RIP Julian Bream

Moe mai ra e te Rangatira…(Sleep, oh chief)

Takoto mai, takoto mai, takoto mai…(Lie, lie, lie)

Haere ki runga i to waka rererangi…(Travel aboard your heavenly vessel)

Haere ki nga whetu kei runga i to po roa, to po nui, te po tapu…(Go to the many stars of the long night, the great night, the sacred night)

Haere, haere, haere…(Depart, depart, depart…)

Julian Bream was what I would like to call a ‘Musician’s musician’. He was everything that many of us aspire to be - a virtuoso; a gentleman and a scholar; an indefatigable tour de force in the guitar and lute world; a transcriptionist par excellence; and an all-round good chap.

I had the incredible privilege of seeing Julian perform in Napier in 1988 when I was in my first year at high school. Unfortunately, I was so new to the guitar that I had scarcely a clue as to who he was and what he was playing. I do remember that he played All in Twilight by the Japanese composer Toru Takemitsu (I believe it had been commissioned the year prior).

When I was undertaking my performance major in classical guitar at Victoria university in Wellington I would often pull out a vinyl recording of Julian Bream and listen to him playing the Concierto de Aranjuez by Joaquin Rodrigo. I had never heard anything so exquisite apart from Segovia playing J. S. Bach’s Chaconne. Even today rarely more than a few days go past without me listening to Julian playing a piece in his own way - the Julian Bream way.

To me the way Julian played was unique amongst all players. His thunderous pizzicato in the beginning stanza of Granados’ La Maya de Goya, or the sultry sul tasto in Turina’s Fandanguillo are truly unforgettable displays of his extraordinary depth of musical understanding. The tonal variations and his idiosyncratic approach to phrasing and interpretation, salient in a world so full of amazing players.

When I was a bit younger I was in camp Williams because I just couldn’t believe his technical command so I tended to model my playing to mimic John (falling way way short). However, as I have aged I have gone back to Julian and analysed many of his transcriptions and increased my admiration of his approach and sound. The ending of my performance of Serenata Espanola by Malats is totally JB. I listened to his performance several times and then transcribed it by ear. To my knowledge nobody ends that piece like Julian does.

I am happy and unimaginably thankful that JB left a massive lexicon of music for lute and guitar for us to enjoy through the coming years.

Please feel free to comment and share your experience with Julian and his music below.

Classical Guitar Virtuoso Profile: Julian Bream

Julian Bream - The Legend!

Introduction

Julian Bream is without a doubt my favourite classical guitarist. I was privileged enough to see the living legend perform in my first year of guitar lessons in 1988. From memory I think most of his repertoire at the time was very modern and featured 'All in Twilight' by Toru Takemitsu. The downside of the recital was that I had only just started learning classical guitar and I couldn't appreciate the virtuosity and the grandeur of the musicianship that was on display. Honestly I didn't even really know who Julian Bream was. I do clearly recall my guitar teacher telling me later that Julian Bream also organised and marketed his own concerts around the world. That is something that I find truly staggering.

Why Do I Like Julian Bream?

I like Julian Bream for three main reasons:

1.  His uncanny ability to find the important melodic lines or rhythms within a piece
2. His astonishing use of tonal colours
3. His unique and utterly idiomatic & unique interpretations

Many critics have lauded Julian's ability to capture the very essence of the pieces that he plays. It would seem that most of us share their opinions. If you read any of the comments in the numerous YouTube videos of Julian performing you will see that it is his sensitivity and deep understanding of music that people have grown to love and admire. It doesn't matter if it's a 400 year old Renaissance lute piece or a modern work by William Walton or Benjamin Britten - Bream will always find a way to make it musical and accessible to an audience. His ability to capture the soul and beauty of a piece is unparalleled. 

When I was at University I would often pull out a vinyl recording of Bream playing the famous 'Concierto de Aranjuez'. It was so inspirational for me and it helped to keep me plugging away when I was studying. I always marvelled (and still do) at his timbral variations.

Julian Bream plays both of Joaquin Rodrigo's Conciertos for guitar.

Conclusion

Unfortunately Bream stopped giving recitals in 2002 after more than 50 years of performing around the world. Thankfully his numerous recordings are still available for us to enjoy and love. If you have time I would strongly suggest heading across to YouTube to watch these two wonderful documentaries:

• My Life In Music. An enchanting 2 hour journey through Julian's life from his earliest days as a youth right through to the latter stages of a career spanning several decades.
• Guitarra - The Guitar In Spain. This is a 3 hour documentary about the history of the guitar and the influence that Spanish luthiers & composers have had on the instrument since the days of Torres.

Let your fingers fly!