neel Orchestra in Weber’s one-act comic opera “Abu Hassan” and broadcast on BBC’s Light programme on March 25 and then rebroadcast the performance on March 27. Appleby comented on how well you could hear the guitars in the production. Also, Julian played solos for guitar on BBC’s Music in your Home programme on the 23rd of March.

U.S.A-Wilfred Appleby mentions how Madame Anna Kosarenko (formerly Tourshou) from New York had just been visiting London and was so impressed by julian’s palying.

 

PSG Bulletin No. 23. May - June 1949

In Dr Perott’s “Presidential Message” for the May-June PSG Bulletin, he writes an article in reference to the classical guitars rise in stature in the eyes of the professional music community. He then states how the younger generation of guitarist worldwide have aided in this movement through there dedication to the classical guitar. He ends by writing “In this country young Julian Bream is making rapid progress in this direction.” Fn: Perott, Presidential Message, PSG May-June 1949 no.23, p1-2. 

Report from the Secretary

 

April 9

Julian does not appear in the list of performers for the April PSG meeting. Does not appear that Henry or Julian attended meeting.

 

May 22

PSG meeting

After a couple of member performances, Julian played 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 Caracteristicas” by Torroba and “Confesión” by Barrios.

 

STOP PRESS
Radio-Julian Bream, June 27th (morning). (Ed.

Webmaster’s note: this was aired on the BBC Home Service – see timeline.

 

 

PSG Bulletin No. 24. July - August 1949

P.S.G. Meetings in Britain

July 16

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 members request.

Webmaster’s note:

While a PSG meeting date was scheduled for June 25 (as reported on the prior bulletin). Miss Vollers column “Report from the Secretary” reports minutes on the July meeting but does not make any mention of the meeting in June. The lack of minutes for the June meeting may have been an oversight or it may have been cancelled.

Contemporary Published Compositions for Guitar

Schott & Co. has continued to published more contemporary compositions for the guitar under Contemporary Music for the Spanish Guitar. Among the compositions included was Meditation on a Ground Bass, Op. 5 by John W. Duarte (This composition was written for Julian Bream). 

Radio p.5

Julian Bream and Desmond Dupre were the guitarists in the three broadcasts of " Blood
Wedding," by F. Garcia Lorca, music by Eduardo M. Torner.

Julian Bream played guitar solos in the "Aubade" and "Tango Time" morning broadcasts.

On July 23rd he played three solos in a Saturday afternoon programme, "El Testament de Amelia" arranged by Llobet, a minuet by Sor and a tonadilla by Granados.

 

PSG Bulletin No. 25. September -October 1949

Julian Bream is not mentioned in this bulletin issue. There is no record that indicates that Henry or Julian attended either PSG meeting for August 27 or September 17.

 

PSG Bulletin No. 26. November - December 1949

Not available for review.

 

PSG Bulletin No. 27. January - February 1950

P.S.G. Meetings in London Dec 10

After a couple of member performances, Julian played a sarabande with variations by Handel, a minuet by Rameau, a gavotte by J.S. Bach and “Olivares” by Torroba. fn: Vollers, P.S.G. Meetings in London, PSG Bulletin No. 27. Jan-Feb 1950, p.2

Julian Bream was heard as guitar soloist in the Southern Serenade series of broadcasts on December 20th and January 31st

 

PSG Bulletin No. 28. March - April 1950

There is no record that indicates that Henry or Julian attended either PSG meeting for February 4 or March 18.

Guitar Concerto – a article dedicated to Joaquin Rodrigo and his composition Concierto de Aranjuez. It mentions that while the concerto has not been performed in Britain, Ida Presti’s performance in Paris and Narciso Yepes performance in Spain had been broadcast in the country.

Webmaster’s note: Julian has recounted on several occasions that he had not heard of Rodrigo’s  Concierto de Aranjuez until he was contacted by the BBC in late 1950-early 1951 to see if he could participate in a performance scheduled for April. The March-April 1950 PSG Bulletin discussing the  “Aranjuez” was likely mailed to both Henry Bream’s home and Miss Vollers over 6 months earlier. Julian may not have been reading the PSG bulletin during this hectic period of his life or maybe read the article and forgot.

