Gŵyl Gerdd Bangor Music Festival 2012

RHAGLEN • PROGRAMME

Dymuna’r pwyllgor ddiolch i’r canlynol am eu cefnogaeth barod: The committee would like to thank the following for their willing support: Asiantaeth Ysgolion Gwynedd & Môn Schools Agency Cyngor Celfyddydau Cymru / Arts Council of Wales Cyngor Ynys Môn / Isle of Anglesey Council Ehangu Cyfranogiad, Prifysgol Bangor / Widening Participation, Bangor University Sefydliad y PRSF Foundation Tŷ Cerdd Watkin Jones Ltd. Ymddiriedolaeth Chapman Trust 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: Ed Wright / Blipfonica / Andrew Lewis / Denis Smalley / Yuri Goloubev / Roberto Olzer Asaf Sirkis / Xenia Pestova / Allen Ince / Aelodau ECNB / BNME members / Ensemble Cymru Sioned Eleri Roberts / Gareth Peredur Churchill / Kimon Grigioriadis / Canolfan Gerdd William Mathias / Gwasanaeth Ysgolion William Mathias / Geraint Davies / Marian Wyn Jones Ann Marston / Rhiannon Mathias / Clive Smart / Jenny Mainwaring / Kate Campbell Rachel Gautry / Rachel Knowlman / Christine Poon Disgyblion ac Athrawon o/Pupils and teachers from: Ysgolion Llaingoch a’r Parchedig Thomas Ellis, Caergybi Ysgolion Uwchradd Dyffryn Ogwen a Thryfan Ysgol y Traeth, Bermo Pob myfyriwr a gymerodd ran/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!

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Roedd yn gymharol rhwydd meddwl am themâu i’r Ŵyl eleni gan fod 2012 yn cynnig cynifer o benblwyddi nodedig. Yn ogystal, yn raddol mi sylweddolais cynifer o gyd-ddigwyddiadau ddaeth i’r amlwg yn ystod ac ar ôl i mi lunio’r rhaglen o ddigwyddiadau.

Cyd-ddigwyddiad cyntaf: Mae’r rhif 100 yn gyffredin i ddau o’r digwyddiadau, sef canmlwyddiant ers taith gyntaf dyngedfennol y llong Titanic ynghyd â chanmlwyddiant ers genedigaeth John Cage, un o ffigyrau mwyaf dylanwadol yng ngherddoriaeth yr ugeinfed ganrif. Pleser yw medru estyn gwahoddiad i un o ensemblau uchaf eu parch yn y wlad, sef Ensemble Cymru i berfformio’r darn eiconig The Sinkining of the Titanic gan Gavin Bryars ynghyd â dau gomisiwn gŵyl newydd gan Churchill a Grigoriadis. (Yn gynharach yn ei yrfa mae’n debyg i Bryars gydweithio gyda Cage.) Yr un mor gyffrous yw ymweliad un o ensemblau ieuengaf ein gwlad, sef Ensemble Cerddoriaeth Newydd Bangor ynghyd â’r bianyddes amryddawn Xenia Pestova i berfformio cerddoriaeth gan John Cage a nifer o gyfansoddwyr arbrofol a ddylanwadwyd gan syniadaeth y mudiad Fluxus.

Ail gyd-ddigwyddiad: O chwilio am leoliadau a chyfranogwyr i’r prosiect addysgol mewn cyfansoddi awgrymwyd cysylltu gydag Ysgol y Traeth, Bermo. O sgwrsio ymhellach am thema posibl y prosiect eglurodd y prifathro bod un o swyddogion y Titanic, Harold Lowe, yn hannu o’r Bermo! (Mae’n siwr i chi gofio yn y ffilm i’r swyddog a aeth a’i fâd achub yn ôl i chwilio am unrhyw deithwyr byw yn y môr.)

Trydydd cyd-ddigwyddiad: O fod yn bur aflwyddiannus yn chwilio am grŵp jas i’w raglennu, digwyddais dderbyn neges gan y baswr dwbl Yuri Goloubev lle’r eglurodd yn frwd am ei gynlluniau i deithio’r wlad yn 2012 i hyrwyddo ei CD newydd dan y teitl Titanic for a Bike. Bingo!

Sy’n ein harwain at elfen acwsmatig yr Ŵyl, a phleser yw medru cael presenoldeb ffigwr mor ddylanwadol â Denis Smalley i rannu o’i greadigrwydd artistig o fewn y cyngerdd protread. Cawn hefyd ein diddannu gan artist sain sy’n brysur greu enw iddo’i hun, gyda gosodiad sain awgrymog Ed Wright yn Eglwys St Cybi yn agor digwyddiadau’r Ŵyl.

