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RE: yet another RIP post...
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Richard Jernigan
Posts: 3430
Joined: Jan. 20 2004
From: Austin, Texas USA
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 RE: yet another RIP post... (in reply to TonyGonzales84)
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quote:
ORIGINAL: TonyGonzales84
Thanks for the word, Piwin. He was such a great musician, not "just" a classical guitarist (coming from the jazz world -- bringing back a respect for rhythm, etc), but a great lutenist, an early music powerhouse (his consort), the patronage and addition to the classical repertoire by commissioning what are now standard pieces, collaborating with other greats (John Williams), his patronage of great luthierie (Jose Romanillos), etc...
Bream played a few Hausers. One was stolen from him. The last of them was lent to him by Rose Augustine. Hermann Hauser I intended it for Segovia in 1940. For years Segovia had an apartment at the Augustines' house in New York City, where he stayed while in the USA. The guitar stayed there after Segovia's passing. I think it belonged to Bream after Mrs. Augustine passed away. He also played instruments by Bouchet and Hernandez y Aguado, among others.
Gary Southwell and Brian Cohen have each made a few bench copies of the 1940 Hauser, in collaboration with Bream.
The instruments he played in the "Guitarra--the guitar in Spain" series were all made by Romanillos, including a vihuela, a Renaissance 4-course (?), and a Romantic 5-course. All these were strung in double courses. He also played his famous Romanillos #501.
I think it was in the "My Life in Music" video that Bream said, "Jose Romanillos made me a marvelous guitar, the best I ever had..." Bream had two other modern instruments by Romanillos. The first that he had was used in the debut of the Villa-Lobos concerto. Romanillos was in the audience. The other was made after #501, but sold subsequently by Bream.
#501 was not Romanillos's 501st guitar. It was the first of the 500 design series, based on a 1930-something Hauser that belonged to the well known Brazilian Sergio Abreu.
RNJ
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REPORT THIS POST AS INAPPROPRIATE |
Date Aug. 18 2020 2:23:54
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BarkellWH
Posts: 3458
Joined: Jul. 12 2009
From: Washington, DC
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RE: yet another RIP post... (in reply to BarkellWH)
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A couple of excerpts from an interview given by Julian Bream follow below and reveal his thoughts on the guitar and the lute.
On the guitar:
"I enjoy having a large audience, but I don’t do anything special to attract them. In the selection of repertoire, for example. I play what I like and hope that others will enjoy it — but if they don’t, it doesn’t worry me much. I’m really playing for myself and inviting or allowing others to listen. That’s the kind of instrument the guitar is.”
On those who attend lute concerts:
“Real nuts and scholars, lovers of Elizabethan music, those who like quaint period pieces, and those who are dragged along by somebody.” On those who are "dragged along by somebody," he continued, “I want to convert them. I want to shout: ‘Don’t you think this is marvelous?’ The great secret of Elizabethan music is that it is meant to be enjoyed. . . . The Elizabethans wanted fun from their music.”
As one who had the good fortune to attend a Julian Bream guitar concert in 1972 in Phoenix, Arizona, I want to thank him for "inviting/allowing" me to listen.
Bill
_____________________________
And the end of the fight is a tombstone white,
With the name of the late deceased,
And the epitaph drear, "A fool lies here,
Who tried to hustle the East."
--Rudyard Kipling
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REPORT THIS POST AS INAPPROPRIATE |
Date Aug. 19 2020 20:04:48
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Estevan
Posts: 1936
Joined: Dec. 20 2006
From: Torontolucía
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RE: yet another RIP post... (in reply to Richard Jernigan)
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quote:
Gary Southwell and Brian Cohen have each made a few bench copies of the 1940 Hauser, in collaboration with Bream.
Brian Cohen made eight guitars for Bream, as well as doing repairs and restoration work.
There's a very interesting interview in which he describes Julian's astonishing sensitivity to the fine details of a guitar's construction and their effect on the pulsación.
The link to the article is below, but here's the main part:
"I learned a lot from Bream in the sense that he had vast experience of playing all sorts of guitars,"[...] "Most guitarists are completely unaware. They just play the guitar, and if the frets don't buzz that's alright. But Bream is way beyond that. He's the only person I've known who could play a guitar and he wouldn't look at it, but he'd say, 'You've got two bars on the right of the bridge haven't you, Brian?' [referring to the instrument's internal construction]. He could feel it through his fingers, which I've never known anybody else do."
With the orginal Hauser guitar, Bream wanted Cohen to make minute adjustments to the action (ie the height of the strings above the frets). "It's a huge job," says Cohen. "I had to take all the frets out, remove the fingerboard, just skim a bit off the fingerboard and then re-fret it. I did this about eight times. There was one time when we adjusted the bridge saddle by 1,000th of an inch. I was getting a bit tired of this to be honest, so I thought to save myself time I'll just make it a 2,000th or one-and-a-half thousandth. Bream must have played the guitar for about 10 minutes and he said, 'You know Brian, I think you've gone one and a half here, this isn't the 1,000th I asked for.' And of course he was right." And this without even measuring it with the digital micrometer that the demanding Bream carried around with him.
https://theartsdesk.com/we-made-it/we-made-it-guitar-maker-brian-cohen
_____________________________
Me da igual. La música es música.
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REPORT THIS POST AS INAPPROPRIATE |
Date Aug. 22 2020 17:46:37
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