The recent passing of English guitarist Julian Bream (1933–2020) has prompted a reevaluation of his artistic legacy by critics around the world. In this article, I propose a way of reading Bream’s discography in relation to that of his predecessor, Andrés Segovia, utilizing Harold Bloom’s theory of influence, a methodology that I first proposed in application to music in 2006. After dividing Bream’s fifty albums into phases inspired by Bloomian categories, I examine the works that Bream chose to record more than once, with a focus on those to which he returned three or more...
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