Ac felly bydd yr Ŵyl eleni yn llawn dathliadau, cofiannau ac yn wir, cyd-ddigwyddiadau.

I orffen, gweler isod un cais y carwn ofyn yn garedig (yn nhraddodiad gorau’r mudiad Fluxus)...

Puw: Digwyddiad Ffôn Symudol #1 Diffoddwch!

Daw’r darn i ben am 9:45 yr hwyr Guto Pryderi Puw Cyfarwyddwr Artistig, GGNB 2

It was relatively easy to think of a theme to the festival this year since 2012 offered so many notable anniversaries. In addition, gradually during and after the course of forming the programme a number of coincidences came to the fore.

First coincidence: The number 100 is common in two of the events, notably marking the 100th anniversary of the fateful maiden voyage of the Titanic in addition to celebrating the 100th anniversary of the birth of John Cage, one of the most influential figures within the music of the twentieth century. It gives me pleasure to invite one of the most respected ensembles within the country, Ensemble Cymru, to perform the iconic piece The Sinking of the Titanic by Gavin Bryars together with two new festival commission

by Churchill and Grigoriadis. (Earlier in his career Bryars briefly collaborated with Cage.)

With the same anticipation it gives me pleasure in inviting one of the newest ensembles in the country, the Bangor New Music Ensemble, together with celebrated pianist Xenia Pestova to perform music by John Cage and a number of experimental composers that were influenced by the Fluxus movement.

Second coincidence: From searching for collaborators and contributors for the composition project one suggested that I contact Ysgol y Traeth in Barmouth. From further discussion with the headmaster about the possible theme he explained that Harold Lowe, one of the Officers on board the Titanic, came from Barmouth! (I’m sure you remember from the film the only officer that returned with his lifeboat to search for survivors from the sea.)

Third coincidence: After being somewhat unsuccessful in finding the right jazz group to be featured in the festival, I happened to receive a message from double bassist Yuri Goloubev where he enthusiastically explained his plans to tour the country during 2012 to promote his new album, Titanic for a Bike. Bingo!

Leading us to the acousmatic element of the Festival, and its a pleasure to have the presence of such an influential figure as Denis Smalley to share with us his artistic creativity in the portrait concert. We will also be engaged tertained amused by a figure who is fast creting a name for himself, with Ed Wright’s evocative sound installtion at St Cybi’s Church opening the whole festival.

And therefore this year’s Festival will be full of artistic celebrations, commemorations and in deed, coincidences. To finish, may I ask for one last request (in the best Fluxus tradition)…

Puw: Mobile Phone Event #1 Switch off!

The piece ends at 9:45pm Guto Pryderi Puw Artistic Directior 3

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DYDD SADWRN • 10/3/12

SATURDAY • 10/3/12

11am-4pm Eglwys St Cybi, Caergybi Pwy all glywed y môr?

11am-4pm St Cybi Church, Holyhead Who can hear the sea?

DYDD LLUN • 12/3/12

MONDAY • 12/3/11

7:30pm Galeri Caernarfon Gair ar Gnawd

7:30pm Galeri Caernarfon Gair ar Gnawd

DYDD MAWRTH • 13/3/12

TUESDAY • 13/3/12

7:30pm Neuadd Powis, PB Denis Smalley - ElectroacwstigCYMRU

7:30pm Powis Hall, BU Denis Smalley - ElectroacousticWALES

DYDD MERCHER • 14/3/12

WEDNESDAY • 14/3/12

10:00-11:00am Neuadd Powis, PB Gweithdy Denis Smalley

10:00-11:00am Powis Hall, BU Denis Smalley Workshop

7:30pm Neuadd Powis, PB Trio Yuri Golobuev

7:30pm Powis Hall, BU Yuri Golobuev Trio

DYDD IAU • 15/3/12

THURSDAY • 15/3/12

7:30pm Neuadd Powis, PB John Cage – Digwyddiad Fluxus ECNB / Pestova

7:30pm Powis Hall, BU John Cage – Fluxus Event BNME/ Pestova

DYDD GWENER • 16/3/12

FRIDAY • 16/3/12

7:30pm Neuadd Powis, PB Suddo’r Titanic - Ensemble Cymru

7:30pm Powis Hall, BU Sinking of the Titanic – Ensemble Cymru

DYDD SADWRN • 17/3/12

SATURDAY • 17/3/12

10:00am-12:00pm Ysgol Cerddoriaeth, Prifysgol Bangor Dosbarthiadau Meistr

10:00am-12;00pm School of Music, Bangor University Masterclasses

Headmasters - HAIRDRESSERS 20% OFF for students 211, High Street, Bangor 01248 355888

