Rhaglen / Programme: Gŵyl Gerdd Bangor Music Festival 2011 by Gŵyl Gerdd Bangor Music Festival

Gwyl Ë&#x2020; Gerdd Newydd

BANGOR New Music Festival 2011

29 Mawrth/March 1 Ebrill/April Rhaglen / Programme

www.bnmf.co.uk info@bnmf.co.uk (01248) 382181

Gwyl ˆ Gerdd Newydd Bangor New Music Festival Dymuna’r pwyllgor ddiolch i’r canlynol am eu cefnogaeth barod: The committee would like to thank the following for their willing support: Cyngor Celfyddydau Cymru / Arts Council of Wales Cyngor Dinas Bangor / Bangor City Council Cronfa’r Degwm, Cyngor Gwynedd / Tithing Fund, Gwynedd Council Cyngor Ynys Môn / Isle of Anglesey Council Ehangu Cyfranogiad, Prifysgol Bangor / Widening Participation, Bangor University Gyrfa Cymru / Careers Wales Sefydliad y PRSF Foundation Tŷ Cerdd Ymddiriedolaeth Ralph Vaughan Williams Trust Ymestyn Ehangach, Partneriaeth Gogledd Cymru / Reaching Wider, North Wales Partnerhip Ysgol Cerddoriaeth, PB / School of Music, BU A’r holl noddwyr eraill / and all other sponsers Diolch hefyd i / Thanks also to: Eddie Ladd l Nick Rothwell l Jon Ruddick l Painting Music l Owain Llwyd Reuben Pace l Andrew Lewis l Ed Wright l Canon Sue Jones Canolfan Gerdd William Mathias l Gwasanaeth Ysgolion William Mathias Geraint Davies l Marian Wyn Jones l Ann Marston l Rhiannon Mathias Clive Smart l Kate Campbell l Aimee-Louise Field l Hannah Parry-Jones Mica Warner Disgyblion ac Athrawon o/Pupils and teachers from: Ysgolion Cae Top, Glancegin, Y Bont & Pendalar, Ysgolion Uwchradd David Hughes, Bodedern, Caergybi, Thomas Jones & Llangefni ... a phob myfyriwr a gymerodd ran/ ...and all the participating students Er cwrteisi, dylid diffodd pob oriawr electronig a ffonau symudol cyn dechrau pob cyngerdd! To be courteous, all electronic watches and mobile phones should be switched off prior to each concert!

Croeso…

Welcome…

Yn gyffredinol mae’r gair ‘gŵyl’ yn awgrymu dathliad yn ogystal a chyfres o ddigwyddiadau celfyddydol. Hyn sy’n gwneud Gŵyl Gerdd Newydd Bangor mor arbennig ac yn gymaint o fwynhad. Cawn ‘ddathlu’ cerddoriaeth heddiw wedi ei berfformio gan rai o brif hyrwyddwyr cerddoriaeth gyfoes y wlad.

The word ‘festival’ generally implies a celebration in addition to a series of cultural events. It is this that makes the Bangor New Music Festival so special and enjoyable. We ‘celebrate’ the music of today being played by some of the best exponents of contemporary music in the country.

Yr hyn sy’n fy nharo i am yr ŵyl eleni yw’r y caiff ffurfiau celf eraill eu cynnwys i gydfynd gyda’r gerddoriaeth. Yr un amlycaf o bosibl yw cynhyrchiad dawns ‘Ras Goffa Bobby Sands’ gan Eddie Ladd, lle caiff y gerddoriaeth electroacwstig a’r electroneg byw le canolog yn cyfelio’r ddawns. Yn ogystal, gyda’u teitl awgrymog, mwynha’r ensemble Painting Music y greadigaeth o ddarluniau abstract ochr yn ochr â cherddoriaeth gyfoes. Yn y cyfamser, mae cyngerdd y Myfyrio Ysbrydol yn gyfuniad rhyfeddol o gerddoriaeth acwsmatig, canu corawl, electroneg byw a thaflunio fideo.

What strikes me with so many festival event this year is the involvement of another art form alongside the featured music. The most obvious is Eddie Ladd’s dance production of ‘The Bobby Sands Memorial Race’, where electroacoustic music and live electronics has a central role in accompanying the dancing. Also with its suggestive title, the ensemble Painting Music enjoys the creating of abstract paintings alongside contemporary music. The ‘Spiritual Meditation’ concert meanwhile is a wonderful combination of acousmatic music, choral singing, live electronics and video projection.

Mae’r ŵyl yn falch o gael cyflwyno y delynores o fri, Catrin Finch, fel eu hartist preswyl cyntaf, gyda’i chyngerdd cyntaf yn amnewid cerddoraeth ddiweddar gan gyfansoddwyr Cymreig gyda’i threfniannau ei hun o gerddoriaeth werin Gymreig, ynghyd â phremiere o waith buddugol Gwobr Gyfansoddi William Mathais.

The festival is also proud to announce the celebrated harpist Catrin Finch as its first resident artist, with her first concert interchanging some of the latest music by Welsh composers with her own arrangements of Welsh folk music, together with a premiere of the winning piece of the William Mathias Composition Prize.

Cymer y digwyddiadau addysgol ffurf Dosbarth Meistr (Finch) a Phrosiectau Cyfansoddi (Painting Music a Myfyrio Ysbrydol).

Educational activities takes on the form of a master class (Finch) and composition projects (Painting Music and Spiritual Meditation).

Ac felly, ni allaf ond edrychaf ymlaen i ymuno gyda chi yn y ‘dathliad’...

Therefore, I can only eagerly look forward to join you in the ‘celebration’…

Guto Pryderi Puw (Cadeirydd a Chyfarwyddwr Artistig, GGNB)

Guto Pryderi Puw (Chairman and Artistic Director, BNMF)

Croeso…

Welcome…

Cymer y digwyddiadau addysgol ffurf Dosbarth Meistr (Finch) a Phrosiectau Cyfansoddi (Painting Music a Myfyrio Ysbrydol).

Educational activities takes on the form of a master class (Finch) and composition projects (Painting Music and Spiritual Meditation).

Ac felly, ni allaf ond edrychaf ymlaen i ymuno gyda chi yn y ‘dathliad’...

Therefore, I can only eagerly look forward to join you in the ‘celebration’…

Guto Pryderi Puw (Cadeirydd a Chyfarwyddwr Artistig, GGNB)

Guto Pryderi Puw (Chairman and Artistic Director, BNMF)

cipolwg… at a glance…

Dydd Mawrth • 29/3/11

Tuesday • 29/3/11

7:30pm Neuadd Powis, PB Eddie Ladd

7:30pm Powis Hall, PB Eddie Ladd

Dydd Mercher • 30/3/11

Wednesday • 30/3/11

1-3pm Neuadd Powis, PB Gweithdy Painting Music

1-3pm Neuadd Powis, PB Painting Music Workshop

7:30pm Neuadd Powis, PB Painting Music

Dydd Iau • 31/3/11

Thursday • 31/3/11

1-3pm Cadeirlan Bangor Gweithdy Addysgol

1-3pm Bangor Cathedral Educational Workshop

7:30pm Cadeirlan Bangor ElectroacwstigCYMRU Côr Siambr Prifysgol Bangor

7:30pm Bangor Cathedral ElectroacousticWALES Bangor University Chamber Choir

Dydd Gwener • 01/4/11

Friday • 01/4/11

10am Neuadd Ysgol Cerddoriaeth, PB Dosbarth Meistr – Catrin Finch

10am School of Music Hall, BU Masterclass – Catrin Finch

1pm Neuadd Ysgol Cerddoriaeth, PB Gweithdy Gwobr Gyfansoddi William Mathias Catrin Finch

1pm School of Music Hall, BU William Mathias Composition Prize Workshop Catrin Finch

7:30pm Eglwys Bedyddwyr Penrallt, Bangor Catrin Finch

7:30pm Penrallt Baptist Church, Bangor Catrin Finch

cipolwg… at a glance…

Dydd Mawrth • 29/3/11

Tuesday • 29/3/11

7:30pm Neuadd Powis, PB Eddie Ladd

7:30pm Powis Hall, PB Eddie Ladd

Dydd Mercher • 30/3/11

Wednesday • 30/3/11

1-3pm Neuadd Powis, PB Gweithdy Painting Music

1-3pm Neuadd Powis, PB Painting Music Workshop

7:30pm Neuadd Powis, PB Painting Music

Dydd Iau • 31/3/11

Thursday • 31/3/11

1-3pm Cadeirlan Bangor Gweithdy Addysgol

1-3pm Bangor Cathedral Educational Workshop

7:30pm Cadeirlan Bangor ElectroacwstigCYMRU Côr Siambr Prifysgol Bangor

7:30pm Bangor Cathedral ElectroacousticWALES Bangor University Chamber Choir

Dydd Gwener • 01/4/11

Friday • 01/4/11

10am Neuadd Ysgol Cerddoriaeth, PB Dosbarth Meistr – Catrin Finch

10am School of Music Hall, BU Masterclass – Catrin Finch

1pm Neuadd Ysgol Cerddoriaeth, PB Gweithdy Gwobr Gyfansoddi William Mathias Catrin Finch

1pm School of Music Hall, BU William Mathias Composition Prize Workshop Catrin Finch

7:30pm Eglwys Bedyddwyr Penrallt, Bangor Catrin Finch

7:30pm Penrallt Baptist Church, Bangor Catrin Finch

Dydd Mawrth 29 Mawrth 2011

Tuesday 29 March 2011

7:30pm Neuadd Powis, Prifysgol Bangor Ras Goffa Bobby Sands

7:30pm, Powis Hall, Bangor University The Bobby Sands Memorial Race

Eddie Ladd (dawnswraig) Nick Rothwell (artist sain) Guto Pryderi Puw (cerddoriaeth electroacwstig) Giles Parberry (rheolwr technegol) John Ruddick (technegydd)

Eddie Ladd (dancer) Nick Rothwell (sound artist) Guto Pryderi Puw (electroacoustic music) Giles Parberry (technical manager) Jon Ruddick (technician)

Ers cryn amser, roeddwn wedi bod yn awyddus i gomisiynu gwaith gan Guto. Daeth cyfle yn 2008 wrth i’r PRS a Chyngor Celfyddydau Cymru gynnig arian er mwyn noddi cyfansoddwyr i lunio cerddoriaeth ar gyfer darnau dawns. Wedi ceisio arian a’i gael dechreuais weithio gyda Guto ddiwedd yr un flwyddyn. Y bwriad gwreiddiol oedd creu gwaith electro-acwstig lle’r roedd y corff yn gorfod dygymod â’r gerddoriaeth; gobeithiais greu gwaith symud oedd yn creu cerddoriaeth a pherfformio’r gerddoriaeth gyda’m holl gorff oedd y nod.

For some time, I had been anxious to commission work from Guto. The opportunity came in 2008, when the PRS and the Arts Council of Wales offered funding in order to sponsor composers to write music for dance pieces. Having requested and obtained funding, I started working with Guto at the end of the same year. Originally, we had intended creating electro-acoustic music where the body had to put up with the music; I had hoped to create a work of movement which created music and performed the music with all my body – that was the objective.

