Top 71 Quotes & Sayings by Julian Bream
Explore popular quotes and sayings by a British musician Julian Bream.
Last updated on December 22, 2024.
I do think there is a valid reason that Segovia commissioned the composers he did. He was very much a pioneer, and what he wanted was a very listenable repertory. But I'm interested in different aspects of the guitar, and of music.
I found I could speak through the guitar. Because you have the feel of the strings with both hands and it's up against your solar plexus, it's real, and so there's nothing between you and the music.
I'm quite reflective - I listen to music, I read, I walk with Django.
I just knew I had to play the guitar.
I've had a lovely life. I've had a great life.
Using modern guitar techniques and modern methods on an early instrument is not a very clever thing to do, because it is the authentic spirit of the instrument that should dictate the quality and characteristic of the sound.
It's very good for one's brain and muscular system to work in harmony. If you keep up your playing it just keeps things ticking over.
Ideally the performer has a special function. Which is to bring the listener to the edge of that experience and to open the doors of this perception in such a way that those who wish to enter can.
I'm a very bad teacher.
The future of the guitar is every bit as important as its past.
I used to drive myself about in an old Austin van... and then have to sleep in the back because I couldn't afford a hotel.
I have cut away what I call the excess stuff in my life.
Segovia was a Spaniard and it seemed natural that he should play the guitar.
Your experience of life is to a large part distilled into your performing. As you grow older, you concentrate on aspects of music that you perhaps only touched on earlier.
When my father saw that I was interested in following such a career he had many reservations. His feeling was that there was no chance to earn a livelihood unless I played jazz or something similar.
When I feel like improvising, I always improvise on the guitar, never on the lute. It's as natural to me as breathing.
I much rather coach a string quartet in an interpretation of Haydn or Beethoven than to teach the guitar.
When I was 18, I went into the army as a payroll clerk because otherwise I was headed for Korea.
Midwesterners make good audiences.
It takes a lifetime and a half to master the classical guitar.
I was passionately interested in Elizabethan history at school, so it was natural for me as a musician to take interest in the music of that period.
The guitar was not treated very seriously as a concert recital instrument.
Some specialist guitar music is not of the highest intellectual calibre, so I must make it sound as though it is. If it bores me, it certainly won't please an audience.
The Nocturnal' was very nearly beyond me.
My father was a very clever man. My mother was not clever. An extraordinary woman, but simple.
Music has been my real solace. And that's why I play music. And that's why I'm so determined, or have been so determined to pursue what I wanted to do, come what may.
What do I think of digital recording? Well, it's all right. But those old thorn needles, now, that was a sound.
I was mostly self-taught on guitar and that had its benefits. It's a great thing to work through problems on your own.
I love playing jazz because I love the freedom you have to improvise. It has given me a feeling in my classical repertoire of creating the atmosphere of the here and now.
It's quite a feeling to be all alone on the stage!
I don't do much relaxing. When I'm not giving a recital I practise.
I enjoy having a large audience, but I don't do anything special to attract them.
The guitar is the most beautiful of all instruments.
If the orchestra's not enjoying itself, the concerto will not succeed, with the players confined to using half an inch of bow.
There is no piece of guitar music that has the formal beauty of a piano sonata by Mozart, or the richly worked out ideas and passion of a late Beethoven string quartet, or for that matter the beautiful mellifluous poetry of a Chopin Ballade.
You have to be serious, and you must have a constantly inquiring mind. But I find it's new music that really stretches me, both technically and as an interpreter.
Guitar was just a hobby, but it seemed to me that the instrument had possibilities, not least of which was that there was no one else playing it. I could be, as it were, the best boy in an all-girls school.
I like to play the lute full-bloodedly, with passion, as well as with delicacy and, I hope, refinement.
My father played one of the first electric guitars in England. He built his own in 1940, because you couldn't buy them in those days. He used three telephone pickups under the strings, which gave chronic distortion on chords but was quite good on single notes.
The guitar speaks for me and it says things - hopefully - for everybody that I play for.
You're never static as a performer. You either get better or you get worse. As I see it, you have an equal chance at either.
I suppose that when I started to play the lute it was fairly esoteric.
I've always played a lot of Spanish music, but not as much as most guitarists do.
You have to get the attention of the audience. You have to make sure they know you are starting. You have to achieve a rapport with them on the very first chord.
In 1984, I was contacted by Michael Taylor, who had won a commission from a sponsor and decided he would like to paint a picture of me. I agreed to do it, because I'm not unused to sitting for portraits: my father was a commercial artist and I used to model for him.
Whatever it is, music should sound spontaneous, I've derived a great deal of pleasure from playing jazz and having the knowledge of that spontaneity.
My own style on the guitar grew out of my experience with the lute. I suppose some people might say I play each like the other. And of course I know a lot of guitar fans who wish I would stop playing the lute and vice versa.
I think Englishmen or Northern Europeans in general are more naturally attracted to the lute than to the guitar, which always seems Spanish exotic - to our ears.
My father started me off on the guitar, and we learned classical guitar together.
Quite often, I have to work hard to improve my technical capacity, if you will, before the demands of a new work come within reach. And I find that very stimulating.
When I began playing the lute, in 1950 there were not too many lutenists around. I had to work hard, writing out music in museums and libraries. It was before the days of photocopying. And I had just picked up the lute, adapted my guitar technique to it and went from there.
I went to college to study the piano and cello.
What is a seemingly conservative Englishman doing, leading the world in the mastery of a classically Spanish instrument? Debussy wrote some of the best Spanish music, and the only time he was ever in the country, he saw a bullfight which made him ill.
I devoted my life to music for a reason, and the reason wasn't because I wanted to get on or make money, but to try to fulfil myself and also to give people pleasure. That's been my credo.
I think that Bach has a very nice sound on the lute. But I find that what I want to do with Bach is best revealed on the guitar.
I don't mean this to sound pretentious but I think that artists of all kinds are a rung up the ladder of the spiritual heirarchy, and for me there is something very religious about music.
I learned mainly by listening to Andres Segovia and that was a great inspiration. And also the gypsy jazz guitarist Django Reinhardt.
The cult of the instrument is O.K. for people who are mad about the guitar. But I love music. The guitar is just the instrument I happen to play.
One thing you learn very rapidly in this business is that you are part of a continuing tradition.
Michael Berkeley's 'Sonata' is very - what can you say - melodious.
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