Julian Bream Edition (Complete) Review

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Julian Bream Edition (Complete) ReviewJulian Bream not only plays the guitar, and the lute
(although purists and I suspect Bream himself would say rather unconventionally), but most of all, Bream plays MUSIC. This is very, very important. There are many fine guitarists around today, but I doubt any could match Bream's sheer musicality when these recordings were made.
This 28 CD box set is a lesson in music making, regardless of what instrument is being played. The recordings are the complete RCA Bream catalogue from 1959 to 1989. If you can find the complete box set or even any of the individual volumes, I suggest you make the purchase. (Shame on RCA and BMG for not keeping this box set and "all" the individual volumes in print.)
Some of the higlights of Breams remarkable talent are his
interpretations of Britten's "Nocturnal", Walton's "Five Bagatelles", the instrumental and vocal works (with tenor Peter Pears) of Dowland, the "first" complete guitar works of Villa-Lobos, a thorough history of the guitar in Spain from the Renaissance to the Present on period instruments, plus all the works that have become classical guitar standards by Bach, Sor, Giuliani, Albeniz, Rodrigo, plus the "new" standards by Brouwer, Arnold, Berkeley, Britten, Walton, etc.
Music making of this caliber is rare indeed. Buy it if you can find it. Good Luck !Julian Bream Edition (Complete) Overview

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The Artistry of Clas Pehrsson Review

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The Artistry of Clas Pehrsson ReviewThe Artistry of Clas Pehrsson. Clas Pehrsson plays eight different recorders. Accompaniments: Cecilia Peijel, guitar and alto guitar; Solveig Faringer, soprano (Tr. 9-11); Jörgen Rörby, lute (Tr. 9-11).
Recorded at Wik Castle, Sweden, by Robert von Bahr, in February, March and May 1979 (Tr. 1-8) and January 1974 (Tr. 9-11). Originally published on LP. This CD compilation released in 1994 as BIS CD-135. Total playing time: 65'32".
Recitals for the recorder are not for everyone (limited range, shrill high notes etc.), but this BIS re-issue has everything going for it. Take, first, the superb engineering by Robert von Bahr. Whereas recorder issues on other labels (I'm thinking particularly of some I have heard recently on ASV Gaudeamus, Hyperion and Titanic) tend to place the recorder so starkly in the foreground that it can hurt the ears, BIS have placed their two microphones at an ideal distance, capturing all the nuances of the playing, but at the same time never making the instrument sound over-present or shrill (even on the one track where Pehrsson plays a sopranino - thank God he didn't attempt to fill a whole disc with that enervating sound!). These are analogue recordings from the 70's, but the sound quality is considerably better than many a less well-engineered digital recording.
Then there is the playing. Clas Pehrsson himself is a man of great musicality, and he seems able both to reproduce recorder music with the greatest ease and to avoid attracting the limelight by any kind of showy virtuosity. He brings the music alive, lets you hear his superb range of recorders (from sopranino right down to sub-contrabass, an amazing sound!), and it is only after you have finished listening that you realize what a wonderful player you have just been listening to. The first eight tracks, recorded in 1979, were made together with guitarist Cecilia Peijel, who gets Tracks 2 and 4 as solo pieces. She plays not only a modern classical guitar, but also an alto guitar with eleven strings, tuned to G and sounding a little like a lute. The idea of accompanying pieces such as the sonatas by Telemann and Handel on a guitar may seem a little strange, but I feel that the sonic results prove that the BIS team were correct in their decision. The older pieces at the end of the disc (12th to 15th century) are accompanied by a lute, while mezzo-soprano Solveig Faringer sings either the traditional texts or just to "Ah". All in all a fascinating recital, and I can't thank BIS enough for keeping this and all their other excellent recordings available.The Artistry of Clas Pehrsson Overview

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Music of Spain Review

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Music of Spain ReviewThe visible embellishment of this noble instrument was enriched still more by the Spanish composers, who following the traces of his contemporaries. In the case of Fernando Sor, Haydn was his musical guide, where as Aguado, could establish himself with major vehemence, due its particular style, based in the notable right-hand articulation, eschewed the classical patterns, being able to print his own music a flamboyant and refined character.
In the particular case of Fernando Sor, we have a wisdom blending of the counterpoint technique, an evocative mood from his own that, added the well known influence of the Italian composers (Domenico Cimarrosa and Giovanni Batista Pergolesi) and his beloved love for the Operatic genre, allowed him to enrich still more the lyrical possibilities of the guitar. Besides, unlike Nicolo Paganini, for instance fortunately did not transform the guitar in a simple device to show his overwhelming gifts. He used the guitar to play music, on the opposite approach of Paganini who used the music as mere device to play his instrument.In the guitar genre there has not been most deserved and superb tribute to Mozart that this Variations Op. 9 based on a motive of The most famous Mozart ?s Magic Flute. Loaded of such imaginative freshness and enraptured inspiration you may notice that one of the Variations conserves an undeniable Italian flavor; this is one of the most beloved hidden treasures the guitar can offers us, which raise with special charm in the hands of this formidable soloist.
Aguado on the contrary acquired due his personal state of things, a notable adroitness who excelled by far, to Sor, so his musical approaches rode in opposite directions, trying to exploit at maximum levels the technical possibilities of the instrument. Julian Bream makes a colossal tribute to both composers in this egregious and golden album.
Music of Spain Overview