Newidodd popeth fis Ionawr 2009. Roeddwn yn hyfforddi ar gyfer darn arall, un lle roeddwn am redeg tua 18 milltir, o Ystrad Fflur i Aberystwyth. Crewyd llawysgrif Llyfr Gwyn Rhydderch yn yr abaty ger Pontrhydfendigaid ac fe’i cedwir yn y Llyfrgell Genedlaethol erbyn heddiw. Roeddwn yn rhedeg ar beiriant dipyn. Mae’r meddwl yn crwydro wrth redeg ac ar un siwrnai, cofiais enw Bobby Sands. Roedd gennyf frith gof ei fod wedi bod yn rhedwr pan oedd yn lanc ifanc a fod yna ras i’w goffau yn cael ei chynnal yn yr Unol Daleithiau. Daeth thema’r cynhyrchiad i’r amlwg a phob tro yr oeddwn yn rhedeg daeth ffurf a strwythur y darn hwythau’n fwy amlwg (h.y roedd y darn yn dechrau llunio’i hun, heb i fi ei ewyllysio, profiad braf ond ychydig yn syfrdanol). Bu Guto a mi yn darllen hefyd ac fe benderfynodd ef ar ei gynllun ei hun. Roedd ganddo eisioes stoc o synau a recordiwyd gan artist sain y prosiect, Nick Rothwell. Roedd y synau hyn yn gofnod o amgylchfyd gogledd Ceredigion ac ohonof fi yn dawnsio, ac roeddent i fod yn sail i gynllun gwreiddiol y gwaith. Penderfynodd Guto eu cadw ar gyfer y cynllun ar ei newydd wedd ac ychwanegodd sawl sŵn ei hun (mae’n debyg mae ei draed ef yw’r rhai a glywir yn cerdded ar y trac sain). Fe’u prosesodd hwynt a chreu sawl darn munud o hyd y gellid eu gosod yn yr amgylchfyd sain ymatebol yr oedd Nick a’m technegydd, Giles Parbery, wrthi’n ei greu. A beth yw amgylchfyd sain ymatebol, dywedwch? Gosodwyd synwyryddion wrth ddau ymyl hir y peiriant rhedeg, prif elfen set y darn. Wrth i mi fynd heibio’r synwyryddion, wrth redeg,

Everything changed in January 2009. I was training for another piece, one in which I would be running about 18 miles, from Strata Florida to Aberystwyth. The manuscript of the White Book of Rhydderch had been created in the abbey close to Pontrhydfendigaid, and is now kept at the National Library of Wales, Aberystwyth. I was doing considerable running practice on a machine. The mind wanders when one runs, and on one journey, I remembered the name of Bobby Sands. I had a vague recollection that he had been a runner as a young man, and that a commemorative race for him was run in the USA. The theme of the creation became apparent, and every time I ran, the form and structure of the piece also came to the fore (i.e. the piece was beginning to create itself, without my willing it to, a pleasant, though rather surprising, experience). Guto and I also read, and he decided on his own plan. He already possessed a stock of sounds which had been recorded by the sound artist of the project, Nick Rothwell. These sounds were a record of the environment of northern Cardiganshire, and also of me, dancing, and were to form the basis for he original plan of the work. Guto decided to keep them for a new plan, and added several sounds of his own (it appears that his own feet are those heard on the soundtrack to be walking). He processed them, and created several minute-long pieces which can be placed in the responsive sound environment which Nick and my technician, Giles Parbery, were creating.

Dydd Mawrth 29 Mawrth 2011

Tuesday 29 March 2011

7:30pm Neuadd Powis, Prifysgol Bangor Ras Goffa Bobby Sands

7:30pm, Powis Hall, Bangor University The Bobby Sands Memorial Race

Eddie Ladd (dawnswraig) Nick Rothwell (artist sain) Guto Pryderi Puw (cerddoriaeth electroacwstig) Giles Parberry (rheolwr technegol) John Ruddick (technegydd)

Eddie Ladd (dancer) Nick Rothwell (sound artist) Guto Pryderi Puw (electroacoustic music) Giles Parberry (technical manager) Jon Ruddick (technician)

neu lusgo neu gwympo, mae’r synwyryddion yn tanio un o ddarnau Guto. Gyda’i gymorth ef a Nick, penderfynwyd ar ba ddogn i’w danio, a phryd a chyhyd. Erbyn hyn, rwyf wedi arfer â’r ffaith fod y darn yn cael ei lwyfannu ar beiriant rhedeg, a fod hwnnw yn ddeuddeg troedfedd o hyd a chwech o led. Slampyn o beth. Wedi hyfforddi ar beiriant a chael y syniad wrth wneud, ni allais ddychmygu peidio â pherfformio ar un tebyg. Mae peiriant yn caniatau i’r corff i redeg go iawn. Rhaid oedd i’r corff weithio’n galed er mwyn cyfleu syniadau’r darn – fod angen disgyblaeth a dycnwch a hir aros er mwyn gwrthsefyll a chylawnu bwriad Bobby Sands. Byddai’n bosib gwneud heb y peiriant, a chyfleu’r hyn oedd ei eisiau efallai trwy gyflawnu ymarferion athletig dwys. Ond ni ellid awgrymu’r siwrnai, na’r llwybr na’r ffordd hebddo. Dywedodd bywgraffydd Bobby Sands, Denis O’Hearn, sydd i’w glywed ar y trac sain, fod gan y Maiaid ddywediad, sef mai wrth gerdded ffordd y mae’n cael ei chreu. Roedd yn ceisio disgrifio profiad y bechgyn ifanc hyn tra roeddynt yn y carchar yn Belfast ganol y saithdegau. Nid oedd ganddynt gynllun, dim ond bwriad. Addaswyd y syniad hwn gennym a dweud, parthed Bobby Sands, mai rhedeg heol sy’n ei chreu. © Eddie Ladd

And what, say you, is a responsive sound environment? Sensors were placed alongside the two long edges of the running machine, i.e. the main element of the set of the piece. As I went past the sensors, when running, dragging or falling, the sensors fired one of Guto’s pieces. With his help, and that of Nick, it was decided when to fire, when, and for how long. I am now accustomed to the fact that the piece is staged on a running machine, and that it measures 12ft long and 6ft wide. A sizeable object! Having trained on a machine and had the idea when doing so, I could not imagine not performing on a similar one. The machine permits the body to run properly. The body had to work hard in order to convey the ideas of the piece – that discipline, persistence and patience are required in order to build up resistance and fulfil the intention of Bobby Sands. It would be possible to do without the machine, and to convey what is necessary, possibly by doing intense athletic exercises. But neither the journey, nor the route, nor the road can be suggested without it. Bobby Sands’s biographer, Denis O’Hearn, who can be heard on the soundtrack, says that the Mayans have a saying, i.e. that roads are created by being walked. He was attempting to describe the experience of these young boys whilst in prison in Belfast during the mid 1970s. They had no plan – only an intention. We adapted this idea and stated, regarding Bobby Sands, that it is the running of roads that creates them. © Eddie Ladd

Dydd Mercher 30 Mawrth

Wednesday 17 March

1 - 3pm Neuadd Powis, Prifysgol Bangor Gweithdy Painting Music Gweithdy ar gyfer disgyblion Lefel Uwch Cerddoriaeth ac Arlunio o Ysgolion Uwchradd Ynys Môn, dan arweiniad aelodau’r ensemble Painting Music a’r artist Maria Högbacke.

1 - 3pm Powis Hall, BU Painting Music Workshop for pupils studying A level Music and Art from secondary schools on Anglesey, led by members of the Painting Music ensemble and artist Maria Högbacke.

7:30pm Neuadd Powis, Prifysgol Bangor Painting Music Rhuti Carr (obo) Heidi Parsons (cello) Sebastian Wybrew (piano) Maria Högbacke (artist) Aaron Holloway-Nahum: Something More Than Light J.S. Bach: Cyfres Soddgrwth yn G Fwyaf Owain Llwyd: gwaith newydd (premiere) Benjamin Britten: Six Metamorphoses After Ovid Hannah Kendall: Iscariot Blues ---Gordon Carr: Pierre’s Painting Anthony Herschel Hill: Litany Reuben Pace: Asteroid Field Laurie Bamon: Darkling I Listen

7:30pm Powis Hall, BU Painting Music Rhuti Carr (oboe) Heidi Parsons (cello) Sebastian Wybrew (piano) Maria Högbacke (artist) Aaron Holloway Nahum: Something More Than Light J.S. Bach: Cello Suite in G Major Owain Llwyd: new work (premiere) Benjamin Britten: Six Metamorphoses After Ovid ---Hannah Kendall: Iscariot Blues Gordon Carr: Pierre’s Painting Anthony Herschel Hill: Litany Reuben Pace: Asteroid Field Laurie Bamon: Darkling I Listen Two School pupils’ composition

Dau gyfansoddiad gan ddisgyblion ysgol Aaron Holloway-Nahum Something More Than Light Ysgrifennwyd Something More Than Light ar gyfer Painting Music yng Ngŵyl yr Ymylon, Caeredin yn 2007, felly defnyddiodd arwydd arlunwyr cyfoes (yn enwedig syniad y ‘strôc’ gyntaf ar draws cynfas moel) fel ysbrydoliaeth gychwynnol ar gyfer ei fyd sain. Mewn gwirionedd, mae’r darn yn ddau ‘anadliad’ hir, araf o alaw sy’n agor ac yn cloi’r darn, gydag adran ganol guriadol sy’n cynnwys drychau, canonau, gwrthbwynt ac atseiniau. Ysgrifennwyd y darn yn benodol ar gyfer y cerddorion sy’n ei berfformio unwaith eto heno, ac mae’n dal yn gyflwynedig iddynt, gyda llawer o ddiolch ac edmygedd. © AHN Mawrth, 2011

Aaron Holloway Nahum Something More Than Light Something More Than Light was written for Painting Music at the Edinburgh Fringe Festival in 2007, and so took the gesture of contemporary painters (especially the idea of the first ‘stroke’ across a blank canvas) as the starting inspiration for it’s sound world. The piece is effectively two long, slow ‘breaths’ of melody that open and close the piece, with a pulsating central section that involves mirrors, canons, counterpoint and echoes. The piece was written specifically for the musicians who perform it again tonight and remains dedicated to them with great thanks and admiration. © AHN, March 2011

Dydd Mercher 30 Mawrth

Wednesday 17 March

1 - 3pm Powis Hall, BU Painting Music Workshop for pupils studying A level Music and Art from secondary schools on Anglesey, led by members of the Painting Music ensemble and artist Maria Högbacke.

J.S. Bach Cyfres Soddgrwth yn G Fwyaf

Johann Sebastian Bach Cello Suite in G Major

Preliwd Allemande Courante Sarabande Miniwét Gigue

Prelude Allemande Courante Sarabande Minuet Gigue

Er eu bod, i raddau helaeth, yn anadnabyddus tan yr 20fed Ganrif, pryd y cafodd Pablo Casals hyd i gopi mewn siop ail-law a dechrau eu perfformio, mae Chwe Chyfres Bach ar gyfer ’Cello Digyfeiliant wedi dod yn repertoire craidd ar gyfer y ’cello, ac wedi’u perfformio a’u recordio droeon. Credir bod y cyfresi’n mynd yn ôl i ddechrau’r 1700au, pryd yr oedd Bach yn Kapellmeister yn Cöthen, ac maent yn cynnwys amrywiaeth o ddyfeisiau technegol, cynnwys teimladol, a lefel o agosatrwydd sy’n cyfrif am eu poblogrwydd yn yr oes sydd ohoni.

Largely unknown until the Twentieth Century when Pablo Casals found a copy in a thrift shop and began to perform them, Bach’s Six Suites for Unaccompanied Cello have become core repertoire for the cello, being performed and recorded numerous times. Thought to date from the early 1700s when Bach was Kapellmeister at Cöthen, the suites contain a vast array of technical devices, emotive content and a level of intimacy which has made them the popular works they are today.

