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| List of Plates | ||
| Acknowledgements | ||
| Foreword | ||
| Preface | ||
| 1 | Introduction | 1 |
| 2 | Sounds of Enchantment | 16 |
| 3 | Julian's 'Trial' Recital | 35 |
| 4 | Maccaferri's 'Monstrosity' | 46 |
| 5 | 'Toujours en Crescendo' | 64 |
| 6 | 'Well, it's music for the Spanish guitar I really want' | 78 |
| 7 | The Hands of Promise | 90 |
| 8 | Segovia and Sir George | 105 |
| 9 | Lacrimae and Fulfilment | 113 |
| Epilogue | 120 | |
| Chronology | 123 | |
| App. 1 | A letter from Wilfrid Appleby to the editor of BMG | 128 |
| App. 2 | Article 'Progress versus Prejudice' | 130 |
| App. 3 | The demise of the PSG | 133 |
| App. 4 | A paragraph from the Radio Times of 10 November 1950 | 140 |
| App. 5 | 'In the Garden of St Cecilia' | 142 |
| App. 6 | 'Julian Bream' | 144 |
| Bibliography | 145 | |
| Index | 151 |
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Given that Julian Bream (b.1931) came of age in an era when the guitar was not fully accepted as a classical instrument even in the case of Segovia, Button (music education and the arts, U. of Durham) chronicles the genesis of an outstanding career that almost was aborted. In Bream's foreword, he underscores<-->in tandem with the author<-->the influences of his amateur musician father who was his most ardent advocate (highlighted via his 1945-50 correspondence with the editor of the "Bulletin of the Philharmonic Society of Guitarists"), ancestral spirits (Spanish guitar roots in Shephardic Judaism), and the post-World War ...