Period Interiors and Contemporary Living

KITCHENS • BATHROOMS • BEDROOMS Holyhead Road, Bangor, LL57 2DP t: 01248 351788 e: periodinteriors@btconnect.com 5

11am-4pm Eglwys St Cybi, Caergybi Pwy all glywed y môr? gan Ed Wright Gosodiad sain ar gyfer Sain amgylchynol clywedol a rhaglennu max/msp. Gyda disgyblion Ysgol Llaingoch ac Ysgol y Parchedig Thomas Ellis Mae Who Can Hear The Sea? yn osodiad sain a gomisiynwyd gan Ŵyl Gerdd Newydd Bangor. Mae’r môr yn un o brif themâu’r ŵyl eleni, yn ogystal â bod yn bwnc hynod o ddiddorol i’w recordio. Wrth ddatblygu’r darn hwn, ceisiais recordio sŵn y môr heb ddylanwadau allanol, megis gwynt, sŵn o’r ffordd a gwylanod ond, yn raddol, deuthum yn ymwybodol o nifer o faterion sy’n codi.

Heblaw’r problemau ymarferol o geisio cael hyd i draeth tawel ar ddiwrnod diwynt, gyda thonnau mawr, ychydig yn unig o sŵn a gynhyrchir gan ddŵr ar ei ben ei hun; y defnydd a’r egni o’i gwmpas, ynddo ac sy’n gweithredu arno ac yn gynwysedig ynddo sy’n ei wneud yn soniarus. Ar ben hyn, dyma natur ddynamig ond strwythuredig y môr, sy’n newid yn gyson mewn modd anhygoel o gymhleth ond trefnus, er hynny.

Mae Who Can Hear The Sea? yn defnyddio recordiadau o donnau’r môr fel sail ar ei gyfer, ac yna’n defnyddio prosesau a thechnegau cyfrifiadurol megis synthesis gostyngol er mwyn ffurfio a chyfyngu’r seiniau hyn i greu nifer o wrthrychau sonig neu osodiadau ‘cerddorol’.

Yna, golygwyd y gwrthrychau sain hyn ynghyd, i greu 8 dolen sain, a’r hwyaf ohonynt yn 7’02”, a’r fyrraf yn 5’59”. Mae’r dolenni hyn i gyd yn chwarae ar yr un pryd, ac yn ailadroddus, wrth iddynt gyrraedd diwedd pob datganiad. Trwy hynny, mae’r dolenni gwahanol yn symud i mewn ac allan o wedd. Nid yn unig y mae hyn yn creu darn sy’n newid o hyd, ond mae hefyd yn golygu y gellwch wrando arno, yn union fel y môr, gan glywed tebygrwydd cyson, ond heb iddo fyth fod yr un fath eto; er mwyn i’r holl ddolenni ddod yn ôl i’r dechrau a chydweddu’n union, byddai’n cymryd 1875 o flynyddoedd, 1 diwrnod ac 16 eiliad (yn fras)!

Yn ystod y digwyddiad fe berfformir y cyfansoddiad Sounds of the Sea gan ddisgyblion Ysgol Llaingoch ac Ysgol y Parchedig Thomas Ellis. © Ed Wright

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11am - 4pm St Cybi ‘s Church, Holyhead Who Can Hear The Sea? by Ed Wright Sound Installation for Surround sound audio and max/msp programming.

With pupils from Ysgol Llaingoch and Ysgol y Parchedig Thomas Ellis.

Who Can Hear The Sea? is a sound installation commissioned by the Bangor New Music Festival.

The sea is a major theme of this year’s festival as well as being a fascinating subject for recording. In developing this piece I tried to record the sound of the sea, free from outside influences such as: wind, road noise and sea gulls, but gradually became aware of a number of issues that arise.

Beside the practical issues of trying to find a silent beach on a windless day, with big waves, water by itself makes little or no noise; it is the matter and energy around it, in it, acting on it and contained in it that makes it sonorous. In addition to this there is the dynamic but structured nature of the sea, it is constantly changing, in an incredibly complex, yet ordered way.

Who Can Hear The Sea? Uses recordings of sea waves as its basis and then uses computer processing and techniques such as subtractive synthesis to shape confine and restrict these sounds to create a number of sonic objects or ‘musical’ statements.

