Book Summary: Julian Bream: A Life on the Road
Julian Bream is a classical guitarist that needs no introduction. Bream had an extensive concert and recording career that moved classical guitar into the public eye. His collaborations with composers also expanded the classical guitar repertoire into new realms of sound not previously explored.
"Julian Bream: A Life on the Road" is a book that details the life and career of Julian Bream. The book covers his childhood, his early years as a musician, his collaborations with other artists, and his extensive touring. It also includes personal anecdotes and insights into his creative process which are riddled with the personality of Bream that shows he was an interesting character and explains his avid fascinations with all kinds of music (and cricket).
Key Points
Bream's early life: Bream’s father was a jazz guitarist and taught Bream guitar from an early age. The great classical guitarist Andres Segovia was his inspiration which took him down the classical guitar path rather than staying with jazz. Bream went on to attend the Royal College on Music in London which had no guitar teachers at the time. This is a crazy time in the history of classical guitar because Segovia was still popularising the classical guitar as a concert instrument and therefore it was not taken seriously in musical conservatories. Bream studied piano, cello, and composition instead of guitar.
It is also hard to believe that Bream was then called for National Service in the army, where he took up jazz guitar again for the Artillery Band. All of these unique experiences had to have shaped the diverse musical interests Bream had later in life. As a past student of the classical guitar myself with the opportunity to study it from primary school through to completing a degree at university, I am interested when I hear that not too long ago in history one of the best classical guitarists had to go through so much before he accomplished a long and successful music career.
Bream’s long list of collaborations: Bream went on to work with many musicians in his lifetime and in this book we gain an insight into his relationships with many of them and his strong opinions and advocacy for the classical guitar. I am a big fan of William Walton’s Five Bagatelles so this collaboration between the two is always a highlight to discover more about. The fact that Walton had not composed for guitar besides some short songs for voice and guitar, and then composed such influential pieces for the classical guitar repertoire is astounding. Walton composed these with a fretboard chart drawn by Bream to show what was possible to play and what was not. Bream also kickstarted the career of guitar luthier Jose Romanillos by offering his Hauser as a model and workshop space for Romanillos to make guitars.
Touring worldwide as a classical guitarist: Bream’s touring career was at a time that classical guitar was in front of the public eye with both himself and John Williams also making regular appearances on BBC for a national audience. It is hard to think of many classical guitarists who have such an incredible public profile today. The book offers many insights into Bream’s intense habitual practice and travel quirks. Even so, Bream has also said:
“I don’t really like traveling. I don’t speak any foreign languages…. Christ, I must be a bloody idiot.”
I love this quote, among many others, which showcase Bream’s blatant but hilarious English sense of humour.
"Julian Bream: A Life on the Road," written by Tony Palmer, is a must-read for anyone interested in classical guitar or the life and work of one of its most important figures!
All the best for now - see you in the next blog!