Mae’n fwy na thebyg mai’r Gyfres yn G yw’r fwyaf adnabyddus o’r chwech i gyd, gyda’i Phreliwd prydferth o ffigurau llonydd ar ffurf arpeggio, Sarabande lefn, eiddil, a Gigue gadarn ac ysbrydoledig. © Painting Music

The Suite in G major is probably the most well known of all six, with its beautiful Prelude of tranquil arpeggiated figures, smooth, languid Sarabande and robust and uplifting Gigue. © Painting Music

Owain Llwyd gwaith newydd (premiere)

Owain Llwyd New work

Mae Ochr yn Ochr yn archwilio’r cyfosodiad o ddrama bywyd go iawn a drama ffug mewn 2 symudiad – Ochr 1 a Ochr 2. Dwi heb ddarllen nofel ers dyddiau ysgol, ond yn ystod y broses o gyfansoddi’r gwaith yma darllenais nofel o’r enw ‘Y Tiwniwr Piano’ gan Catrin Dafydd sydd yn dilyn hynt a helynt tiwniwr piano yng Nghaerdydd. Roeddwn i hefyd yn cyfansoddi cerddoriaeth ar gyfer drama ysgafn sydd wedi ei leoli yng Ngogledd Cymru. Roedd y ddwy ddrama ffug yma wedi eu cyfosod â digwyddiad bywyd go iawn wrth i ddau gyfaill imi, yn eu hugeiniau cynnar, farw mewn damweiniau erchyll. Mae’r profiadau hynny wedi fy nghyffwrdd yn fawr ac yn sail i’r cyfansoddiad yma. © Owain Llwyd

Juxtaposed expolores the juxtaposition of real life drama and fictional drama in 2 movements – Side 1 and Side 2. Having not read a novel since School, during the course of this composition I read a Welsh novel by Catrin Dafydd entitled ‘The Piano Tuner’ which follows the story of a Piano Tuner in Cardiff. I was also writing music for a light hearted TV Drama based in North Wales. These two fictional dramas were juxtaposed in my ‘real life’ with the recent loss of two friends in tragic circumstances, both in their early twenties. These recent experiences greatly touched me and formed the basis of the work. © Owain Llwyd

Benjamin Britten Six Metamorphoses After Ovid Roedd mytholeg glasurol bob amser yn agos at galon Britten ac yn ddylanwad cryf ar ei weithiau cerddorol, felly nid yw’n anarferol iddo droi at Metamorphoses o eiddo Ofydd, y bardd Rhufeinig, am ysbrydoliaeth pan aeth

Benjamin Britten Six Metamorphoses After Ovid Classical mythology was always close to Britten’s heart and a strong influence on his musical writings, so it is not unusual that when he set about writing a new work for the 1951 Aldeburgh Festival he turned to the Roman poet Ovid’s Metamorphoses for inspiration. It is however, a great example of his

J.S. Bach Cyfres Soddgrwth yn G Fwyaf

Johann Sebastian Bach Cello Suite in G Major

Preliwd Allemande Courante Sarabande Miniwét Gigue

Prelude Allemande Courante Sarabande Minuet Gigue

Owain Llwyd gwaith newydd (premiere)

Owain Llwyd New work

ati i ysgrifennu gwaith newydd ar gyfer Gŵyl Aldeburgh ym 1951. Fodd bynnag, mae’n enghraifft wych o’i athrylith a’i arloesiad artistig fod ei bortread o themâu cymhleth ac eang Metamorphoses mewn gwaith ar gyfer obo unawdol yn ddarluniad mor ddramatig ac argyhoeddiadol o’r chwe chymeriad. “Pan Niobe Narcissus Arethusa

who played upon the reed pipe which was Syrinx his beloved Phaeton who rode upon the chariot of the sun for one day and was hurled into the river Padus by a thunderbolt who lamenting the death of her fourteen children, was turned into a mountain Bachuus at whose feasts is heard the noise of gaggling women’s tattling tongues and the shouting out of boys who fell in love with his own image and became a flower who, flying from the love of Alpheus the river god, was turned into a fountain”

genius and artistic innovation that his portrayal of the complex and expansive themes of Metamorphoses in a work for solo oboe were to be so dramatic and convincing a portrayal of the six characters. “Pan Niobe Narcissus Arethusa

© Painting Music © Painting Music Hannah Kendall Iscariot Blues Y darlun gan Chris Ofili, yn dwyn yr un teitl, oedd y prif ddylanwad y tu ôl i Iscariot Blues. Yn ddarn o’i gyfres Blue Rider, mae’n un o’r gweithiau celfyddydol prydferthaf a welais i erioed. Mae’r lliwiau glas tywyll yn crynhoi ymdeimlad anhygoel o lonyddwch swrrealaidd, a hynny er gwaethaf delwedd ffocal delwedd o Jwdas ynghrog, gan ddangos y gall y gwaith hwn greu argraff hynod o bwerus, gan ddefnyddio paled sydd bron yn unlliw. Mynegir y llonyddwch hwn yn gerddorol o fewn yr adran gyntaf a’r adran olaf, a hynny trwy linellau hir, araf a llyfn. Mae’r adran ganol, sy’n gymharol gyflym ac ergydiol ac wedi’i seilio pizzicato afreolaidd i’r ’cello, a chordiau isel yn rhan y piano, yn ychwanegu nodwedd wrthgyferbyniol a chellweirus. © Hannah Kendall

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Hannah Kendall Iscariot Blues The Chris Ofili painting of the same title was the leading influence behind Iscariot Blues. A piece from his Blue Rider suite, it is one of the most beautiful works of art I have seen. The deep blues encapsulates an incredible sense of surreal tranquillity, despite the focal image of a hanging Judas Iscariot effigy, demonstrating that this work is able to evoke an extremely powerful impression whilst using an almost monochrome palette. This serenity is expressed musically within the opening and closing sections through long, slow moving and smooth lines. The quicker and punchier middle section, underpinned by the irregularly placed ‘cello pizzicato and low chords in the piano, adds a contrasting teasing quality. © Hannah Kendall, March 2011

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Gordon Carr Pierre’s Painting

Cyfansoddwyd Pierre’s Painting ar gyfer Paentio Cerddoriaeth yn benodol fel cerddoriaeth i baentio wrth wrando arni, ac mae’r cyfansoddwr wedi gweld sawl perfformiad tra diddorol ohono. Yma, arweinydd yw Pierre, efallai â brws yn ei law, yn hytrach na’r baton na ddefnyddiodd mohono. Gwneud hwyl ysgafn am yr absẃrd y mae’r darn. – © Gordon Carr

Pierre’s Painting was written for Painting Music specifically as music to paint to, the composer having seen several of its intriguing performances. The Pierre here is a conductor, maybe with brush in hand rather than the baton he did not use. The piece is a gentle mockery of the absurd. © GC, March 2011

Anthony Herschel Hill Litany A hithau wedi’i chyfansoddi ym 1992 ar gyfer Lucy Parham, ysbrydolwyd Litany gan brydferthwch Venezia, a chan gerdd Ezra Pound ar y ddinas honno, sef ‘Night Litany’. O ran adeiledd, mae’r gwaith yn mynd bob yn ail rhwng adrannau gwrthbwyntiol gwylaidd (yn cynrychioli dyfroedd Venezia yn siglo’n dyner a deisyfiad gweddi) a ffrwydradau mwy aflonydd a thanllyd. O ran gwead, mae’n debycach i waith ar gyfer organ mewn llawer o leoedd (yn fwyaf nodedig yn yr adrannau cymharol araf), gyda lleisiau sy’n atgoffa’r gwrandäwr am y gwahanol seingloriau a stopiau. Dyma’r gerdd: Night Litany O Dieu, purifiez nos coeurs! Purifiez nos coeurs ! Yea the lines hast thou laid unto me in pleasant places, And the beauty of this thy Venice hast thou shown unto me Until is its loveliness become unto me a thing of tears. O God, what great kindness have we done in times past and forgotten it, That thou givest this wonder unto us, O God of waters? O God of the night, What great sorrow Cometh unto us, That thou thus repayest us

Anthony Herschel Hill Litany Composed in 1992 for Lucy Parham, Litany was inspired by the beauty of Venice and Ezra Pound’s poem of that city ‘Night Litany’. Structurally, the work alternates between humble quasi-contrapuntal passages (representative of the gently rocking waters of Venice and the supplication of prayer) and more fervent, turbulent outbursts. It is texturally more akin to organ writing in many places (most noticeably in the slower sections) with voices that recall the different manuals and stops. The poem reads as follows: Night Litany O Dieu, purifiez nos coeurs! Purifiez nos coeurs ! Yea the lines hast thou laid unto me in pleasant places, And the beauty of this thy Venice hast thou shown unto me Until is its loveliness become unto me a thing of tears. O God, what great kindness have we done in times past and forgotten it, That thou givest this wonder unto us, O God of waters? O God of the night, What great sorrow Cometh unto us, That thou thus repayest us Before the time of its coming?

Gordon Carr Pierre’s Painting

Before the time of its coming? O God of silence, Purifiez nos cœurs, Purifiez nos cœurs, For we have seen The glory of the shadow of the likeness of thine handmaid, Yea, the glory of the shadow of thy Beauty hath walked Upon the shadow of the waters In this thy Venice. And before the holiness Of the shadow of thy handmaid Have I hidden mine eyes, O God of waters. O God of silence, Purifiez nos cœurs, Purifiez nos cœurs, O God of waters, make clean our hearts within us, For I have seen the Shadow of this thy Venice Floating upon the waters, And thy stars Have seen this thing, out of their far courses Have they seen this thing, O God of waters, Even as are thy stars Silent unto us in their far-coursing, Even so is mine heart become silent within me. Purifiez nos cœurs, O God of the silence, Purifiez nos cœurs, O God of waters.

O God of silence, Purifiez nos cœurs, Purifiez nos cœurs, For we have seen The glory of the shadow of the likeness of thine handmaid, Yea, the glory of the shadow of thy Beauty hath walked Upon the shadow of the waters In this thy Venice. And before the holiness Of the shadow of thy handmaid Have I hidden mine eyes, O God of waters. O God of silence, Purifiez nos cœurs, Purifiez nos cœurs, O God of waters, make clean our hearts within us, For I have seen the Shadow of this thy Venice Floating upon the waters, And thy stars Have seen this thing, out of their far courses Have they seen this thing, O God of waters, Even as are thy stars Silent unto us in their far-coursing, Even so is mine heart become silent within me. Purifiez nos cœurs, O God of the silence, Purifiez nos cœurs, O God of waters. © Anthony Herschel Hill

Reuben Pace Asteroid Field

Mae’r darn hwn yn disgrifio taith ddychmygol mewn llong ofod trwy barth o asteroidau. Mae’r adran gyntaf, sef ‘approach’, yn ysgogi teimlad o barchedig ofn a dirgelwch wrth i’r llong nesáu at y parth. Mae’r ail adran, sef ‘inside’, yn disgrifio’n fanwl y modd y mae’r llong yn osgoi’r creigiau anferth, a hefyd yn darlunio dawns rhwng y creigiau. Yn yr adran olaf, sef ‘moving away’, darlunnir y llong yn symud oddi wrth y parth o asteroidau. © Reuben Pace

The piece describes an imaginary flight in a space ship through an asteroid belt. The first section ‘approach’ evokes a feeling of awe and mystery as the ship approaches the belt. The second section ‘inside’ details the ship avoiding the huge rocks and also evokes an imaginary dance between the rocks. The last section ‘moving away’ gives us a picture of the ship moving away from the asteroid field. © Reuben Pace

Laurie Bamon Darkling I Listen

Cyfansoddwyd Darkling I Listen ar gyfer Painting Music ac fe’i perfformiwyd gyntaf yn ystod Gŵyl Gyrion Caeredin yn 2006. Daw’r teitl o’r ‘Ode to a Nightingale’ gan Keats:

Darkling I Listen was written for Painting Music and first performed at the Edinburgh Fringe Festival in 2006. The title comes from Keats’s ‘Ode to a Nightingale’:

‘Darkling I listen; and, for many a time I have been half in love with easeful Death, Call’d him soft names in many a musèd rhyme, To take into the air my quiet breath...’