These sound objects have then been edited together to create 8 audio loops, the longest of which is 7’02” and the shortest of which is 5’59”. These loops all play simultaneously and repeat as they reach the end of each play through. Thus the different loops move in and out of phase. Not only does this make for a constantly changing piece, it means that just like the sea you can listen to it and hear ongoing similarities but it will never be quite the same again; as for all the loops to come back to the start and line up exactly it would take 1875 years, 1 day, and 16 seconds (roughly)!

During the installation the piece Sounds of the Sea by pupils from Ysgol Llaingoch and Ysgol Parchedig Thomas Ellis will be performed. © Ed Wright

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10-11am Gweithdy Denis Smalley 7:30pm, Neuadd Powis, PB Portread Denis Smalley EletroacwstigCYMRU (cyfarwyddwr Andrew Lewis) Disgyblion Ysgol Llaingoch ac Ysgol y Parchedig Thomas Ellis: gwaith newydd (premiere) Denis Smalley: Ringing Down the Sun (2002) Resounding (2004) --- Egwyl --Denis Smalley:

Wind Chimes (1987) Spectral Lands (2011)

Ringing Down the Sun (2002) Comisiynwyd Ringing Down the Sun gan y Sefydliad Danaidd dros Gerddoriaeth Electroacwstig (DIEM) a pherfformiwyd y gwaith am y tro cyntaf yn Aarhus yn 2002.

Tra oeddwn yn gweithio ar gomisiwn Aarhus y deuthum ar draws y traddodiad Danaidd o “ganu clychau’r machlud” – canu clychau eglwys, sy’n dangos diwedd y diwrnod gwaith a chwymp yr haul trwy’r cyfnos ac ymlaen i’r nos. Erys arwydd y cnul, a’r cwbl y mae’n sefyll amdano, yn rhan o’r diwylliant Danaidd, hyd yn oed os yw bellach yn fwy ‘haniaethol’, am nad oes ganddo mwyach, o anghenraid, swyddogaeth mewn bywyd beunyddiol. Ymddangosai’r syniad fel pe bai, yn drosiadol, yn gyson â’m hagwedd i tuag at y seiniau, yr amlinellau a’r gofodau yr oeddwn ynddynt ar y pryd ac, o hynny allan, bu’n llywio cyfeiriad a syniadaeth fy nghyfansoddiad.

Ceir nifer o seiniau cnulio atseiniol sydd, er y gallant gael eu sbarduno gan ymosodiadau trawiadol, yn ein tynnu i mewn i fyfyrdod. Ceir garlantau cylchol â churiad sy’n teithio ac yn pelydru egni. Ceir mynychder amlinellau disgynnol – yn drifftio, arnofio, cwympo – ac weithiau disgyniadau i liwiau tywyll. Fodd bynnag, rhaid hefyd ganu cloch i godi’r haul, felly datblygiadau amlinellau cylchol, tonnog sy’n rheoli ffurf y darn. Yn olaf, ceir y dimensiwn gofodol ei hun, a gynlluniwyd er mwyn galw i gof fannau agored y tu allan – awyr, tirwedd a hyd yn oed arfordir – ond hefyd y teimlad amgylchynol cymharol agos sydd wedi’i ymgorffori yn yr atseiniau.

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10-11am Denis Smalley Workshop 7:30pm, Powis Hall, BU Portread Denis Smalley EletroacwstigCYMRU (director Andrew Lewis) Pupils from Ysgol Llaingoch and Ysgol y Parchedig Thomas Ellis: new work (premiere) Denis Smalley: Ringing Down the Sun (2002) Resounding (2004) --- Interval --Denis Smalley:

Wind Chimes (1987) Spectral Lands (2011)

Ringing Down the Sun (2002) Ringing Down the Sun was commissioned by the Danish Institute for Electroacoustic Music (DIEM) and first performed in Aarhus in 2002.

It was while working on the commission Aarhus that I came across the Danish tradition of “ringing down the sun” – the tolling of church bells, which signals the end of the working day and the descent of the sun through dusk and on into night.

The tolling signal, and all it represents, remains part of Danish culture, even if it is now more “abstract”, in that it no longer necessarily has a real function in daily life.

This idea seemed metaphorically to coincide with my attitudes towards the sounds, contours and spaces I was emerged in at the time, and thereafter it steered the direction and preoccupations of my composition.