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Popular Classics for Spanish Guitar Review

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Popular Classics for Spanish Guitar ReviewThis album is unquestionably my favorite of all time, from any genre. The pieces selected for this disc are some of the most beautiful and vibrant ever composed and Bream's playing truly gives them life. His masterful phrasing and unmatched emotion make each piece sing. You really can't find music like this anymore.Popular Classics for Spanish Guitar Overview

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Romantic Guitar Review

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Romantic Guitar ReviewThis is a terrific collection of pieces covering a variety of styles but all the songs have distinct melodies which Bream brings to the front. Plus there's plenty of fast, machine gun fire passages which Bream plays with amazing clarity. Bream's style is bright, aggressive, and confident. A terrific performance.Romantic Guitar Overview

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Julian Bream Ultimate Guitar Collection Review

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Julian Bream Ultimate Guitar Collection ReviewThis two cd set is an odd juxtaposition. The first cd consists of a sampler of Bream's career output - but without (and I believe the omission is disgraceful) any acknowledgement of Bream's significant contribution toward the creation of a truly 20th century concert repertoire for guitar. The second cd is a re-release of his superb early 1980's recording of Albeniz and Granados transcriptions with the added bonus of a sublime interpretation of the "Three Spanish Pieces" by J Rodrigo.
Speaking as a musician I find the selections and the production of the first cd problematic. We get a few of the more lightweight examples of renaissance lute and baroque guitar (but no JS Bach and no (solo) baroque lute work); we get no vihuela repertoire and nothing truly representative of classical period composition. We do have all six movements from two contrasting concertos but the remainder of the cd consists mostly of neo-romantic repertoire from the twentieth century. In addition the recording quality is highly variable; for example one of the Villa Lobos pieces sounds as though it was recorded in an indoor swimming complex (well, maybe not quite that bad). Given the cd's title more care should have been taken to better represent Bream's career and musical diversity. In the opinion of one familiar with Bream's output this is a disappointing selection. Well played but not representative of the artist nor the art form.
However the opposite is the case with the second cd. These recordings were made at a time when Bream set out to commit to (then) vinyl, via the guitar, the musical heritage of Spain. Bream here was at the height of his interpretive power - and a fine film documentary also resulted from this endeavour.
The inclusion of the Rodrigo set makes this cd a better buy than the original Albeniz and Granados recording, although those who find this compilation rewarding might perhaps profit from researching Bream's catalogue, and adding the complete recording from which the Rodrigo is sourced (circa 1980-90) to their collection.
As for the Albeniz and Granados Bream offers his own transcriptions. These tread a fine line between fidelity to the piano scores and Bream's concept of what works on the guitar. As a general observation Bream seeks to include significantly more of the original score's textures than do many of his peers (e.g. J Williams, P Romero). At the same time he is not averse to significantly modifying the original (e.g. amongst others 'Granada' and 'Cordoba'). Such a process is part of any transcription but here the results are not only excellent but also personal to Bream, as a result we have further confirmation of the craft of a great performing artist.
Every listener will discover their own favourites and I have more than space allows me to relate. I believe that Bream brings more expression to his performances of the Valses Poeticos by Granados than any other guitarist I have heard, and the Passacaglia by Rodrigo is played with such a sense of a brooding menace that my spine tingles every time I listen to it.
The second cd alone is worth twice the compilation's asking price.
Julian Bream Ultimate Guitar Collection Overview

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Mad About Guitars Review

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Mad About Guitars ReviewI really understand that there's no music CD could fulfill our satisfaction of music. But it does. I can find most of my favorite guitar classical songs here, and it's very nice listening them: Cavatina (from the Deer Hunter), Romance D'Amour, Recuerdos de la Alhambra, etc. I have several favorites not included in this album: Capricho Arabe-Lagrima-Adelita, and lucky me I have them on my other CDs. Go get this CD!! By buying this 1 CD, you'll have more than half of classical guitars you've ever wanted!Mad About Guitars Overview

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