Quotes from Julian Bream

The Nocturnal' was very nearly beyond me.

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.

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 much rather coach a string quartet in an interpretation of Haydn or Beethoven than to teach the guitar.

The lute I use has 10 courses and 19 strings, which is quite a lot of strings and a quite different fingerboard width from a classical guitar. I use a combination of flesh and nail when plucking the strings.

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.

If the orchestra's not enjoying itself, the concerto will not succeed, with the players confined to using half an inch of bow.

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.

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 enjoy having a large audience, but I don't do anything special to attract them.

A violin is tuned to a fifth. But a guitar is tuned to a fourth with a one-third middle. It is very perplexing to composers.

I have cut away what I call the excess stuff in my life.