There is a number of tolling, resonant sounds which, although they may be set off with striking attacks, draw us inwards, in contemplation. There are circling, pulsed garlands which travel and radiate energy. There is a prevalence of descending contours – drifting, floating, falling – and sometimes descents into sombre hues.

But the sun also has to be “rung up”, and so the form of the piece is governed by the progress of wave-like, cyclical contours. Lastly, there is the spatial dimension itself, designed to evoke both the open spaces of the outdoors – sky, landscape, and even coastline – but also the more intimate, surround feeling embodied inside resonances.

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Resounding (2004) Cyfansoddwyd Resounding fel darn cydymaith ar gyfer Ringing Down the Sun. Comisiynwyd y darn gan Sonorities ar gyfer Gŵyl 2004 yn Béal Feirste (Belffast), i ddathlu agoriad y Ganolfan Ymchwil i Gelfyddydau Sonig (SARC). Cefnogwyd y comisiwn gan y Loteri Genedlaethol trwy Gyngor Celfyddydau Gogledd Iwerddon.

Mae’r teitl yn cyfeirio at dinc seiniau cysain, llenwi gofod â sŵn, a’r syniad o atseinio – fel a glywir, er enghraifft, yn rhythmau cylchol cyseiniannau, wedi’u hestyn, yn gwywo, neu wedi’u hanfon i deithio trwy’r gofod gwrando “cerddorfaol”. Yn ofodol, dau syniad sydd flaenaf – cyseiniant a glywir fel pe bai o’r tu fewn i wrthrychau o wahanol ddimensiynau, a chyseiniant allanol gofodau a brofir, er enghraifft, mewn eglwys gadeiriol fawr. Mae’r syniad o ail-seinio hefyd yng nghraidd datblygiad ffurfiol y darn, sy’n canolbwyntio ar ail-ymddangosiad deunyddiau mewn amgylchoedd sydd wedi’u newid. Ar ben hynny, atgyfodir seiniau a glywyd gyntaf yn Ringing Down the Sun, a chânt fywyd newydd.

--- Egwyl --Wind Chimes (1987) Cyfres o glychseiniau ceramig a gafwyd mewn crochendy yn ystod ymweliad â Seland Newydd ym 1985 yw prif ffynhonnell sain Wind Chimes. Nid nodau’r caniadau oedd yn atyniadol ond, yn hytrach, yr ansoddau disglair, graeanog, cyfoethog a bron yn fetelig oedd gan bibell sengl wrth gael ei tharo, neu bâr o bibelli’n cael eu crafu.

Bu’r nodweddion hyn yn sail gynhyrchiol iawn ar gyfer llawer o drawsffurfiadau a fu’n agor eu cynllun sbectrol mewnol trwy rym a’i ail-greu. Nid yw’r gwrandäwr i fod y adnabod y ffynhonnell bob tro ond, yn yr achos hwn, mae i’w chlywed yn ei chyflwr naturiol ger dechrau’r darn, a’r ansawdd ceramig heb fod byth ymhell trwyddo draw. Casglwyd deunyddiau ategol i ehangu teuluoedd sain y darn, ac yn eu plith clychseiniau metalaidd Japaneaidd uchel iawn, barrau metel atseiniol, seiniau piano mewnol a rhywfaint o gyfosodiad digidol. Mae’r darn wedi’i ganoli am ystumiau ymosodol cryf, mathau o symudiad corfforol gwirioneddol a dychmygol (gwrthrychau’n troelli a chylchdroi, atseiniau sy’n swnio fel crafu neu ddefnyddio bwa arnynt, er enghraifft), wedi’u gwrthgyferbynnu â gweadau estynedig haenog a mwy helaeth, y mae eu gostyngiadau ingol yn awgrymu pruddglwyf.

Comisiynwyd Wind Chimes gan Ganolfan y South Bank, Llundain, a pherfformiwyd y gwaith am y tro cyntaf yn yr Electric Weekend yn Neuadd y Frenhines Elizabeth.

Crëwyd y trawsffurfiadau cyfrifiadurol yn hen Stiwdio Ddigidol y Groupe de Recherches Musicales, Paris, a chymysgwyd y darn yn y Stiwdio Gerdd Electronig ym Mhrifysgol East Anglia.

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Resounding (2004) Resounding was composed as a companion piece for Ringing Down the Sun. It was commissioned by Sonorities for the 2004 Festival in Belfast to celebrate the opening of the Sonic Arts Research centre (SARC). The commission was supported by the National Lottery through the Arts Council of Northern Ireland.

