This welcome reissue as part of DG’s Original Masters series
comes as a celebration of Bream’s 75th birthday and
a timely reminder of just how wide-ranging his performing repertoire
actually was. It combines three Westminster LPs from the 1950s
and the excellent production values of this set include nostalgic
reproductions of the original LP covers. There’s also an informative
essay by Tully Potter on Bream’s early career.
The solo Dowland
items comprise a well-chosen programme of contrasting items,
with Dowland’s lighter side well represented in addition to
his more characteristic serious pieces. Bream captures equally
well the sublime desolation of Lachrimae Antiquae Pavan
or Forlorne Hope Fancy as the dance-based items such
as Mrs Vaux’s Gigge. Bream is also adept in the larger
scale pieces at delineating the structure over a longer timespan;
here his virtues of clear rhythmic articulation, dynamic contrast
and an ability to clarify the music’s contrasting strands are
used to great effect.
These virtues are
equally in evidence in the solo Bach items on the second disc.
Some items are played on the guitar, some are transposed; here
there is a palpable sense of discovery and exploration, and
the music gives Bream free rein to demonstrate his already formidable
virtuosity. Here and in the Dowland items the closely-miked
sound-picture, while creating a proper feeling of intimacy between
performer and listener, can also occasionally give an impression
of heavier playing here than was perhaps the case in reality;
certainly his later RCA LPs of the same repertoire do not suffer
in this respect.
The selection of
Dowland Ayres are, I’m afraid, really something of a historical
curiosity; interesting as an example of historical performance
practice but nowadays sounding rather redolent of the church
choir at the vicar’s tea party. The Golden Age Singers comprised
five well-known oratorio singers of the day; the group was at
the forefront of the early music revival in the 1950s. The performers
make an effort to tone down their voices to an intimate scale,
and blend well as a group; they obviously are familiar with
working together. I suspect some older collectors may have a
soft spot for these recordings; I’ll stick with Emma Kirkby
et al.
It’s a pity that
room could not be found for all or part of Bream’s 1955 10”
disc of Dowland songs with Peter Pears, which is mentioned in
the booklet; the partnership was very significant both to Bream
as a performer and in the revival of interest in Dowland’s music
at the time. Perhaps space and/or copyright issues prevented
this?
More recent performers
have perhaps brought greater technical security to the music,
with improved sound quality; the great thing about these recordings
is Bream’s enthusiasm and the missionary zeal he brings to the
performances.
Ewan McCormick
Julian Bream
(lute and guitar) 
