I have to agree that Bream did not pioneer much.
The real pioneers of the lute revival were Arnold Dolmetsch in England and
Walter Gerwig in Germany.
Arnold Dolmetsch taught Diana Poulton (who founded the UK Lute Society) and
Suzanne Bloch (who founded the LSA). He built his own lute in about
Hear, hear.
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu On Behalf Of Ron
Andrico
Sent: Wednesday, June 19, 2019 11:09 AM
To: Gary Boye ; Edward C. Yong
Cc: Jurgen Frenz ; Lute List
Subject: [LUTE] Re: Julian Bream on Lute
I feel I must add a word of support for
I feel I must add a word of support for Julian Bream and his many
contributions to the current lute revival.
As a 20th-century pioneering concert artist, Julian Bream first and
foremost raised the lute from a quaint closet instrument, best suited
to historians and eccentrics, to an
And hear, hear, hear from over here.
Dan
On 6/19/2019 8:46 AM, Braig, Eugene wrote:
Hear, hear.
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu On Behalf Of Ron
Andrico
Sent: Wednesday, June 19, 2019 11:09 AM
To: Gary Boye ; Edward C. Yong
Cc: Jurgen Frenz ; Lute List
On Jun 19, 2019, at 8:49 AM, Franz Mechsner wrote:
> Apart from my really deep admiration for Bream, I asked a very simple
> question: How did he get the marvellous sound and colors from a lute
> with his fingernails?
No you didn’t.
Your four previous posts on this subject did not
One thing I must truly thank Franz for (aside from so innocently poking
the old Bream-lute hornet's nest again!) is for bringing our attention
to this marvelous autobiographically oriented retrospective film on the
life of Julian Bream:
[1]https://www.youtube.com/watch?v=MUdunh_wMCI
I totally agree with you Ron. All these rubbish about what is
historically right or wrong. All this dogmas created by at the tme of
it's revival progressive open minded people. In 1600, and of course in
every century, creative composers,(an of cours all other arts )
focussed on what
Ron Andrico is surely right to point out the debt we owe to Bream for
making a much wider audience aware of music for the lute: both solo
and with other instruments - the Morley consort lessons for example. I
have a much treasured 1950s EP by Walter Gerwig with solos by Santino,
Bravo Ron Andrico! Bravo! No more cluttering of emails--yours says it
best!
Timothy Swain
On Wed, Jun 19, 2019 at 8:11 AM Ron Andrico <[1]praelu...@hotmail.com>
wrote:
I feel I must add a word of support for Julian Bream and his many
contributions to the current
Thank you so much, Ron.
Apart from my really deep admiration for Bream, I asked a very simple
question: How did he get the marvellous sound and colors from a lute
with his fingernails? Of course, some of the recordings sound somewhat
sharp (though full of life), but some with a
Bream's "Dances of Dowland" LP was the first performance of lute
that I heard--back in '69. I was unaware of any of the HIP
controversies. Early music in general was making its "debut" with
groups like David Munrow's Early Music Consort of London, which I had
the pleasure of
Please don't call him JB. This is reserved for the great guitarist Jack
Black :)
https://www.youtube.com/watch?v=AUEOtxd_evI
On 19.06.19 11:39, Edward C. Yong wrote:
I have to agree. JB used his stardom to get the lute out there, even if it was
a Frankenlute with nothing lute about it apart
Edward,
Back in the '70s, there was a quip that "Julian Bream makes the lute
sound like a guitar and the guitar sound like a lute." I think that
came from guitarists who had no idea what the lute could sound like.
He was pretty amazing in concert (on guitar, I didn't see him play
Julian Bream was an inspiration to so many people to take up the lute or
to fall in love with it. I count myself among them.
How much visibility would our instrument have had without his
performances and recordings back in the day?
Yes his technique is obviously strongly guitar influenced,
I would like to point out that Julian Bream is still alive (born 1933).
He has always been my favorite guitarist. I often thought it was a real
pity that he never played baroque lute. That woulda been amazing.
Susan
Original message
From: Luke Emmet
Date:
I have to agree. JB used his stardom to get the lute out there, even if it was
a Frankenlute with nothing lute about it apart from the shape.
Would anyone have paid attention to his lute playing if it hadn’t ridden on the
back of his guitarist reputation? Probably not.
I recognise that many
Arnold Dolmetsch was French. I am sure sure some Italians had a hand in the
revival of interest in the lute (Chilesotti). Fun fact: Ponce (Mexico) got
yelled at for faking early music compositions while Ravel's Tombeau de
Couperin (France) got praise. Mendelsshon helped revive Bach's works.
I don’t think Sevogia cared about anything other than his own stardom, really.
This is the man who butchered de Visée’s music and happily signed his own name
on a Stradivarius guitar.
Edward
> On 19 Jun 2019, at 4:32 PM, G. C. wrote:
>
> +++ Ponce (Mexico) got yelled at for faking early
Very simply: because Bream was a great musician.
RT
http://turovsky.org
Feci quod potui. Faciant meliora potentes.
> On Jun 18, 2019, at 8:17 PM, Franz Mechsner wrote:
>
> My question was and is: how does it come that Julian Bream sounds so
> good on the lute - though every body today
+++ Ponce (Mexico) got yelled at for faking early music compositions
People usually hate to be duped (as shown many years ago among our own
ranks). How those works could be attributed to Weiss can only be
ascribed to a lack of knowledge about Weiss' style at the time. I can't
As proved with his despicable negligence and jealousy (?) towards
Barrios!
On Wed, Jun 19, 2019 at 11:19 AM Edward C. Yong
<[1]edward.y...@gmail.com> wrote:
I don't think Sevogia cared about anything other than his own
stardom, really. This is the man who butchered de
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