The title refers to the ringing of resonant sounds, the filling of space with sound, and to the notion of sounding again – as heard, for example, in the cyclic rhythms of resonances, prolonged, decaying, or sent travelling through the “orchestrated” listening space. Spatially, two ideas are prevalent – resonance heard as if from the interior of objects of varying dimensions, and the external resonance of spaces as experienced, for instance, in a large cathedral. The idea of sounding again is also at the heart of the formal progress of the piece, which focuses on the return of materials in changed surroundings. Furthermore, sounds previously encountered in Ringing Down the Sun are taken up and given new lives.

--- Interval --Wind Chimes (1987) The main sound source for Wind Chimes is a set of ceramic chimes found in a pottery during a visit to New Zealand in 1985. It was not so much the ringing pitches which were attractive but rather the bright, gritty, rich, almost metallic qualities of a single struck pipe or a pair of scraped pipes. These qualities proved a very fruitful basis for many transformations which prised apart and reconstituted their interior spectral design. Not that the listener is supposed to or can always recognise the source, but in this case it is audible in its natural state near the beginning of the piece, and the ceramic quality is never far away throughout. Complementary materials were gathered to expand the piece’s sound-families, among them very high metallic Japanese wind chimes, resonant metal bars, interior piano sounds, and some digital synthesis. The piece is centred on strong attacking gestures, types of real and imaginary physical motion (spinning, rotating objects, resonances which sound as if scraped or bowed, for example), contrasted with layered, more spacious, sustained textures whose poignant dips hint at a certain melancholy.

Wind Chimes was commissioned by the South Bank Centre, London, and was given its first performance in the Electric Weekend at the Queen Elizabeth Hall.

The computer transformations were carried out in the former Digital Studio of the Groupe de Recherches Musicales, Paris, and the piece was mixed in the Electroacoustic Music Studio at the University of East Anglia.

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Spectral Lands (2011) Mae i’r gair “spectral” yn y teitl ddwy ystyr. Mae’n cyfeirio at awrâu mwys lleisiau, adar a ffenomenâu naturiol a all fod yn ysbrydol ac sy’n trigo mewn tirwedd ddychmygol, a hefyd at y syniad o ‘ofod sbectrol’ – yr argraff o ofod a helaethrwydd a grëir gan leoliad a symudiad deunyddiau sonig o fewn y sbectrwm sain. Mae gweadau gofod sbectrol yn rhyngweithio â dimensiynau a phellteroedd persbectif gofodol fel ei gilydd, a hefyd â’r mathau o ofodau y mae lleisiau, cân adar a seiniau amgylcheddol yn atgoffa’r gwrandäwr amdanynt, er mwyn creu ‘tiroedd’ â nodweddion gofodol unigryw.

Yng nghefn fy meddwl wrth imi gyfansoddi’r darn, roedd y profiad o ymweliad diweddar â Golden Bay, yng nghornel ogledd-orllewinol Ynys y De yn Seland Newydd – yr arfordir hir, y seiniau yn y llwyni brodorol, a’r modd yr oedd y gwahaniaeth, mewn rhai mathau o olau a thywydd, rhwng y tir, y mynyddoedd, y môr a’r awyr, yn pylu. Roedd y traeth eang, gwag yn Wharariki, lle bydd gwyntoedd yn chwythu dros y lluwchfeydd tywod yn cuddio’n fuan unrhyw ôl o bresenoldeb dynol, yn arbennig o drawiadol; lle mae brigiadau creigiog enfawr yn ymddangos o’r tywod a’r môr, a lle mae ogofâu atseiniol caeëdig yn gwrthgyferbynnu â’r dirwedd agored. Yr un mor drawiadol oedd tirwedd y Corbières yn neheudir Ffrainc, lle cymysgwyd y rhan helaethaf o’r darn. Gall y diwrnodau heulog gynnwys awyr ddramatig, haenau o gymylau’n symud yn gyflym, chwaon a llifau swnllyd o wynt yn y coed ac, os bydd y glaw’n disgyn yn sydyn, egnïon gweadol bywiog. Fodd bynnag, ni ddylid ystyried Spectral Lands fel portread llythrennol na phenodol o dirwedd.. Mae’r drychiolaethau sonig mor fwys fel y gallai rhai gwrandawyr lunio eu delweddau neu eu naratif eu hunain, tra byddai’n well gan eraill ymateb i’r deialog cerddorol mewn modd mwy haniaethol.