Reuben Pace Asteroid Field

Laurie Bamon Darkling I Listen

Cyfansoddwyd Darkling I Listen ar gyfer Painting Music ac fe’i perfformiwyd gyntaf yn ystod Gŵyl Gyrion Caeredin yn 2006. Daw’r teitl o’r ‘Ode to a Nightingale’ gan Keats:

Darkling I Listen was written for Painting Music and first performed at the Edinburgh Fringe Festival in 2006. The title comes from Keats’s ‘Ode to a Nightingale’:

‘Darkling I listen; and, for many a time I have been half in love with easeful Death, Call’d him soft names in many a musèd rhyme, To take into the air my quiet breath...’

Dydd Gwener 1 Ebrill

Friday 1 April

10am Neuadd yr Ysgol Cerddoriaeth, PB Dosbarth Meistr – Catrin Finch (ar y cyd â Chanolfan Gerdd a Gwasanaeth Ysgolion William Mathias, Caernarfon)

10am School of Music Hall, PB Masterclass – Catrin Finch (jointly with Canolfan Gerdd and Gwasanaeth Ysgolion William Mathias, Caernarfon)

1pm Neuadd yr Ysgol Cerddoriaeth, PB Gweithdy Gwobr Gyfansoddi William Mathias (ar y cyd â Chyfansoddwyr Cymru) Bydd Catrin Finch yn perfformio tri chyfansoddiad yn ystod y gweithdy, i ddilyn gan drafodaeth gyda’r cyfansoddwyr, dan arweiniad Guto Pryderi Puw. Bydd y gwaith buddugol yn cael ei gynnwys yn y cyngerdd min nos.

1pm School of Music Hall, PB William Mathias Composition Prize Workshop (jointly with Composers of Wales) Three compositions by UK composers will be performed by Catrin Finch, and later discussed with the composers and workshop leader, Guto Pryderi Puw. The winning work will be peformed during the evening workshop.

Rhestrir y darnau ar cyfansoddwyr fel a ganlyn: Annwn Prelude and Fugue Cygnus

The selected pieces and composers are as follows: Annwn Prelude and Fugue Cygnus

7:30pm Eglwys Bedyddwyr Penrallt, Bangor Catrin Finch (telyn)

7:30pm Penrallt Baptist Church, Bangor Catrin Finch (harp)

Ceiri Torjussen: Ar Lan y Môr (premiere DU) Gareth Glyn: Erddigan Catrin Finch (trefn.): Lisa Lân Huw Watkins: Cyfres ar gyfer telyn Rhian Samuel: La Roca Blanca

Ceiri Torjussen: Ar Lan y Môr (UK premiere) Gareth Glyn: Erddigan Catrin Finch (arr.): Lisa Lân Huw Watkins: Suite for harp Rhian Samuel: La Rocca Blanca

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Darn buddugol Gwobr Gyfansoddi William Mathias 2011 Catrin Finch (trefn.): Into Annwn Geraint Lewis: Sonata Penmon ar gyfer telyn John Metcalf: ‘Dawns’ o Kafka’s Chimp Llyfr Lloffion y Delyn - Y Ddwy Chwaer ac Astudiaeth Study Catrin Finch (trefn.): Llongau Caernarfon

Winning work for the William Mathias Composition Prize 2011. Catrin Finch (arr.): Into Annwn Geraint Lewis: Penmon Sonata for harp John Metcalf: ‘Dance’ from Kafka’s Chimp and (extracts) Harp Scrapbook – Two Sisters and Rhythm Study Catrin Finch (arr.): Llongau Caernarfon (Catrin will introduce her own arrangements, as appropriate)

(Bydd Catrin yn cyflwyno ei threfniannau, fel bo’n briodol)

Dydd Gwener 1 Ebrill

Friday 1 April

10am Neuadd yr Ysgol Cerddoriaeth, PB Dosbarth Meistr – Catrin Finch (ar y cyd â Chanolfan Gerdd a Gwasanaeth Ysgolion William Mathias, Caernarfon)

10am School of Music Hall, PB Masterclass – Catrin Finch (jointly with Canolfan Gerdd and Gwasanaeth Ysgolion William Mathias, Caernarfon)

Rhestrir y darnau ar cyfansoddwyr fel a ganlyn: Annwn Prelude and Fugue Cygnus

The selected pieces and composers are as follows: Annwn Prelude and Fugue Cygnus

7:30pm Eglwys Bedyddwyr Penrallt, Bangor Catrin Finch (telyn)

7:30pm Penrallt Baptist Church, Bangor Catrin Finch (harp)

Ceiri Torjussen: Ar Lan y Môr (premiere DU) Gareth Glyn: Erddigan Catrin Finch (trefn.): Lisa Lân Huw Watkins: Cyfres ar gyfer telyn Rhian Samuel: La Roca Blanca

Ceiri Torjussen: Ar Lan y Môr (UK premiere) Gareth Glyn: Erddigan Catrin Finch (arr.): Lisa Lân Huw Watkins: Suite for harp Rhian Samuel: La Rocca Blanca

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(Bydd Catrin yn cyflwyno ei threfniannau, fel bo’n briodol)

Ceiri Torjussen Ar Lan y Môr (premiere DU)

Ceiri Torjussen Ar Lan y Môr (UK premiere)

Ar Lan y Môr for solo harp is based on a Welsh folk tune of the same name. It is a simple love song in which repetition plays an integral part: both in the opening repeated note (heard 4 times) and in the melodic structure of the first half of each verse. The simple beauty of this song made it an ideal candidate for musical exploration. When I began composing I had no specific structure in mind, but as the work progressed it turned out to be in Variation form. There is no melodic ‘refrain’ in the traditional sense, rather it is a continuous variation, in which the melody is omnipresent, sometimes clearly, and other times deeply hidden in the texture. © Ceri Torjussen

The work was composed for Catrin Finch and commissioned by the 2011 Swansea Music Festival. My acknowledgements go to Catrin for her amazing playing and diligence, to Huw Tregelles Williams and the Swansea Festival for the commission, and to Marcia Dickstein who provided invaluable harp advice. The work is dedicated to my fiancée, Patricia Rosales. © Ceri Torjussen

Gareth Glyn Erddigan Hen air yn golygu darn o gerddoriaeth yw Erddigan, ond mae hefyd yn debyg, i’r llygad o leia, i Erddig, tŷ bonedd a gerddi ger Wrecsam, y dre lle cynhaliwyd yr Ŵyl Gerdd Dant a gomisiynwyd y darn hwn. Fel mewn gardd ffurfiol, mae’r syml a’r addurnedig, yr urddasol a’r gwamal, y gosgeiddig a’r garw wedi eu gosod yn ymyl ei gilydd yn y darn hwn, a gwrthgyferbyniadau go annisgwyl, efallai, rownd pob cornel - ond un hedyn cerddorol sydd wrth wraidd yr holl amrywiaeth, a’r un bwriad ag unrhyw ben-garddwr i lunio cyfanwaith o’r gwahanol elfennau. Wedi dweud hynny, nid diben y darn yw tynnu llun cerddorol o unrhyw ardd, ac ni ddylai syniadau rhamantaidd am flodau ac ati liwio dehongliad y telynor o waith sydd, yn y bôn, yn un bywiog a rhythmig drwyddo. © Gareth Glyn

Gareth Glyn Erddigan Erddigan is an old Welsh word meaning a piece of music. It is also similar to the eye, at least, to Erddig, the mansion and gardens near Wrexham, the North Wales town that staged the Cerdd Dant festival who commissioned this work. As in a formal garden, the simple and ornate, the grand and the fickle, the graceful and the coarse find themselves together in this composition, with stark contrasts, perhaps, around each corner. Only a single musical seed forms the basis of the whole of the work, together with the same intention as any head gardener to form an intelligible display from the various individual elements. Having said that, it is not the intention of this work to draw a musical picture of any garden, and romantic ideas about flowers and the like should not shape the interpretation of the harpist of a work that is, basically, both lively and rhythmic throughout. © Gareth Glyn Catrin Finch Lisa Lân (trefn.)

Catrin Finch Lisa Lân (trefn.) Huw Watkins Suite for harp Huw Watkins Cyfres ar gyfer telyn 1. Ymdeithgan 2. Toccata 3. Hwiangerdd 4. Gigue

1. March 2. Toccata 3. Lullaby 4. Gigue

Ceiri Torjussen Ar Lan y Môr (premiere DU)

Ceiri Torjussen Ar Lan y Môr (UK premiere)

Catrin Finch Lisa Lân (trefn.) Huw Watkins Suite for harp Huw Watkins Cyfres ar gyfer telyn 1. Ymdeithgan 2. Toccata 3. Hwiangerdd 4. Gigue

1. March 2. Toccata 3. Lullaby 4. Gigue

Mae’r Gyfres ar gyfer telyn yn dechrau gydag ymdeithgan ddifrifol a bygythiol, gan wneud defnydd helaeth o gwmpas isaf y delyn. Fe’i dilynir gan docata cyflym a llifeiriol sy’n diweddu maes o law yn rhan uchaf yr offeryn. Wedi hwiangerdd ddistaw, gorffenna’r darn gyda gigue fywiog sy’n raddol ddistewi i’r pellter. © Huw Watkins Rhian Samuel La Rocca Blanca Ysbrydolwyd y darn hwn gan ansawdd a rhythmau trawsacenog tebyg-iddawns cerddoriaeth Sbaenaidd De America ac India, ynghyd a’r gân Gymreig sentimental y cyfeirir ati yn nheitl y gân, Dafydd y Garreg Wen. © Rhian Samuel

My Suite for harp begins with a serious, menacing march, making much use of the harps’ lower register. It is followed by a flowing, rapid toccata which eventually ends at the very top of the instrument. After a quiet lullaby, the work ends with a lively, lilting gigue which fades away into the distance. © Huw Watkins Rhian Samuel La Roca Blanca This work takes its inspiration from both the syncopated dance-like rhythms and textures of South American Spanish and Indian music, and the sentimental Welsh song, Dafydd y Garreg Wen, referred to obliquely in the title. © Rhian Samuel ---- Interval ----

