In 1963 I went to bed at 12:00 on Saturday night. By accident Classical Guitar was on Radio and my love for CG began. That is 49 years ago. Andre Segovia, Julian Bream, and the Romeros became my favorites. Since then, it has grown exponentially. There are now a countless number of absolutely great players. I have been obsessed with the instrument. It is a vital part of my life.
From what I can see based on some research Julian Bream--he seems like a down to earth---practical kind of guy--who would give a go at playing all kinds of music and treated people with kindness and respect----where Segovia seems like an elitist stuck up prick. Both great players--but Julian Bream would be the guy I would like to sit around and have a beer with.
You hear the guitar played for the first time. You are inspired. You buy a guitar, a good guitar. You find a teacher, a good teacher. You study, you practice, your parents pay money, you practice more. You have given your first recital, you are a success. Then one disastrous day, you hear Julian Bream playing something, and your life changes. You burn your guitar! No, of course you don't. But you want to, because you know what you've heard is not the "Run of the Mill" Plink Plunk you've heard before. Everything pales after this. After you pick your jaw up, off of the floor, you decide to emulate him. This is where scripture comes in handy: "Many are called, but few are chosen". And, Amen! That's all one can say after Julian Bream. Thank you Julian. We know we'll never best you, but your inspiration to endeavor has been worth it, and in your way you've helped us all. Thank you Julian X 1000!
Beautiful video of precious memories and insights on a remarkable artist and musician. On his instruments, one should also include his close relationship with J. Romanillos and the beautiful music Bream has recorded with the 1972 Romanillos instrument, the brainchild of Mr. Romanillos's relentless search for tone and outstanding scholarship on the legacy of Antonio de Torres. Thanks again!
Scott Tennant's story about the LP with the cover with the two tennis players is exactly spot on. I bought it too, and had the same experience and confusion about who is who on that cover. I still have and cherish this 'Bream plays Bach' album (a collector's item today I guess): it is the best Bach interpretation of 997, 998 and Chaconne ever. This record is the main culprit for my 'guitar addiction' that started then and continues to this day.
If we had to send one album into space (let's say we discovered life on another planet...) and those folks wanted to know what classical guitar is we would send Bream plays Granados and Albeniz and that planet would go... "Ah Yes! we now get it..."
I was student folk guitarist. I had a feeling for what I wanted to play, ‘finger style’. After couple of years learning Simon Garfunkel, came across Fredrick Noad, ‘Solo Guitar Playing’. Left my job and started serious self-study. To supplement my studies listened to guitar radio recitals and borrowing cassettes albums from library. Luckily Julian Bream albums were quite well stocked. I listened and fell in love. ‘That’ was the music I wanted to play. Started buying scores of the music he played. Then one day (in 1980?) I happened to turn on the TV and it showed a guitar being made. Wow! What a coincidence. Then the narrator said, ‘let’s listen to the guitarist Julian Bream. Omg, I’d listened to his playing for so long, this was the first time I saw him play. He was sat in a garden playing Tarega Estudio Billiante in A Major. It was difficult for me at the time to take it all in. I was shocked. His face contorted, his tongue twisted and showed at his mouth, his eyes flinched, his scalp creased up. He seemed to be expressing music from every muscle in his body. Then there was his hands. The rattled almost clunkily, yet swift and accurate. He’s like a monster. No he’s like a schoolboy. Is he a man? Is he an ape? but then again the music, the sound, I loved it. But I was in shock. I can not tell you my heart. It opened not just to art, but to Spirit. I can not tell you. Recently, I turned on the radio, the narrator said, ‘the classical guitarist Julian Bream died today age...’ I thought....No. Julian Bream can not die. Julian Bream dead? He showed us a world larger than this life. A world so large can not take it in. That’s the shock. Something, much, much more, I can not tell you, just listen to his music, that will tell you; again, and again, and again.
Th English Westminster Bach album had a dramatic black and white portrait of Bream with the guitar: tasteful, not gimmicky. I wore out the vinyl, unfortunately. At fifteen, He introduced me to Bach to the point that I knew those pieces by ear, note-for-note.