Mae Spectral Lands yn gyflwynedig i George, a oedd yn byw ochr yn ochr â’r seiniau o ddydd i ddydd dros gyfnod o lawer o fisoedd, ac sydd, yn ôl pob tebyg, yn gwybod mwy nag yr hoffai wybod am wraidd popeth a’r modd y gosodwyd pethau at ei gilydd.

Comisiynwyd ef gan Ŵyl Gerdd Gyfoes Huddersfield a’r Ganolfan Ymchwil i Gerddoriaeth Newydd (CeReNeM) ym Mhrifysgol Huddersfield, a pherfformiwyd ef am y tro cyntaf yng Ngŵyl Gerdd Gyfoes Huddersfield yn Nhachwedd 2011.

Nodiadau i gyd © Denis Smalley

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Spectral Lands (2011) The “spectral” of the title has two meanings. It refers both to the ambiguous, sometimes spirit-like auras of voices, birds and natural phenomena inhabiting an imagined landscape, and to the idea of “spectral space” – the impression of space and spaciousness created by the placing and motion of sonic materials within the audio spectrum. The textures of spectral space interact both with the dimensions and distances of spatial perspective, and with the types of spaces evoked by voices, birdsong and environmental sounds, to create “lands” with distinctive spatial qualities.

In the back of my mind as I composed the piece lay the experience of a recent visit to Golden Bay, in the north-west corner of the South Island of New Zealand - the long coastal sweep, the sounds in the native bush, and the blurring of differentiation in certain lights and weathers between land, mountains, sea and skies. Particularly striking was the expansive, deserted beach at Wharariki, where winds blowing over the sand-drifts soon cover up any trace of human presence; enormous rocky outcrops loom out of sand and sea, and enclosed resonant caves contrast with the openness of the landscape. I was equally taken by landscape views in the Corbières in the south of France, where most of the piece was mixed. Amidst the sunny days, there can be dramatic skies, swift-moving cloud strata, noisy gusts and flows of wind in the trees, and if the rain suddenly descends, vibrant textural energies. But Spectral Lands should not be considered a literal or specific landscape portrait. The ambiguity of the sonic spectres is such that some listeners may construct their own images or narrative, while others may prefer to respond to the musical discourse in a more abstract way.

Spectral Lands is dedicated to George, who lived alongside the sounds on a daily basis over many months, and who probably knows more than he might like to about where everything comes from and how it was all put together.

It was commissioned by the Huddersfield Contemporary Music Festival and the Centre for Research in New Music (CeReNeM) at the University of Huddersfield, and was given its first performance in the Huddersfield Contemporary Music Festival in November 2011.

All notes © Denis Smalley

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12:30-3:00pm Neuadd Powis, PB Gweithdai gyda Thrio Yuri Goloubev Gweithdai ac ymarferion gyda disgyblion Ysgol Tryfan ac Ysgol Dyffryn Ogwen.

7:30pm Neuadd Powis, PB Titanic for a Bike Trio Yuri Goloubev: Yuri Goloubev (bas dwbl) Roberto Olzer (piano) Asaf Sirkis (drymiau) Band Mawr Ysgol Tryfan (arweinydd, Arwel Davies) Caiff y traciau/cyfansoddiadau gwahanol eu cyflwyno ar y noson.

Ceir egwyl yn Neuadd Prichard-Jones lle bydd Band Mawr Ysgol Tryfan yn chwarae.

Fel cyfansoddwr jas, yn aml cyfeiria Yuri at yr egwyddorion mewn cerddoriaeth gyfoes clasurol. Yn ei weithiau gellir gweld ei ddiddordeb yn hepgor y fframweithiau jas adnabyddus: fel y dywed ei hun, “erbyn heddiw mae’r ffîn rhwng y clasurol a’r jas i raddau wedi ei ddiddymu.”

Er hynny, yn ei weithiau jas caiff y fformiwlâu cymhleth mewn cerddoriaeth gyfoes glasurol – o’r dodecaffoni i’r egwyddorion celloedd soffistigedig mewn datblygiadau melodig – eu defnyddio’n gyson mewn ffyrdd gynnil a lled ‘anweledig’, yn benodol ar gyfer nod gerddorol. Ar gyfer ei brosiect ‘Titanic for a Bike’ (Caligola Records, 2011) dewisa Yuri y ffyrd cerddorol ysgafnach a wreiddir yn ddwfn yn y traddodiad jas, er y gwelir nhw drwy brism o iaith gerddorol gyfoes. Mae’r repertoire “Titanic for a Bike” yn cynnwys cerddoriaeth wreiddiol gan Yuri, yn aml wedi eu cyflwyno i wahanol bersonoliaethau neu storïau (megis “Bill Gates Amongst Us” a seilir ar nodau arwyddgan agoriadol Windows) yn ogystal â rhai caneuon safonol (megis “All The Things You Are”, a ailenwyd gan Yuri fel “What Kind Of Thing Are You?”), er wedi ei ailymweld gyda chywair modern.