---- Egwyl --Winning work for the William Mathias Composition Prize 2011. Darn buddugol Gwobr Gyfansoddi William Mathias 2011 Catrin Finch Into Annwn (trefn.) Geraint Lewis Sonata Penmon ar gyfer telyn Fe gomisiynwyd Penmon gan Elinor Bennett ar ran yr Wyl Delynau Ryngwladol a gynhelid yn Galeri, Caernarfon dros y Wythnos y Pasg 2006 ac yno rhoddwyd y perfformiad cyntaf gan Catrin Finch. Nid wyf yn ei chael yn rhwydd i gyfansoddi cerddoriaeth offerynnol haniaethol ac fel arfer rhaid wrth ysbrydoliaeth all-gerddorol i helpu’r broses. Gan imi ysgrifennu’r darn ar Ynys Mon daeth y syniad yn sydyn o efelychu’n gerddorol y daith a gerddodd T.Gwynn Jones gyda’i gyfaill W.J.Gruffydd ‘mewn hoen i Benmon, unwaith’ ac a anfarwolwyd ganddo ar gan. Cyfle felly i ddathlu canmlwyddiant cyfansoddi’r gerdd odidog honno ac un hefyd yn codi sawl atgof melys-drist o fynd yno droeon ar bererindod gyda William Mathias a Rhiannon yn ystod misoedd olaf ei fywyd. Tua diwedd y darn dyfynnaf felly ambell far o’r anthem Eneidiau’r Cyfiawn a gyfansoddais er cof amdano i Gor Cadeirlan St.Paul, Llundain yn Nhachwedd 1992. Nodiadau gan Geraint Lewis 2011

Catrin Finch Into Annwn (arr.) Geraint Lewis Penmon Sonata for harp Penmon was commissioned by Elinor Bennett on behalf of the International Harp Festival held at Galeri, Caernarfon over Easter Week 2006 where it was first performed by Catrin Finch. I find it very hard to compose abstract instrumental music and usually need some extra-musical stimulus to ease the process. As I was writing this piece on Anglesey I suddenly came by the idea of recreating in musical terms the walk to Penmon undertaken by T.Gwynn Jones with his fellow-poet W.J.Gruffydd and which T.G.J. immortalised in his exalted poem Penmon of 1906. This also held poignant memories for me of many pilgrimages to Penmon with William Mathias and Rhiannon during the last months of his life. Towards the end of the piece I therefore quote a few bars from the anthem The Souls of the Righteous which I composed in his memory for the Choir of St.Paul’s Cathedral in November 1992. Notes by Geraint Lewis 2011

John Metcalf Dawns o Kafka’s Chimp

John Metcalf Dance from Kafka’s Chimp

Mae’r pwt llenyddol, Adroddiad i Academy gan Kafka yn un o’i ddyfeisiadau mwyaf mympwyol a grymus. Mae’n adrodd hanes dyn a oedd yn epa bum mlynedd yn ôl ac a garlamodd drwy broses esblygiad ers hynny. Fe’m hysbrydolwyd gan y syniad hwn i ysgrifennu opera 75 munud a gafod ei phremiere yng Nghanada yn 1997.

The literary fragment ‘A Report to an Academy’ by Kafka is one of his most capricious yet powerful inventions. It tells the story of a man who only five years ago was an ape and who in that time has raced through the evolutionary process. Inspired by this idea I wrote the 75 minute opera ‘Kafka’s Chimp’ which received its premiere in 1997 in Canada. In the opera the principal character goes out for the evening with a woman and at the end of the evening while they are both dozing on the sofa of her apartment he dreams of his jungle past . . .

Yn yr opera mae’r prif gymeriad yn mynd allan am noson gyda gwraig, ac ar ddiwedd y noson, pan mae’r ddau yn pendwmpian ar y soffa yn ei fflat hi, mae’n breuddwydio am ei orffennol yn y goedwig. Trawsgrifiais y ddawns fer hon o’r opera ar gyfer y delyn gyda chymorth technegol a chreadigol Elinor Bennett. © John Metcalf

I have transcribed this short dance from the opera for the harp with typically generous technical and imaginative help from Elinor Bennett. © John Metcalf Harp Scrapbook (extracts)

Llyfr Lloffion y Delyn (detholiad) Comisiynwyd Llyfr Lloffion y Delyn gan Goleg Telyn Cymru ar gyfer Elinor Bennet gyda chymorth ariannol gan y Gyngor Celfyddydau Cymru, ac fe’i cyfansoddwyd rhwng Tachwedd 1991 a Mehefin 1992. Yn saith darn byr gyda theitl testunol, heno fe berfformir dau ohonnynt: 7. Y Ddwy Chwaer Cydnabyddir Gwendoline a Margaret Davies o Gregynog mewn perthynas â chelfyddyd Cymru yn yr un modd, dyweder, ac mae’r chwiorydd Bronte yn perthyn i lenyddiaeth Seisnig. Yn ystod eu bywyd roedd eu cartref yn ganolfan bwysig i gynadleddau, gwyliau cerdd ac yno y lleolir Gwasg Gregynog adnabyddus. Treuliais y rhan fwyaf o 1984 yng Ngregynog fel Cymrawd Celfyddydol, ac yn wir, roedd perfformiad cyntaf o’r rhan fwyaf o ddarnau Llyfr Lloffion y Delyn yn Gregynnog ym Mehefin 1992 - gan hynny, wele’r deyrnged hon. Nid yw’n ymdrech i gyfleu cymeriadau ond yn hytrach ceisia ail-greu y teimlad o lonyddwch heddychlon ac urddas tawel y tŷ. 4. Astudiaeth Rhythm Mae’r astudiaeth fer hon yn chwarae gyda grwpiau o drioedd a deuoedd, croesacenion, ynghyd â tri yn erbyn dau a thri yn erbyn pedwar. Wrth ganolbwyntio ar ddyfeisiadau rhythmig ac ailadrodd cyflym ar yr wythfed, mae’n cyflwyno her anarferol, fertwosig, ond er hynny, un idiomatig i’r telynor. © John Metcalf Catrin Finch Llongau Caernarfon (trefn.)

Harp Scrapbook was commissioned by Coleg Telyn Cymru for Elinor Bennett with funds made available by the Welsh Arts Council, and composed between November 1991 and June 1992. As a set of seven miniatures each with programmatic titles, two will be performed tonight: 7. The Two Sisters Gwendoline and Margaret Davies of Gregynog stand in relation to the culture and humanitarian ideals of Wales in the same way that, for example, the Bronte sisters do to English literature. During their lifetime their home was an important centre for conferences, music festivals and housed the renowned Gregynog Press. I spent most of 1984 there as Arts Fellow, and indeed, the first performance of most of the pieces in Harp Scrapbook was at Gregynog in July 1992 - hence this tribute. It is not an attempt to depict character but rather to recapture the feeling of peaceful serenity and quiet dignity of the house. 4. Rhythm Study This brief study plays with groups of rhythms in 3’s and 2’s, syncopations, 3’s against 2’s and 3’s against 4’s. In its concentration on rhythmic devices and fast reiterated octaves it presents an unusual, virtuosic but nevertheless idiomatic challenge to the harpist. © John Metcalf Catrin Finch Llongau Caernarfon (arr.)

John Metcalf Dawns o Kafka’s Chimp

John Metcalf Dance from Kafka’s Chimp

I have transcribed this short dance from the opera for the harp with typically generous technical and imaginative help from Elinor Bennett. © John Metcalf Harp Scrapbook (extracts)

Bywgraffiadau / Biographies Johann Sebastian Bach Erbyn hyn, bernir bod Johann Sebastian Bach yn un o’r cyfansoddwyr gorau a fu erioed; fodd bynnag, yn ystod ei oes ei hun, nid oedd yn adnabyddus iawn, a chydnabyddid ef yn bennaf fel organydd. Cyfansoddodd Bach mewn sawl ffurf sefydledig ar gerddoriaeth, yn cynnwys y gantata a’r ffiwg, gan eu datblygu’n ddarnau cymhleth ac aruchel. Cyfansoddodd ef fwy na 1,100 o weithiau mewn bron pob genre cerddorol, gan adael etifeddiaeth gerddorol hynod o bwysig sy’n parhau i ddylanwadu ac effeithio ar gyfansoddwyr hyd heddiw. © Painting Music Johann Sebastian Bach, now considered one of the greatest composers of all time, was during his lifetime, little-known and was mostly recognised for performing on the organ. Bach composed in many established musical forms, including the cantata and fugue, and developed them into complex and sublime pieces. He composed over 1,100 works in almost every musical genre and left a hugely important musical legacy which continues to influence and affect composers today. © Painting Music

Laurie Bamon Magwyd Laurie Bamon yn y Bari, De Cymru. Perfformiwyd ei cherddoriaeth yn ddiweddar yn Eglwys Santes Fair, Caeredin; yn yr Amgueddfa Brydeinig, yr Academi Gerdd Frenhinol a Neuadd Gerdd Wilton yn Llundain, a’r Wythnos Ryngwladol o Gerddoriaeth Newydd yn Bucharest. Fel un o sylfaenwyr Open Door Opera, hefyd fe gynlluniodd y llwyfan ar gyfer eu cynhyrchiadau L’enfant et les sortileges (G_yl Gyrion Caeredin, St John’s Smith Square, G_yl Fai Notting Hill) a Stone Heart (Grimeborn, Theatr Arcola). Ar hyn o bryd astudia Laurie yn yr Academy Gerdd Frenhinol gyda Philip Cashian lle caiff ei chefnogi

gan wobr AHRC. Mae perfformiadau ar y gweill i gynnwys darn newydd ar gyfer G_yl Spitalfields yn ystod yr haf eleni. Laurie Bamon grew up in Barry, South Wales. Her music has recently been performed in Edinburgh at St Mary’s Cathedral; at the British Museum, Royal Academy of Music and Wilton’s Music Hall in London; and at the International Week of New Music in Bucharest. A founding member of Open Door Opera, she has also stage designed for their productions of L’enfant et les sortileges (Edinburgh Fringe, St John’s Smith Square, Notting Hill Mayfest) and Stone Heart (Grimeborn, Arcola Theatre). Currently, Laurie is studying with Philip Cashian at the Royal Academy of Music where she is supported by an AHRC award. Forthcoming performances include a new work for the Spitalfields Festival this summer. © Laurie Bamon

Benjamin Britten Ganwyd Benjamin Britten yn Lowestoft, Swydd Suffolk, ar arfordir dwyreiniol Lloegr, ar 22 Tachwedd 1913. Astudiodd yn y Coleg Cerdd Brenhinol yn Lundain gydag Arthur Benjamin, Harold Samuel a John Ireland. Aeth Britten ymlaen i ddod yn un o’r ffigurau pwysicaf ym mywyd diwylliannol Lloegr ar ôl y rhyfel, gan ysgrifennu cyfres o operâu llwyddiannus, gweithiau cerddorol megis The Young Person’s Guide to the Orchestra a llawer o ganeuon, gweithiau corawl a siambr, yn ogystal â sylfaenu G_yl Aldeburgh yn 1948. Ym 1976, penodwyd ef yn Arglwydd am oes – y cyfansoddwr cyntaf erioed i gael yr anrhydedd hwnnw. © Painting Music Benjamin Britten was born in Lowestoft, Suffolk, on the east coast of England, on 22 November 1913. He studied at the Royal College of Music in London with Arthur Benjamin, Harold Samuel and John Ireland. Britten went on to become one of the most important figures in England’s Post-war cultural life, writing a string of successful operas, orchestral works such as The Young Person’s Guide to the Orchestra and many songs, choral and chamber works as well as founding the Aldeburgh Festival in 1948. In 1976 he was appointed a life peer- the first composer ever to know that honour. © Painting Music

