https://www.nytimes.com/2020/08/14/arts/music/julian-bream-dead.html Ce dernier restera connecté avec ce compte.Non. Julian Bream, talentueux musicien britannique est décédé vendredi à son domicile dans le Wiltshire, un comté du sud-ouest de l'Angleterre. He began working through tuition books with him but thought Julian’s musical future lay with the piano. Henry was seemingly an accomplished jazz guitarist, and Julian adored the playing of jazz maestro Django Reinhardt.A turning point for Bream was hearing recordings done by Andrés Segovia (1893-1987), another great guitarist, whose transcriptions of Baroque compositions helped shape the modern repertoire. In 1965, Bream asked luthier David Rubio to make “a guitar that will do what I want it to, not one that tells me what I may do.” The predominant sound at the time, based on Spanish models, has been described as a quick-fading “candle-flame” treble and a “fruit-salad” bass, giving an overpoweringly bass-heavy emotional effect. It was all part of integrating the guitar and its new compositions into the classical world.Clarity sums up Bream’s approach to music. In 2013, to celebrate Mr. Bream’s 80th birthday, Sony Classical (which had acquired RCA Red Seal) issued a boxed set with all the RCA discs, as well as two DVDs offering a documentary film and television appearances.Mr. Hans Werner Henze, Peter Maxwell Davies, Michael Tippett and Toru Takemitsu also wrote works for him.“I do think there is a valid reason that Segovia commissioned the composers he did,” Mr. Bream said in a Mr. Bream also had an antiquarian streak that made him an important figure in the modern revival of the lute. Bream was hip, sophisticated, and earthy, all at once. Récompensé par quatre Grammy Awards tout au long de sa carrière, il avait décidé de prendre sa retraite en 2002, à presque 70 ans.Un tres grand, ses duos avec John Williams et ses interpretations au luth resteront dans toutes les memoires des guitaristes classiques. Email. 14 août 2020. Thereafter, he toured annually through the 1990s, mostly in Europe and the United States.An automobile accident in 1984, in which he broke his right elbow, required reconstructive surgery that limited his bending the arm.
“Well, it’s all right. Un instrument acheté par son père à un marin, croisé sur Charing Cross Road, que l’adolescent se fait une joie de remettre en état et de travailler, devenant sans le vouloir l’un des pionniers d’un magnifique regain d’intérêt pour le répertoire de l’instrument-roi de la Renaissance et du baroque, dont il feuillette les partitions dans la bibliothèque de Manchester au début des années 1950.En 1952, il devient d’ailleurs, après un concert à Aldeburgh, l’accompagnateur (duo pour voix et luth) du ténor Peter Pears, compagnon de Benjamin Britten, avec qui il entreprend de nombreuses tournées et réalise de multiples enregistrements. Avec le Julian Bream Consort, un ensemble à cordes, vent et luth formé en 1959, il divisait son temps de représentation entre la guitare et ce luth qu'il apprécie tant. And to prove it he did say to me one day that if you take into account the whole population of the world, and given that there’s only one world famous classical guitarist so far, the chance of success for a second guitarist must be very slender.
The school admitted him as a pianist, cellist and composition student, and he was advised not to bring his guitar into the building.But because he was giving late-night performances and playing for film soundtracks to earn money, he brought his guitar to the college anyway.
Telegram. Even here, however, the youngster was left to “a handful of Tárrega-based instruction manuals and a large dose of self-education.” As arguments between his would-be mentors raged around him, Bream focused intently on making his own decisions.Perott continued to be supportive, although his promised recitals never materialised. After their divorce, he married Isabel Sanchez in 1980. In the early 1980s, Mr. Bream followed their lead in taking up early forms of the guitar — the And when research by younger lutenists suggested that Mr. Bream’s lute technique was inauthentic, he stopped playing the instrument publicly so that he could catch up with the latest scholarship. Julian Bream (1933-2020): Pioneer of the classical guitar By Paul Bond 26 August 2020 The guitarist Julian Bream’s performances were only part of his legacy. And he undertook a significant renovation of the repertory.While Segovia, a Spaniard, devoted himself largely to music that naturally emphasized the guitar’s Spanish and Latin American roots, Mr. Bream showed that the instrument was equally suited to German, French and English works and to some of the thorny contemporary styles that the more conservative Segovia avoided.While Mr. Bream did not ignore the Spanish and Latin repertory, he created an alternative and just as durable one through research, transcription and commissioning.But his most enduring legacy is most likely to be the large collection of pieces he commissioned, many of which he also recorded. Né le 15 juillet 1933 à Battersea, près de Londres, d’un père illustrateur commercial, pianiste et guitariste d’un groupe de jazz amateur, le jeune Julian Bream a 11 ans lorsqu’il se voit offrir sa première guitare espagnole classique.
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