Radio

Julian performs on several different shows on the BBC Light Programmes, Southern Serenaders directed by Lou Whiteson and Twentieth-Century Serenaders conducted by Monia Liter. Appleby reports that despite these sessions being a studio recording without an audience, you could still hear clapping at the end of Julian performing a tonadilla by Granados. Monia Liter and his orchestra were so moved that the felt compelled to clap.

Webmaster’s note: Appleby likely referring to the February 26 (Granados’ tonadilla performance), March 9 and April 2 broadcasts.

 

Julian performs in a new production of Blood Wedding. As before, the music is by Eduardo M. Torner but Julian is accompanied on second guitar by Burt Weedon.

 

PSG Bulletin No. 29. May - June 1950

Not available for review.

 

PSG Bulletin No. 30. July - August 1950

Presidential Message –

“I feel quite sure that never before were we so closely united and so strongly consolidated. If so, then it is time for us to help our new generation of guitarists to be animated by the same spirit of mutual friendship and co-operation by introducing them to one another so that they can correspond and become mutually acquainted. Perhaps it would be possible to publish from time to time in P .S.G. Bulletins brief biographical sketches of talented young guitarists giving their achievements to date, their addresses and the language(s} in which they could correspond. Such information should be sent to the Hon. Bulletin Editor.

 

In order to put this suggestion into practice, I venture to start by introducing to our readers our most talented and promising young guitarist, JULIAN BREAM, who celebrated his 17th birthday on July 15th.
Without doubt Julian was born a musician; his father relates that even in his cradle he responded very vividly to any musical sound. His power of grasping anything concerning music is quite extraordinary. During his boyhood the guitar became HIS INSTRUMENT. He learned everything his father showed him about it, and those fourteen months he spent with me gave him a knowledge for which any other boy would have required two or three years. Acquiring a full knowledge of the "Italian" school of playing and comparing it with the "Spanish" he chose, quite rightly, the modern Tarrega method. Julian as a musician is a strong individualist and his interpretation of every piece of music is his own. When introduced by me to Maestro Segovia he took full advantage of the occasion and did not miss anything said or demonstrated. Nothing escaped his acute observation. That is why, at our P.S.G. meeting in honour of Segovia on December 8th, 1947, the Maestro said: "In Julian we have a young guitarist of great promise and we should help him." Senor Segovia especially emphasized the necessity for Julian to have a good general musical education. Under the guidance of Sir George Dyson, Julian is continuing his musical education at the Royal College of Music.

 

The following are his principal achievements: -More than 45 broadcasts; television from the age of fourteen; providing background music in such films as "Saraband for Dead Lovers"; about twenty recitals and also concert appearances. He is preparing for an important recital in London, and is expected to represent guitarists at the Festival of Britain. Favourable reports have appeared in The Times, Daily Express, Daily Mail, Evening News, Evening Standard, Gloucestershire Echo, Surrey Comet, Witney Gazette, Thames Valley Times, etc.

He plays a "New York" Martin guitar, but his favourite makes are those of Simplicio and Hauser.
His home address is: 25, Cleveland Avenue, Hampton, Middlesex, England.”
B. PEROTT.

P.S.G. Meetings in London

There is no record that indicates that Henry or Julian attended the June 10th PSG meeting. The July 15th  meeting did take place but no minutes were submitted to the PSG Bulleting editor.

Radio

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 through some parts of Europe but the program was heard clearly throughout England and France.

 

PSG Bulletin No. 31. September - October 1950

Not available for review.

 

PSG Bulletin No. 32, November - December 1950

Presidential Message

Dr Perott dedicates his presidential message to the passing of two beloved PSG members, one of them being Julian’s father, Henry G Bream.

P.S.G. Meetings in London

October 28

There is no record that indicates that Henry or Julian attended the October PSG meeting.

November 18

Julian, accompanied by 3 fellow students from the Royal College of Music played the Schubert’s quartet. This quartet was adapted by Schubert from W. Matiegka “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.

“The quartet for flute, viola, guitar and v'cello by F. Schubert was played at the meeting on November 18th. The same team had already played th is quartet at a concert at the Royal College of Music where all the players are students, and it was a great pleasure to hear a performance o musically well thought
out and well played.” By Deric Kennard

Letter from Julian Bream
I would like to thank all members and friends for the beautiful flowers which Miss Vollers brought to the funeral at Woking in your name, also the friendly attitude that was shown during my father's illness, which was such a support to my Mother and myself. Also, I would like to thank the President, Miss Vollers and the committee for making my Recital such a success.
Thank you all very much.
(Signed) Julian Bream.