Gordon Carr Gadawodd Gordon Carr yr ysgol yn 16 oed i weithio fel clerc iau. Ymhen 3 blynedd, ac ar ôl sawl swydd, aeth i’r Academi Gerdd Frenhinol i astudio’r corn. Yn ei ugeiniau y dechreuodd gyfansoddi, gan ddysgu’r grefft wrth chwarae’r amrywiaeth enfawr o gerddoriaeth a ddaw i ran chwaraewr corn proffesiynol. Cafodd lwyddiant cynnar â sgorau mawr ar gyfer Consort Pres Locke, ac mae ganddo bellach fwy na 170 o weithiau i’w enw, yn cynnwys cerddoriaeth gorawl, cerddorfaol a siambr. © Gordon Carr Gordon Carr left school at 16 to work as a junior clerk. Three years and several jobs on he entered the Royal Academy of Music to study the horn. It was in his twenties that he began to write, learning his craft playing the vast range of music that comes the way of a professional horn player. He had early success with large scores for The Locke Brass Consort and now has over 170 works to his credit, which includes choral, orchestral and chamber music. © Gordon Carr

Gareth Glyn Ganed Gareth Glyn ym Machynlleth ym 1951; graddiodd mewn cerdd o Goleg Merton, Rhydychen. Cafodd ei gyfansoddiadau eu comisiynu a’u perfformio gan gerddorfeydd blaenllaw, gan gynnwys yr LSO, Cerddorfa Gyngerdd y BBC, Cerddorfa Symffoni Gogledd Carolina, Ffilharmonig Strasbwrg, Cerddorfa Ulster, Cerddorfa Genedlaethol Gymreig y BBC, I Musici de Montréal a Cherddorfa’r Bale Brenhinol, ac unawdwyr yn cynnwys Bryn Terfel a Catrin Finch. Cafodd ei urddo’n Gymrodor er Anrhydedd gyda Phrifysgol Cymru, Bangor, ac yn Dderwydd er Anrhydedd yng Ngorsedd y Beirdd, am ei gyfraniad i gerddoriaeth Cymru. Mae Gareth Glyn yn byw ym Modffordd, ger Llangefni, gyda’i wraig Eleri Cwyfan.

Gareth Glyn was born in Machynlleth in 1951, and is a music graduate of Merton College, Oxford. His compositions have been commissioned and played by eminent orchestras, including the LSO, the BBC Concert Orchestra, the North Carolina Symphony, the Strasbourg Philharmonic, the Ulster Orchestra, the BBC National Orchestra of Wales, I Musici de Montréal and the Royal Ballet Sinfonia, and soloists including Bryn Terfel and Catrin Finch. Gareth Glyn received an Honorary Fellowship from Bangor University, and the rank of Honorary Druid in the National Eisteddfod’s Gorsedd of Bards, for his services to music in Wales, a country whose history, song tradition, language and landscape inform his work. Gareth lives in Bodffordd, Anglesey, with his wife Eleri Cwyfan.

Jonathan Harvey Mae Jonathan Harvey yn un o’r cyfansoddwyr prin hynny o wledydd Prydain i ennill parch a llwyddiant rhyngwladol. Stockhausen (y mae ei lyfr ar y cyfansoddwr yn adnabyddus) a Milton Babbitt oedd ei ddiddordebau a’i ddylanwadau cynnar, ar ôl iddo astudio yn Princeton ar Ysgoloriaeth Harkness Scholarship in 1969. Ar ôl cael gwahoddiad i IRCAM gan Boulez, cyfansoddodd Mortuos Plango vivos voce, Bhakti, a llawer iawn o weithiau eraill. Mae Harvey yn adnabyddus i lawer fel cyfansoddwr cerddoriaeth gorawl lawn ysbrydoliaeth, ond efallai mai ei fedr wrth gyfuno seiniau electronig ag offerynnau byw fu ei gamp fwyaf, yn arwain at sawl gwaith cerddorfaol ar raddfa fawr a berfformiwyd mewn lleoliadau o bwys, megis Cyngherddau Prom y BBC a Cherddorfa Ffilharmonig Berlin. Bydd Syr Simon Rattle yn arwain ei gomisiwn diweddar gan Gerddorfa Ffilharmonig Berlin ym mis Hydref 2011, ac yna, yn Ionawr 2012, mae penwythnos ‘Total Immersion’ o’i gerddoriaeth i’w gynnal yn y Barbican dan nawdd y BBC. © Jonathan Harvey Jonathan Harvey is one of the rare British composers who has achieved international respect and success.His early interests and influences were Stockhausen (his book on the composer is well-known) and Milton Babbitt, after studying at Princeton on a Harkness Scholarship in 1969. After being invited to IRCAM by Boulez, he composed Mortuos Plango vivos voce, Bhakti,

and a host of other works. Harvey is known to many as composer of inspirational choral music but perhaps his skill at combining electronic sounds with live instruments has been his greatest achievement, resulting in several large-scale orchestral works performed at major venues such as the BBC Proms and the Berlin Philharmonie. His recent commission from the Berlin Philharmonic will be conducted by Sir Simon Rattle in October 2011, and the following January a ‘Total Immersion’ weekend of his music is programmed at the Barbican under the auspices of the BBC. © Jonathan Harvey

Anthony Herschel Hill Astudiodd Anthony Herschel Hill yn y Coleg Cerdd Brenhinol fel pianydd, organydd a chyfansoddwr gyda Cyril Smith, Richard Latham a Herbert Howells, lle enillodd nifer o’r prif wobrau. Wedi cyfnod arall o astudio ym Mharis gyda Nadia Boulanger, cychwynnodd Anthony ar ei yrfa fel perfformiwr ac athro. Mae wedi chwarae concerti gyda’r LPO a’r Ffilharmonia, ynghyd â datganiadau unawdol ar draws y DU, Ffrainc, Singapôr a Seland Newydd. Mae nifer o ddarnau o’i eiddo fel cyfansoddwr wedi’u cynnwys yn rhestri Arholiadau’r Bwrdd Cysylltiol, a gweithiau eraill wedi’u darlledu yn yr Almaen ac ar BBC Radio 3. Ar hyn o bryd, ef yw’r Cyfarwyddwr Cerdd yn St Simon Zelotes, Llundain. © Anthony Herschel Hill Anthony Herschel Hill studied at the RCM as pianist, organist and composer with Cyril Smith, Richard Latham and Herbert Howells where he won several of the major prizes. After a further period of study in Paris with Nadia Boulanger, Anthony began to build his career as a performer and teacher. He has played concertos with the LPO and the Philharmonia and solo recitals across the UK, France, Singapore and New Zealand. As a composer, several pieces have appeared on the Associated Board Exam lists and other works broadcast in Germany and on the BBC Radio 3. He is currently Director of Music at St Simon Zelotes, London. © Anthony Herschel Hill

Aaron Holloway-Nahum Ar hyn o bryd, mae Aaron Holloway-Nahum (g. 1983, Chicago) ym mlwyddyn olaf ei astudiaethau ar gyfer DMus yng Ngholeg Cerdd a Drama’r Guildhall, lle mae’n astudio gyda Julian Anderson. O’r blaen, mae wedi astudio ar gyfer MMus yn yr Academi Gerdd Frenhinol gyda Philip Cashian, ac ym Mhrifysgol y Northwestern (BM) gydag Augusta Read Thomas. Mae Aaron newydd gwblhau gwaith ar Sonata ar gyfer pedwar clarinét, tympanau, offerynnau taro a chwyddiad ac, yn ddiweddar, wedi cychwyn ar Portraits ar gyfer Cerddorfa, a pherfformiad i’w gynnal yn Nhachwedd 2011. Mae Aaron wedi sefydlu cyfres gyngherddau’r Riot! y mae’n gyfarwyddwr artistig a hefyd yn brif arweinydd arni. © Aaron Holloway-Nahum Aaron Holloway-Nahum (b. 1983, Chicago) is currently in the final year of his DMus studies at the Guildhall School of Music & Drama where he studies with Julian Anderson. He has previously studied for a MMus at the Royal Academy of Music with Philip Cashian, and at Northwestern University (BM) with Augusta Read Thomas. Aaron has just completed work on Sonata for four clarinets, timpani, percussion and amplification; and has recently begun Portraits for Orchestra, with a performances scheduled for November 2011. Aaron founded the Riot! concert series for which he acts as artistic director and primary conductor. © Aaron Holloway-Nahum

Hannah Kendall Yn ddiweddar, cwblhaodd y gyfansoddwraig Hannah Kendall, a anwyd yn Llundain, MMus mewn Cyfansoddi Uwch gyda rhagoriaeth yn y Coleg Cerdd Brenhinol. Dan nawdd Cyngor Ymchwil y Celfyddydau a’r Dyniaethau, Grant Astudiaeth gan y Coleg Cerdd Brenhinol, ac Ymddiriedolaeth RVW, astudiodd gyda Kenneth Hesketh. Mae gweithiau o eiddo Hannah wedi’u perfformio gan lawer o ensembles, yn cynnwys y triawd lleisiol Juice, Cantorion y BBC,

Onyx Brass a Cherddorfa’r Ffilharmonia, yn cynnwys perfformiadau yn yr Oriel Bortreadau Genedlaethol, Amgueddfa Victoria ac Albert, The Place, Caergaint, Eglwysi Cadeiriol St Paul a Westminster, a Neuadd y Royal Festival. © Hannah Kendall London_born composer, Hannah Kendall, recently completed an MMus in Advanced Composition with a distinction at the Royal College of Music. Funded by the Arts and Humanities Research Council, the Royal College of Music Study Award and the RVW Trust, she studied with Kenneth Hesketh. Hannah has had works performed by many ensembles including the vocal trio Juice, BBC Singers, Onyx Brass and the Philharmonia Orchestra, which have included performances at the National Portrait Gallery, the Vitoria and Albert Museum, The Place, Canterbury, St Paul’s and Westminster Cathedrals and the Royal Festival Hall. © Hannah Kendall

Eddie Ladd Ganwyd a magwyd Eddie Ladd yn Sir Geredigion gan dderbyn ei haddysg ym Mhrifysgol Aberystwyth. Bu’n gweithio gyda nifer o gwmnïau theatr gan dreulio y cyfnod hyd at y flwyddyn 2000 gyda’r cwmni arbrofol Cymreig, Brith Gof. Dechreuodd greu ei chynhyrchiadau ei hun yn 1990 a chyda’i chyd-weithwyr fe greodd un sioe ar bymtheg sy’n cyfuno dawns, testun, fideo a cherddoriaeth. © Eddie Ladd Eddie Ladd was born and brought up in Ceredigion and educated at Aberystwyth University. She has worked with a number of theatre companies and spent the decade up the year 2000 writing and performing with the Welsh experimental company Brith Gof. She started making her own work in 1990 and with her co-workers has made sixteen shows that combine dance, text, video and music. © Eddie Ladd

