Flawless artistry

Press, 24 April 1979, Page 6

Flawless artistry

By

C. FOSTER BROWNE

The James Hay Theatre was booked out for Julian Bream’s outstandingly memorable recital given there last evening. His technique and artistry in playing the lute and the guitar seemed beyond all question and he carried his hearers beyond the pressures of this age. In the first part of the recital he played a lute, an instrument of appealing delicacy, and refinement of sound. He played works by German, Italian, and Spanish composers of the sixteenth century that were intricate in contrapuntal style, with a grace of texture and movement.

Pieces by Dowland and Byrd more than held their own in stylish charm and poised artistry. Mr Bream’s exquisitely polished technique reached a point where it was no longer thought about. On an instrument which has such a narrow output of

volume the shading of nuances must be slight, but they all had the interest and stirring effect of coming from something which had no such limitations. They were com-

pletely satisfying throughout a long programme. Mr Bream played a guitar in the second part of the programme. Here again his consummate artistry was revealed. A little suite by Robert de Vissee, guitarist to Louis XIV, brought the audience a century ahead in style. Bach’s Prelude, Fugue and Allegro showed how Bach surpassed all others, no matter what instrument he wrote for. An overture in Italian style

from the early eighteenth century by Mauro Guulani was a happy work of unmistakeable origin, giving us, even on a small instrument, the life and colours of Italy at that time. Four short pieces by the modern Swiss composer Frank Martin had interest but lacked the charm of what the programme had held up to that point. Mr Bream must be warmly thanked for his revelation of beauty and of flawless artistry.