In 1960, it was the equivalent of Sting in this century adopting the music of Dowland. Julian Bream was a famous guitarist, possibly the most famous after the semi-retirement of Segovia. Yet he chose to take up the lute, possibly inspired by the revival of interest in English music of the 16th and 17th centuries by his friend Benjamin Britten and his circle. I remember standing in a queue in a civil service cafeteria behind an executive who animatedly complained to his companion that Bream was making a big mistake, the techniques were entirely different. In the event, Bream proved both amateur and professional critics wrong. The Julian Bream Consort was a success, though he was to return to the guitar in later years. Although it seems to have been over twenty years since his last live concert, it is surprising that the main BBC news bulletins have not reported his death. Radio 3 will no doubt make up for that in the days to come.
Like Sir Alan Parker he never completely lost his youthful accent, though he did smooth it out over the years. One wonders whether in these less democratic days either would have risen to the top so quickly.
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Bream set up a Trust which continues after his death to support talented guitarists and lutenists, who, like him in his early days, struggle for financial support to further their development. The Julian Bream Trust also sponsored many new works like this one. Edward Cowie's posting of two years ago also reveals much of the musician.
Certainly not forgotten by connoisseurs in the States. Read Terry Teachout here.
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