Andrew Lewis Astudiodd Andrew Lewis gerddoriaeth ym Mhrifysgol Birmingham rhwng 1981 ac 1984, gan astudio cyfansoddi yno’n ddiweddarach gyda Jonty Harrison a chwblhau doethuriaeth yn 1991. Roedd yn un o aelodau gwreiddiol BEAST (Birmingham Electroacoustic Sound Theatre). Mae rhan fwyaf o’i gynnyrch yn gerddoriaeth acwsmatig, ond fe gyfansodda ar gyfer grymoedd confensiynol (siambr, lleisiol a cherddorfaol) gyda neu gan eithrio electronig. Enillodd ei gerddoriaeth sawl gwobr a chanmoliaeth (PRS, Bourges, Prix Ars Electronica, Celfyddydau Electronig Stockholm, Radio Hwngari, Addysged Cyngor Celfyddydau Prydain, rownd derfynol cystadleuaeth Noroit, ARTS XXI Valencia, CIMESP São Paulo). Ceir sawl gwaith ar gael ar ddisg, gyda’r mwyaf diweddar yn DVD Awdio Miroirs obscurs (empreintes DIGITALes, Montreal). Gweler: www.AndrewLewis.org © Andrew Lewis Andrew Lewis read music at the University of Birmingham, England, between 1981 and 1984, and subsequently studied composition there with Jonty Harrison, completing a doctorate in 1991. He was one of the original members of BEAST, His output is predominantly acousmatic music, but he also composes for conventional forces (chamber, vocal, orchestral) with or without electronics. His music has won several prizes, awards and mentions (PRS, Bourges ‘Euphonie d’Or’, Prix Ars Electronica, Stockholm Electronic Arts, Hungarian Radio, British Arts Council Bursary, Noroit finalist, ARTS XXI Valencia, CIMESP São Paulo). A number of works are available on disc, most recently the Audio DVD Miroirs obscurs (empreintes DIGITALes, Montreal). He is a Professor and Head of Composition studies at the School of Music Bangor University. See: www.AndrewLewis.org © Andrew Lewis

Geraint Lewis Cardiff born and bred and Cambridge educated at St. John’s College, a pupil of George Guest. Worked closely with composers Mathias, Tippett, Hoddinott and George Benjamin. Commissioned in 1999 to compose Afallon for WNO to sing as The Queen opened the first Welsh Assembly. First opera Culhwch ac Olwen with Gwyn Thomas in 2000 for Gwyl Cricieth and symphony Nearly in Heaven for BBCNOW and Only Men Aloud in 2003. Now writing a study of

William Mathias under Pwyll ap Sion at Bangor and working on Mabinogi, a concerto for Catrin Finch with Sinfonia Cymru and Anatiomaros, a sonata for Llyr Williams to play at the 2011 Swansea Festival. © Geraint Lewis Geni a’i fagu yng Nghaerdydd a’i addysgu yng Nghaergrawnt yn ddisgybl i George Guest yng Ngholeg Ieuan Sant. Gweithio’n agos gyda’r cyfansoddwyr Mathias, Tippett, Hoddinott a George Benjamin. Comisiwn yn 1999 i gyfansoddi Afallon i OCC ganu wrth i’r Frenhines agor y Cynulliad Cenedlaethol cyntaf. Opera gyntaf Culhwch ac Olwen gyda Gwyn Thomas i Wyl Cricieth 2000 a symffoni Nearly in Heaven i GGGyBBC ac Only Men Aloud yn 2003. Yn ysgrifennu astudiaeth o William Mathias dan Pwyll ap Sion ym Mangor a gweithio ar Mabinogi, concerto i Catrin Finch gyda Sinfonia Cymru ac Anatiomaros, sonata i Llyr Williams berfformio yng Ngwyl Abertawe 2011. © Geraint Lewis

Owain Llwyd Astudiodd Owain Llwyd ym Mhrifysgol Bangor gyda’r cyfansoddwyr Bill Connor a Pwyll ap Siôn, lle enillodd ei radd yn 2005 ynghyd â Gwobr Dr John Robert Jones. Cafodd ei PhD mewn Cyfansoddi ar gyfer Ffilm a’r Cyfryngau Delweddol yn 2010 ac fe’i penodwyd yn Gymrawd Dysgu yn yr Ysgol Cerddoriaeth. Daeth Owain i’r amlwg drwy ennill pump Tlws y Cerddor yn Eisteddfod Genedlaethol yr Urdd a’r Eisteddfod Genedlaethol Cymru rhwng 2002 a 2005. Mae ei gerddoriaeth ar gyfer y neuadd gyngerdd yn cynnwys Operau, Sioeau, gweithiau Cerddorfaol a gweithiau Ensemble. Cyhoeddwyd ei gerddoriaeth ar gyfer y cyfryngau gan Boosey & Hawkes a darlledir ei gerddoriaeth led-led y Byd ar sineli megis ‘BBC America,’ ‘BBC UK,’ ‘Sky,’ ‘Channel 4,’ ‘ITV’, ‘Fox’ ar raglenni megis as ‘The X-Factor,’ ‘Top Gear,’ ‘US Open,’ ‘Eurosport’ & ‘Big Brother’. © Owain Llwyd Owain Llwyd studied at Bangor University with composers Bill Connor and Pwyll ap Siôn where he gained his degree in 2005 together with the Dr John Robert Jones prize. He was awarded his PhD in Composing Music for Film

and the Media in 2010 and is currently a Teaching Fellow at the School of Music. Owain came into prominance as a composer between 2002 – 2005 by winning all 5 available Composer’s Medals in both the Urdd National Eisteddfod and the National Eisteddfod of Wales. His concert music include Operas, Shows, Orchestral and Ensemble works. His media music is published by Boosey & Hawkes and has been broadcasted around the World by ‘BBC America,’ ‘BBC UK,’ ‘Sky,’ ‘Channel 4,’ ‘ITV’, ‘Fox’ on such programmes as ‘The X-Factor,’ ‘Top Gear,’ ‘US Open,’ ‘Eurosport’ & ‘Big Brother’. © Owain Llwyd

John Metcalf John Metcalf yw un o’r prif gyfansoddwyr sy’n gweithio yng Nghymru heddiw. Fe’i ganwyd yn Abertawe, a dechreuodd ei yrfa lwyddiannus fel cyfansoddwr yn y 1960au gan gwmpasu amrywiaeth eang o weithiau, yn eu mysg pum opera, cerddoriaeth gerddorfaol a siambr. Cynyddodd ei enw rhyngwladol gyda chyfansoddiadau megis Paradise Haunts, Mapping Wales a Dances from Forgotten Places ar gyfer Cerddorfa Linynnol. Canlyniad comisiwn diweddar gan y Gerddorfa Symffonig Seisnig oedd ysgrifennu Cello Symphony ar gyfer Raphael Wallfisch, yn ddiweddarach fe’i recordiwyd gan Nimbus a’i lansio yn haf 2005. Ar hyn o bryd mae’n Gyfarwyddwr Artistig G_yl Bro Morgannwg, ac ym Medi 1995 derbyniodd Wobr Goffa John Edwards gan yr Urdd er Hyrwyddo Cerddoriaeth Cymru am ei wasanaeth i gerddoriaeth Cymru. Recordiwyd ei gerddoriaeth ar labeli Lorelt, Sain, Cyfoes a Nimbus ac ar hyn o bryd mae’n gweithio ar opera wedi ei seilio ar Under Milk Wood. © John Metcalf John Metcalf is one of the foremost composers working in Wales today. Born in Swansea, his successful composing career started in the late 1960’s embracing a large variety of works, including five operas, orchestral and chamber works. His international reputation was enhanced by works such as Paradise Haunts, Mapping Wales a Dances from Forgotten Places for String Orchestra. A recent commission from the English Symphony Orchestra led to

the writing of Cello Symphony for Raphael Wallfisch, later to be recorded by Nimbus Records and released in the summer of 2005. He is presently Artistic Director of the award-winning Vale of Glamorgan Festival, and in September 1995 he received the John Edwards Memorial Award awarded by the Guild for the Promotion of Welsh Music for his services to music in Wales. His music is recorded on the Lorelt, Sain, Cyfoes and Nimbus labels and he is currently work on an opera based on Under Milk Wood. © John Metcalf

A native from Cardiff, he was educated in RADA, London. Immediately after graduating he became the main technician on Brith Gof’s masterpiece, “Gododdin”, later to work with the company for many years. Recently he has been acquainting Wallace and Gromit on their educational tour of England and during the summer he has been working once again with Brith Gof former director Mike Pearson on the NTW production, “The Persians” on the Epynt mountain. © Giles Parbery

Reuben Pace

Guto Pryderi Puw

Cychwynnodd Reuben Pace ar ei astudiaethau cerddorol yn 8 mlwydd oed, gyda band pres lleol. Yn ddiweddarach, symudodd ymlaen at y gitâr clasurol, gan ddilyn cwrs Baglor yn y Celfyddydau mewn Cerddoriaeth ym Mhrifysgol Malta. Rhwng 2000-2001, cwblhaodd radd Meistr ym Mhrifysgol Bangor, a rhwng 2004 a 2006 dilynodd gwrs PhD rhan-amser mewn cyfansoddi ym Mangor. Ar hyn o bryd, mae’n gweithio fel athro cerddoriaeth a darlithydd ym Mhrifysgol Malta. © Reuben Pace

Astudiodd Guto Pryderi Puw gerddoriaeth ym Mhrifysgol Bangor, lle derbyniodd MMus yn 1996, ac wedi ennill Ysgoloriaeth Parry Williams derbyniodd ddoethuriaeth mewn Cerddoriaeth yn 2002. Fe’i penodwyd yn Ddarlithydd Cerdd yn y Brifysgol yn 2006. Enillodd Dlws y Cerddor yn yr Eisteddfod Genedlaethol yn 1995 ac 1997, a derbyniodd ei weithiau ddarllediadau ar radio a theledu yn ogystal â pherfformiadau cyson mewn gwyliau cerdd ledled y wlad. Yn Chwefror 2006 fe’i penodwyd yn Gyfansoddwr Preswyl gyda Cherddorfa Genedlaethol Gymreig y BBC i ysgrifennu tri gwaith cerddorfaol. Enillodd y cyntaf o’r comisiynau hyn, y Concerto ar gyfer Obo, ‘Wobr y Gwrandawyr’ yng Ngwobrau Cyfansoddwr Prydeinig yn Rhagfyr 2007. Perfformiwyd yr ail gomisiwn ‘…onyt agoraf y drws…’ yn ystod y Proms yn 2007. Yn 2009 derbyniodd wobr Cymru Greadigol gan Gyngor Celfyddydau Cymru er mwyn datblygu ei ysgrifennu operatig. © Guto Pryderi Puw

Reuben Pace started his music studies at the age of 8 with a local brass band. He later moved on to classical guitar and eventually sat for a Bachelor of Arts in music at the University of Malta. Between 2000-2001 he completed a Masters at Bangor University and between 2004 and 2006 sat for a part-time PhD in composition in Bangor. He currently works as a music teacher and lecturer at the University of Malta. © Reuben Pace

Giles Parbery Brodor o Gaerdydd a addysgwyd yn RADA yn Llundain. Yn syth wedi graddio aeth yn brif dechnegydd ar gampwaith enfawr Brith Gof, “Gododdin”, a bu’n gweithio gyda’r cwmni am flynyddoedd lawer wedi hynny. Yn ddiweddar bu’n cadw oed gyda Wallace & Gromit ar eu taith addysgiadol yn Lloegr, ac yn ystod yr haf bu’n gweithio unwaith yn rhagor gyda chyn-gyfarwyddwr Brith Gof, Mike Pearson, ar gynhyrchiad NTW, “The Persians” ar fynydd Epynt.

