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This is the hard cover edition of the book. For the soft cover, click here.
This is the first book to present a detailed account of the musical achievements of Julian Bream. In a wide-ranging celebration of his artistry the book offers essential perspectives on vital elements of twentieth century guitar history and reveals how Julian Bream succeeded in establishing the instrument as a uniquely expressive force on the contemporary scene. As well as his phenomenal success in inspiring composers such as Britten, Tippett, Walton, Arnold, Berkeley, Henze, Brouwer, Takemitsu, etc., to write for the guitar, Bream is also renowned as the twentieth century's greatest lutenist and a passionate advocate of Elizabethan music.
Julian Bream's influence is apparent in every area of the classical guitar repertoire. He transcribed Baroque works by Scarlatti, Buxtehude, Cimarosa, etc., and is acknowledged as one of the great interpreters of the music of J.S. Bach. He revitalised awareness of the early nineteenth century works of Sor, Giuliani, and Aguado, while bringing to the public the music of Spain from the sixteenth century to the present day and breathing new fire into Latin American music by composers such as Villa-Lobos, Ponce and Brouwer.
Bream, over the years, revolutionised the guitar concerto, inspiring new works in this genre at the same time as performing the perennial favourites. Through concerts with Peter Pears, George Malcolm, Peggy Ashcroft, John Williams, and the Julian Bream Consort, he demonstrated his unique versatility, offering new interpretations of both early and contemporary music.
This broad canvas is represented here in terms of Bream's concerts, recordings, and editions. The book also includes many photos, a comprehensive list of his musical publications, a discography, and a bibliography.
Discussions, exercises, analyses, techniques, and a teacher's guide to rhythms within the jazz/rock/pop idiom. Perfect for rhythm courses at the high school or college level, this book serves as a comprehensive textbook and reference manual with examples, tables and formulas in an appendix.
the 'Concierto Ibérico' for four guitars and orchestra was composed in 1976 and premiered the following year in Vancouver by Los Romero guitar quartet, to whom it is dedicated. The quartet made the first recording of the work with The Academy of Saint Martin in the Fields conducted by Neville Marriner, in 1980 on the Philips label.
A collection of six of Sabicas' finest works. Titles are 'Aires de Puerto Real', 'Zapateado en Re', 'La Trinidad', 'Olé mi Cadiz', 'Sentimiento Gitano', 'Embrujo de Huelva'. All pieces from the Sabicas recording 'Rey del Flamenco', transcribed by Alain Faucher. Includes a CD recording of 'Rey del Flamenco'. This is another superb presentation fr...
Appassionata, Ronaldo Miranda's first solo guitar work, was composed in 1984 but had to wait until 1996 for its premiere. The title, like those of several other works by Miranda, is borrowed from the historical repertoire, but there is no connection to Beethoven's sonata; it rather suggests the character, alternately pugnacious and abandoned, of...
21 songs taken from GNR's classic 'Appetite For Destruction', 'Lies', and 'Use Your Illusion I & II' albums. Arranged for guitarists in tablature and standard notation, with full lyrics and chord boxes. Titles are: 'Bad Apples', 'Civil War', 'Dead Horse', 'Don't Cry (Original)', 'Estranged', 'Locomotive (Complicity)', 'Mr. Brownstone', 'My Miche...
The idea here is to help coordinate the pickers so you all have solos to play and they can be played in the same key. What a concept - a "Band in the Book". Within these pages you will find solos for the entire band: lead guitar, rhythm guitar, banjo, mandolin, fiddle and bass. The mandolin and fiddle share the same tunings so their solos are ju...