JULIAN BREAM'S RECITAL
Julian Bream gave a recital under the auspices of the P.S.G. at Cowdray Hall, London, on November 3rd. The concert included works by Dowland (three pieces), Weiss, Bach, Handel, Haydn, Mozart, Rameau during the first part. After a short intermission he played Torroba (three pieces including Burgalesa), Ponce’s “Sonata Romantica” and a few other virtuoso pieces.

 

PSG Bulletin No. 33, January - February 1951

There is no record that indicates that Julian attended either PSG meeting for December 16 or January 13. Hector Quine performed at the meeting at the January PSG meeting.

Angel Iglesias

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.

The Guitar in Radio Play by Appleby.

The music of Eduardo M. Torner was again used for another B.B.C. radio adaptation of a Frederico Garcia Lorca's play "Yerma". Both Julian and Desmond Durpe played guitars.p4

 

 

PSG Bulletin No. 34.

Not available for review. Not known if the publication of this bulletin issue ever materialized.

Webmaster’s note: The following announcement was published in the BMG June 1951 issue. “The Philharmonic Society of Guitarists announces the continuance of its bi-monthly "Bulletin " under an editorial committee and with a new title, "The P.S.G. Journal." All articles and news should be sent to the Hon. Sec. Miss J. Vollers. The next meetings will take place on June 9th (afternoon) and July 14th (evening). This bulletin does not appear to have been published. The next bulletin does not appear until 1956 (5 years later).

 

PSG Bulletin No. 35.

Not available for review. Not known if the publication of this bulletin issue ever materialized.

 

PSG Bulletin No. 36, January-April 1956

Concert Review by R.S. p. 5

The review was not favourable. The reviewer starts by saying what a great guitarist Julian Bream but then wasted no time criticizing nearly every piece that Julian played that night. Additionally he criticized the guitar and stated that Julian should have used his fine Hauser guitar or even his martin guitar would have been better than the instrument that he performed with.

World News - England by D.B. p. 7

Due to the patient and effective campaigning of Dr. Perott, our President , the BBC Third Programme broadcast, on 30 December 1954, a programme entitled "The Guitar Outside Spain"; the guitar was played by Julian Bream, and Mr. Deric Kennard was the narrator. This programme was repeated on record, on 21 November 1955.

 

PSG Bulletin No. 37, January 1957

Editorial by J.W. Duarte, p. 1

The article starts by addressing the problem between solo guitar music and ensemble. While the solo sheet music increases almost daily with every guitar magazine publication and the steady output from sheet music publishers, ensemble pieces on sheet music has not shown the same growth. The bulletin will only occasionally print solo works in its supplement and instead promote ensemble pieces in their journal (duets, trios and larger musical groups). The performance at meetings will also encourage ensemble performances. He discussed the many benefits of ensemble playing that are absent in playing solo music.

 

Then he addresses the old statement that England is the “Land without music”. Because of that, guitarist from other countries may think that it might be easy to come to the England and establish themselves as a professional player in a land that they perceive will offer little competition. Duarte affirms that England currently has exposure to many superior guitarist and their current standards are very high. A poor player can be detected from a considerable distance. If you are a friend of England and wish to come to this country and play your guitar for friends and at meetings, by all means, you are welcome with open arms. If you plan to get up on a stage and expect to be paid for your performance, you better deliver with high degree of technique and artistry. Not only does England currently have two great players in Julian Bream and John Williams, but they are constantly exposed to the likes of great players from other countries such as Segovia, Ida Presti, Alirio Diaz, to name a few. He then mentions Renata Tarrago’s recent radio and television broadcast on the BBC of Rodrigo’s Concierto de Aranjuez. He essentially described it as a disastrous performance despite the significantly slower tempi. He stated that Julian could easily out perform Tarrago. He mentioned Julian recently successful performances of the concierto at Festival Hall and The Promenade. ”The guitar has for too long wallowed in a slough of low standards and artistic hypocrisy and ignorance; we shall do all we can to change this.”