I'm surprised that no one mentions Julian breams left hand when discussing his tone. if you look at most classical players you will observe a somewhat rigid left hand knuckles parallel to the finger board fingers parallel to the frets tips of the fingers vertical etc etc. Bream on the other hand ( pun unintended ) has a relaxed hand much more like a jazz player a natural gentle touch. He was of course largely self taught and simply did what was right for him. Tone of course is a whole body affair not simply how the string is plucked
rado klose he played jazz very seriously and had a band. fortunately he is one of those people who has made videos of all his experiences you can find some of them in his last interview. the guy has his life documented on films from his childhood years(like Bruce Lee). that's being said unlike you I think his playing seems intense although his inner relaxation
rado klose Apparently after some 30 odd years Julian started to get serious semi-paralysis in his left hand which meant he would have to stop playing the guitar.Very worrying indeed. After some therapy and following advice he changed his hand position and had to relearn each day playing really boring scales to retrain his musclature over months.He blamed the problem on being self taught!
As a physician and classical/jazz guitarist, one thing that always struck me about Julian's hands was the unusually flexability of the tip of the finger that makes contact with the strings on the finger board. His playing, of course, is more than his anatomy. Julian is like a magnificent collosus at the pinnacle of artistry of classical guitar. I had the privilege of seeing him play live several times, and the experience was unforgettable.
Recall that these gentlemen are all top flight classical guitarists! The anecdotes and observations were insights into the man and his music. They touched on so many of the aspects that make him the greatest guitarist of the Twentieth century. Not sure what else one can say. Julian is a legend whose music and awesome talent speak for themselves..
es sorprendente que en España que yo creo es cuna mundial de la guitarra no se encuentre programas interesantes ni concursos relevantes de guitarra como los hay en el UK y menos en la tv por favor más cultura y menos sálvame de luxe basura de esta.
Some dumb ass has to ask about the Rose Augustine Hauser....like well, if Julian is no longer playing it, can I have it? More like; hey look at me I am cool and know it is the Rose Augustine Hauser on lifetime loan to Julian. Then that Kannengiser has to say" my friend has his lute/loot." Reminds me of Duarte talking for an hour about Segovia's bathrobe.
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In 1963 I went to bed at 12:00 on Saturday night. By accident Classical Guitar was on Radio and my love for CG began. That is 49 years ago. Andre Segovia, Julian Bream, and the Romeros became my favorites. Since then, it has grown exponentially. There are now a countless number of absolutely great players. I have been obsessed with the instrument. It is a vital part of my life.
What makes Bream so great to listen to is he plays like a test pilot. He put the music though it paces on the edge and always landed.
From what I can see based on some research Julian Bream--he seems like a down to earth---practical kind of guy--who would give a go at playing all kinds of music and treated people with kindness and respect----where Segovia seems like an elitist stuck up prick. Both great players--but Julian Bream would be the guy I would like to sit around and have a beer with.
You hear the guitar played for the first time. You are inspired. You buy a guitar, a good guitar. You find a teacher, a good teacher. You study, you practice, your parents pay money, you practice more. You have given your first recital, you are a success. Then one disastrous day, you hear Julian Bream playing something, and your life changes. You burn your guitar! No, of course you don't. But you want to, because you know what you've heard is not the "Run of the Mill" Plink Plunk you've heard before. Everything pales after this. After you pick your jaw up, off of the floor, you decide to emulate him. This is where scripture comes in handy: "Many are called, but few are chosen". And, Amen! That's all one can say after Julian Bream. Thank you Julian. We know we'll never best you, but your inspiration to endeavor has been worth it, and in your way you've helped us all. Thank you Julian X 1000!
Beautiful video of precious memories and insights on a remarkable artist and musician. On his instruments, one should also include his close relationship with J. Romanillos and the beautiful music Bream has recorded with the 1972 Romanillos instrument, the brainchild of Mr. Romanillos's relentless search for tone and outstanding scholarship on the legacy of Antonio de Torres. Thanks again!
Scott Tennant's story about the LP with the cover with the two tennis players is exactly spot on. I bought it too, and had the same experience and confusion about who is who on that cover. I still have and cherish this 'Bream plays Bach' album (a collector's item today I guess): it is the best Bach interpretation of 997, 998 and Chaconne ever. This record is the main culprit for my 'guitar addiction' that started then and continues to this day.
If we had to send one album into space (let's say we discovered life on another planet...) and those folks wanted to know what classical guitar is we would send Bream plays Granados and Albeniz and that planet would go... "Ah Yes! we now get it..."
These talks are awesome!