Guto Pryderi Puw studied Music at Bangor University where he gained his MMus degree in 1996, and after winning the Parry Williams Scholarship he was awarded with a PhD in composition in 2002. He was appointed as a Music Lecturer at the University in 2006. He won the Composer’s Medal at the National Eisteddfod both in 1995 and 1997, and his works have been broadcast on radio and TV and featured in

Reuben Pace

Guto Pryderi Puw

music festivals around the country. In February 2006 he was appointed to write three orchestral pieces as Resident Composer with the BBC NOW. The first of these commissions, Concerto for Oboe, won the Listeners’ Award category at the British Composer Awards in 2007. His second commission ‘…ony agoraf y drws…’ (‘unless I open the door’) was premiered at the 2007 Proms. In 2009 he received a Creative Wales Award from the Arts Council of Wales to develop his operatic writing. © Guto Pryderi Puw

Jon Riddick Jon Ruddick originally from Bath, England, moved to Cardiff in 2002 to work for a arts company Valley & Vale, facilitating video and sound projects. In 2003, he started performing with South Wales based experimental sound/visual collectives S.A.A.B. and P.A.S.T. producing improvised durational audio/visual projects performed throughout England and Wales. In 2006, Jon began working with Welsh performer Eddie Ladd on her multimedia movement piece Cof y Corff, touring the show internationally. Jon has also worked and toured with Earthfall, Sean Tuan John and Diversions, providing technical support for live video and sound. Jon Ruddick originally from Bath, England, moved to Cardiff in 2002 to work for a arts company Valley & Vale, facilitating video and sound projects. In 2003, he started performing with South Wales based experimental sound/visual collectives S.A.A.B. and P.A.S.T. producing improvised durational audio/visual projects performed throughout England and Wales. In 2006, Jon began working with Welsh performer Eddie Ladd on her multimedia movement piece Cof y Corff, touring the show internationally. Jon has also worked and toured with Earthfall, Sean Tuan John and Diversions, providing technical support for live video and sound.

Nick Rothwell Mae Nick Rothwell yn gyfansoddwr, perfformiwr, pensaer meddalwedd, rhaglennydd a chynllunydd sain. Adeiladodd systemau perfformio cyfryngol ar gyfer prosiectau Ballett Frankfurt, Vienna Volksoper a Braunarts, a gosodiadau rhyngweithiol ar gyfer Sonic Arts Network, TECHNE (Istanbul) and Kinetica. Bu’n gweithio yn STEIM (Amsterdam), CAMAC (Paris) a ZKM (Karlsruhe) a chyfansoddodd draciau sain ar gyfer coreograffwyr Aydin Teker (Istanbul) a Richard Siegal (Laban Centre), a pherfformiodd gyda Laurie Booth (Dance Umbrella, New Territories), ac yn y Different Skies Festival (Arcosanti, Arizona), yr ICA, a Chanolfan Dana yn yr Amgueddfa Wyddoniaeth. Ar hyn o bryd mae’n gweithio ar arfau gweledol choreograffig ar gyfer Random Dance gan Wayne McGregor yn Sadler’s Wells, a cherddoriaeth ar gyfer Gwmni Dawns Shobana Jeyasingh. © Nick Rothwell Nick Rothwell is a composer, performer, software architect, programmer and sound designer. He has built media performance systems for projects with Ballett Frankfurt, Vienna Volksoper and Braunarts, and interactive installations for Sonic Arts Network, TECHNE (Istanbul) and Kinetica. He has worked at STEIM (Amsterdam), CAMAC (Paris) and ZKM (Karlsruhe) and has composed soundtracks for choreographers Aydin Teker (Istanbul) and Richard Siegal (Laban Centre), and performed with Laurie Booth (Dance Umbrella, New Territories), and at the Different Skies Festival (Arcosanti, Arizona), the ICA, and the Science Museum’s Dana Centre. He is currently working on choreographic visualisation tools for Wayne McGregor| Random Dance at Sadler’s Wells, and music composition for Shobana Jeyasingh Dance Company. © Nick Rothwell

Rhian Samuel Cymer cerddoriaeth Rhian Samuel egni o sensitifrwydd y gyfansoddwraig at draddodiadau celfyddydol lleol a dylanwadau cyfoes Ewropeaidd ac Americanaidd. Yn ei gwaith, cadwa alaw, rhythm a harmoni eu blaenoriaethau fel elfennau gweithredol lawn o iaith gerddorol unigol ac ymroddgar, sy’n arbennig hefyd am ei fynegiant cyfoethog. Ganwyd Samuel yn Aberdâr, Cymru, gan dderbyn ei haddysg ym Mhrydain a’r Unol Daleithiau, gan ddysgu

am flynyddoedd yng Nghonservatoire St Louis cyn dychwelyd i Brydain yn 1984 i ddysgu ym Mhrifysgol Reading, lle’i penodwyd fel Pennaeth yr Adran Gerddoriaeth yn 1993. Ar hyn o bryd mae’n Athro mewn Cerddoriaeth ym Mhrifysgol Dinas Llundain. © Stainer & Bell The music of Rhian Samuel draws strength from its composer’s sensitivity to local cultural traditions and to contemporary European and American influences. In her work, melody, rhythm and harmony retain their timehonoured primacy as fully functioning elements of a committed and individual musical language, which is distinctive also for its rich generosity of expression. Born in Aberdare, Wales, Samuel received her education in Britain and the United States, and taught for a number of years at the St Louis Conservatory before returning to Britain in 1984 to teach at Reading University, where she was appointed Head of the Music Department in 1993. She is currently Professor of Music at London’s City University. © Stainer & Bell

Karlheinz Stockhausen Cyfansoddodd Karlheinz Stockhausen (1928–2007) 375 o weithiau y gellir eu perfformio’n unigol. Dechreuodd gyfansoddi tua dechrau’r 1950au, gan ennill enwogrwydd rhyngwladol gyda darnau megis Kreuzpiel (croes-chwarae) a Kontra-Punkt (Gwrthbwyntiau). Gellir dadlau bod modd gosod ei gynnyrch yn nosbarth “Cerddoriaeth Ysbrydol”; daw hyn yn fwyfwy amlwg nid yn unig yn y cyfansoddiadau sydd â thestunau ysbrydol, ond hefyd yn y gweithiau eraill o “Gerddoriaeth Uwchdon”, “Cerddoriaeth Reddfol”, “Cerddoriaeth Fantrig”, nes cyrraedd “Cerddoriaeth Gosmig”, sy’n cynnwys cyfansoddiadau megis Stimmung (Troi), Aus den sieben tagen (O’r Saith Niwrnod), Mantra, ac Inori. Ym 1996, enillodd ddoethuriaeth er anrhydedd o Freie Unversität Berlin ac, yn 2004, cafodd ddoethuriaeth er anrhydedd o Brifysgol y Frenhines, Béal Feirste (Belffast). © Stockhausen-Verlag Karlheinz Stockhausen (1928–2007) composed 375 individually performable

works. He started composing in the early 1950s, wth pieces such as Kreuzpiel (cross-play) and Kontra-Punkt (Counterpoints) gaining him international fame. I can be argued that his ouvre can be classified Spir i tu al Music”; this becomes more and more evident not only in the com positions with spiritual texts, but also in the other works of “Overtone Music”, “Intuitive Music”, “Mantric Music”, reaching “Cosmic Music”, which includes such compositions as Stimmung (Tuning), Aus den sieben tagen (From the Seven Days), Mantra, and Inori. In 1996 he was awarded an honorary doctorate from the Freie Unversität Berlin, and in 2004 received an honorary doctorate from the Queen’s University in Belfast. © Stockhausen-Verlag

Ceiri Torjussen Daw Ceiri Torjussen o Gaerdydd ac mae’n siaradwr Cymraeg rhugl. Disgrifiwyd ei gerddoriaeth, sy’n cynnwys bron iawn pob cyfrwng (o ddarnau unawdol, ensemble a cherddorfaol i gerddoriaeth ar gyfer ffilm, teledu, animeiddio a theatr), gan y Los Angeles Times fel ‘bollt sydyn o oleuni creadigol.’ Mae ei ddylanwadau eclectig yn amrywio o’r canon glasurol Orllewinol (Oesoedd Canol i’r presenol) i jas, soul, electronig arbrofol, cerddoriaeth glasurol golgedd India a cherddoriaeth Indonesia a chanoldir Affrica. Darlledwyd a pherfformiwyd ei ddarnau cyngerdd dros y byd, yn enwol gan Gerddorfa Genedlaethol Gymreig y BBC, tra caiff ei gerddoriaeth ei gynnwys mewn naw ffilm annibynnol a cherddoriaeth ar gyfer ffilmiau stiwdio megis Die Hard 4, Scary Movie 2 a Repo Men. Mae prosiectau diweddar yn cynnwys gwaith ar gyfer Player Piano traddodiadol wedi ei awtomeiddio. © Ceiri Torjussen Ceiri Torjussen hails from Cardiff and is a fluent Welsh speaker. His music, which spans almost every medium (from solo, ensemble and orchestral concert works, to music for film, TV, animation and theatre), was described by the Los Angeles Times as a “sudden bolt of creative lightning.” His eclectic list of influences range from the Western classical canon (middle ages to the present) to jazz, soul, experimental electronics, north Indian classical, Indonesian, and central African music.

His concert works have been broadcast and performed worldwide, notably by the BBC National Orchestra of Wales, while his film music spans nine independent feature films and music for studio films such as Die Hard 4, Scary Movie 2 and Repo Men. Recent projects include a work for automated traditional Player Piano. For more info, go to: www.ceiri.com © Ceiri Torjussen

Huw Watkins Mae Huw Watkins yn gyfansoddwr meddylgar gyda’i gerddoriaeth yn llyfn, telynegol a chan feddu ar gryn ddyfnder. Sefydlwyd ei enw da drwy dderbyn nifer o gomisynau o statws gan Gerddorfa Symffoni Llundain, Proms y BBC a La Monnaie. Adlewyrchir ei berthynas naturiol mewn ysgrifennu cerddoriaeth siambr yn ei yrfa paralel fel pianydd, trwy’r hyn y creodd bartneriaethau gyda cerddorion nodedig megis Alina Ibragimova, Paul Watkins, Adam Walker a Carolyn Sampson. Ef yw pianydd preswyl y Britten Sinfonia. Mae cynlluniau ar y gweill i Ensemble Nash recordio’i gerddoriaeth siambr ar gyfer NMC. © 2006 Schott Music

Ed Wright Ganwyd Ed Wright yn swydd Buckingham, Lloegr yn 1980 a cwblhaodd ei PhD mewn cerddoriaeth gydag Andrew Lewis ym Mrhrifysgol Bangor yn 2010. Mae Ed yn byw ym Mhenmaenmawr gydag Emma, eu merch Alena (2 _ oed ar hyn o bryd), Ben y ci a Bess Ddu y gath. Mae cerddoriaeth Ed ar gael ar y label Blipfonica. www.virtual440.com © Ed Wright Ed Wright was born in Buckinghamshire, England 1980 and finished his PhD in music with Andrew Lewis at Bangor University in July 2010. Ed lives in Penmaenmawr with Emma, their daughter Alena (2 _ years old and the time of writing) Ben the dog and Black Bess the stealth ninja pirate cat. Ed’s music is available on the Blipfonica label. www.virtual440.com © Ed Wright

Huw Watkins is a thoughtful composer whose music is fluid, lyrical and has great depth. A number of high profile commissions from the London Symphony Orchestra, BBC Proms and La Monnaie have established his reputation. His natural affinity for writing chamber music is reflected through his parallel career as a pianist, through which he has developed partnerships with some notable musicians including Alina Ibragimova, Paul Watkins, Adam Walker and Carolyn Sampson. He is the Britten Sinfonia’s resident pianist. Plans are underway for the Nash Ensemble to record a CD of chamber music for NMC. © 2006 Schott Music

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BANGOR New Music Festival 2011

29 Mawrth/March 1 Ebrill/April Rhaglen / Programme