 

Concert Reviews by R.S. p. 5

“On Thursday, September 27, at the Wigmore Hall, Julian Bream went far towards effacing the criticisms made in our last issue. Gone was the feeble English-made guitar in favour of a new instrument by the young Hauser, gone was the vicious vibrato, and gone were the "chocolate box top" patches of interpretation. Most soloists begin their concerts with technically undemanding pieces that serve to settle the mind and loosen the fingers, but Julian opened with a Prelude and Fugue by Bach that owed nothing to this usage. The technique was sure, the delineation was crystal clear, but even a more colourful performance could not have disguised the fact that this was not Bach at his most interesting. There followed the wonderful Siciliano and Fugue from the First Sonata for unaccompanied violin by Bach translated, as usual, into A minor and, by virtue of their isolation from the whole work, reversed in playing order. The pastoral quality of the Siciliano was perfectly realized, but a rather larger dynamic and tonal range is needed if the fugue is to attain the fullness of its stature; its very length is a challenge to both performer and listener. These remarks apply equally to the Chaconne, that monumental crown to the Second Partita for unaccompanied violin by Bach, with its miraculous chain of thirty-one variations (including the central restatement of the theme), with which the first part of the programme closed. In this item it was apparent that although Julian has a perfect understanding of the musical shaping of the
work, his technique still lacks a sufficient command of power (as distinct from forced volume), especially in rapid single-note passages-that which leads to the final statement of the theme was, by virtue of this (and a sudden tendency to hurry), not quite equal to its impressive task. It should nevertheless be said that of the handful of living guitarists who can face the Chaconne on a public platform, few indeed could have given a better account of it. Two pieces of early Mozart (K.22) were a welcome replacement for the usual and often vapid Sor, and they were beautifully played. Our lack of enthusiasm for the Recitative and Arietta by John Lambert (first London performance) was reflected also in the audience response. From the character of the music it is difficult to see how the titles were arrived at; the whole work is unsuited to the guitar and throughout its unbeautiful course it contains little that could be construed as
melody (when the title is borne in mind). It is largely a thing of angular and awkward phrases, and nervous ties. After this, three well-worn studies by Villa-Lobos were welcome; these are rapidly assuming a " Rachmaninov's Prelude" status in the guitar repertoire. For sheer freshness and perfection of playing, a Valse by Roussel was an object lesson to those concert guitarists who still invite us to hear the nth performances of tired war-horses in the bulk of their programme time. Such a piece is , by now,
Granada by Albeniz ; it received a rather uninspired performance suggestive of its inclusion on box-office grounds. The programme reached a most effective end with the little-heard Guajira of Pujol. The work is
wonderfully written and makes one realize what a fine player Pujol must have been in his prime; Julian 's playing included passages of the most beautiful pizzicato playing we have ever heard- the quality of sound was rich and round and had none of the deadwood character so often imparted by other players we have heard. Villa-Lobos and Tarrega provided the oh-so-familiar encores. We have made criticisms, because Julian's playing is of such an order that it automatically exposes him to criticism at the highest level (with no excuses and extenuations), but they should be seen against the background of very
great improvement over the past year. His greatest need now is for a higher action, and the strengthening of his playing action in both hands ; only then will his dynamic range prove equal to his great musicianship and his digital agility. On this occasion the audience-which filled the hall to the brim-enjoyed itself enormously; it acknowledged the fact in the usual way.”

 

London Philharmonic Society for Guitarist (PSG) Bulletin

Meeting places:

April 21, 1945

Mrs. Kingsmill-Lunn. 38a Holland Park Avenue

May 26, 1945

Mrs. Kingsmill-Lunn

June 23, 1945

Mrs. Kingsmill-Lunn

July 18, 1945

Mr. Adrian Van der Horst. 39 Thurloe Place, London. Flat above the Cafe de Venice.

August 18, 1945
Mr. Adrian Van der Horst. 39 Thurloe Place, London. Flat above the Cafe de Venice.

September 15, 1945
Mr. Adrian Van der Horst. 39 Thurloe Place, London. Flat above the Cafe de Venice.

October __, 1945
Mr. Adrian Van der Horst. 39 Thurloe Place, London. Flat above the Cafe de Venice.

November 1945

Alliance Hall (Alliance House building) 20 Palmer Street, Westminster, London