I was student folk guitarist. I had a feeling for what I wanted to play, ‘finger style’. After couple of years learning Simon Garfunkel, came across Fredrick Noad, ‘Solo Guitar Playing’. Left my job and started serious self-study. To supplement my studies listened to guitar radio recitals and borrowing cassettes albums from library. Luckily Julian Bream albums were quite well stocked. I listened and fell in love. ‘That’ was the music I wanted to play. Started buying scores of the music he played. Then one day (in 1980?) I happened to turn on the TV and it showed a guitar being made. Wow! What a coincidence. Then the narrator said, ‘let’s listen to the guitarist Julian Bream. Omg, I’d listened to his playing for so long, this was the first time I saw him play. He was sat in a garden playing Tarega Estudio Billiante in A Major. It was difficult for me at the time to take it all in. I was shocked. His face contorted, his tongue twisted and showed at his mouth, his eyes flinched, his scalp creased up. He seemed to be expressing music from every muscle in his body. Then there was his hands. The rattled almost clunkily, yet swift and accurate. He’s like a monster. No he’s like a schoolboy. Is he a man? Is he an ape? but then again the music, the sound, I loved it. But I was in shock. I can not tell you my heart. It opened not just to art, but to Spirit. I can not tell you.
Recently, I turned on the radio, the narrator said, ‘the classical guitarist Julian Bream died today age...’ I thought....No. Julian Bream can not die.
Julian Bream dead? He showed us a world larger than this life. A world so large can not take it in. That’s the shock. Something, much, much more, I can not tell you, just listen to his music, that will tell you; again, and again, and again.
TV: last portion of this footage:
ruclips.net/video/o9EIRFE-aPY/видео.html
Regarding the question from an audience member- the hauser he is speaking of is now at the met in ny
I very much enjoy this ,so good.
Th English Westminster Bach album had a dramatic black and white portrait of Bream with the guitar: tasteful, not gimmicky.
I wore out the vinyl, unfortunately. At fifteen, He introduced me to Bach to the point that I knew those pieces by ear, note-for-note.
Greg Smith I still have that vinyl.Something about the period is encapsulated in it.
I'm surprised that no one mentions Julian breams left hand when discussing his tone. if you look at most classical players you will observe a somewhat rigid left hand knuckles parallel to the finger board fingers parallel to the frets tips of the fingers vertical etc etc. Bream on the other hand ( pun unintended ) has a relaxed hand much more like a jazz player a natural gentle touch. He was of course largely self taught and simply did what was right for him. Tone of course is a whole body affair not simply how the string is plucked
There is no surprise here. He started in the gypsy jazz tradition.
That is no lie.
rado klose he played jazz very seriously and had a band. fortunately he is one of those people who has made videos of all his experiences you can find some of them in his last interview. the guy has his life documented on films from his childhood years(like Bruce Lee). that's being said unlike you I think his playing seems intense although his inner relaxation
rado klose Apparently after some 30 odd years Julian started to get serious semi-paralysis in his left hand which meant he would have to stop playing the guitar.Very worrying indeed. After some therapy and following advice he changed his hand position and had to relearn each day playing really boring scales to retrain his musclature over months.He blamed the problem on being self taught!
As a physician and classical/jazz guitarist, one thing that always struck me about Julian's hands was the unusually flexability of the tip of the finger that makes contact with the strings on the finger board. His playing, of course, is more than his anatomy. Julian is like a magnificent collosus at the pinnacle of artistry of classical guitar. I had the privilege of seeing him play live several times, and the experience was unforgettable.
Somehow reminds me of those wank booth operations I am told exist in Amsterdam.
What do you mean?
I expected more depth in their statements they talk about Bream like people who don't know guitar at all.
Recall that these gentlemen are all top flight classical guitarists! The anecdotes and observations were insights into the man and his music. They touched on so many of the aspects that make him the greatest guitarist of the Twentieth century. Not sure what else one can say. Julian is a legend whose music and awesome talent speak for themselves..
on the contrary It is a mistake to copy his hand position
es sorprendente que en España que yo creo es cuna mundial de la guitarra no se encuentre programas interesantes ni concursos relevantes de guitarra como los hay en el UK y menos en la tv por favor más cultura y menos sálvame de luxe basura de esta.
Some dumb ass has to ask about the Rose Augustine Hauser....like well, if Julian is no longer playing it, can I have it? More like; hey look at me I am cool and know it is the Rose Augustine Hauser on lifetime loan to Julian. Then that Kannengiser has to say" my friend has his lute/loot." Reminds me of Duarte talking for an hour about Segovia's bathrobe.
boring and empty talk. Understandable subject.