Ac – wrth gwrs – ni ellir anghofio bod gan y teitl “Titanic for a Bike” rai ystyron trosiadol. © Yuri Goloubev

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12:30-3:00pm Powis Hall, BU Workshop with Yuri Goloubev Trio Workshops and rehearsals with pupils from Ysgol Tryfan and Ysgol Dyffryn Ogwen.

7:30pm Powis Hall, BU Titanic for a Bike Yuri Goloubev Trio: Yuri Goloubev (double bass) Roberto Olzer (piano) Asaf Sirkis (drums) Ysgol Tryfan’s Big Band (conductor, Arwel Davies) Each track/composition will be introduced on the night.

There will be an interval in Prichard-Jones Hall, where the Ysgol Tryfan Big Band will be playing.

As a jazz composer, Yuri often refers to the principles of contemporary classical music. In his works one can often witness his interest to break out the notorious jazz frames: as he says himself, “nowadays the borderline between classical and jazz is often somewhat extinct”.

However, in his jazz works, the complex formulas of contemporary classical music – from dodecaphony to the sophisticated “cellular” principles of melodic development – are always applied in a subtle, quite “invisible” way, exclusively at the service of musical goals. For his project “Titanic for a Bike” (Caligola Records, 2011) Yuri has chosen the “lighter” musical solutions deeply rooted into the jazz tradition, even though seen through a prism of contemporary music language. The repertoire of “Titanic for a Bike” is comprised of both originals of Yuri, often dedicated to various personalities or stories (like “Bill Gates Amongst Us” based on the Windows start up sound), and some known standards (like “All The Things You Are”, renamed

by Yuri into “What Kind Of Thing Are You?”), yet revisited in a modern key.

And - of course - last but not least, the title “Titanic For a Bike” has some metaphorical meaning. © Yuri Goloubev 15

7:30pm Neuadd Powis, PB John Cage – Digwyddiad Fluxus Ensemble Cerddoriaeth Newydd Bangor gyda Xenia Pestova (piano) Yn ystod y digwyddiad hwn fe berfformir y darnau canlynol (ond nid o reidrwydd yn y drefn hon): George Brecht: Ceddoriaeth Crib; Cerddoriaeth Diferu; Cerddoriaeth Achlysurol; Digwyddiad Ces Dillad; Tri Digwyddiad Lamp; Wythawd Chwyth. John Cage: Cerddoriaeth Ystafell Fyw; Cyfres i Biano Tegan; Breuddwyd. Luce Fiernes: Digwyddiad Balŵn. Allen Ince: Platiau Swper (premiere). Takehisa Kosugi: Cerddoriaeth Theatr.

György Ligeti: Tri Bagatel. Guto Pryderi Puw: Naid Sgi (premiere); Digwyddiad Sugnwr Llwch (premiere); Cylch Gwag (symudiad 5 & 6). Nia Davies Williams: PlethSain i ddau (premiere). La Monte Young: Darn Piano ar gyfer Terry Riley #1 (1960); Cerdd i Gadeiriau, Byrddau, Meinciau, ayb.; Cyfansoddiad #7 (1960) (Ni fydd egwyl yn ystod y digwyddiad hwn.)

Bu John Cage yn ffigwr pwysig ym mywyd creadigol Efrog Newydd drwy gydol ei yrfa, ond yn enwedig yn ystod y 50au a 60au o’r ugeinfed ganrif lle sefydlwyd Ysgol Efrog Newydd o gyfansoddwyr. Yn ystod y cyfnod hwn bu’n gyfrifol am gynnal fforymau a thrafodaethau celfyddydol lle mynychai artistiaid o’r rhyngddisgyblaethau, ac o ganlyniad bu i George Maciunas sefydlu’r mudiad Fluxus gan ddylanwadu’n fawr ar artistiaid megis George Brecht, Nam June Paik a La Monte Young i enwi ond ychydig.

Mae darnau Fluxus y cyfansoddwyr hyn wedi ysbrydoli neu gynddeiriogi’r gwrandawyr fel ei gilydd dros y blynyddoedd. Un o’r rhesymau am hyn yw’r ffaith fod y perfformiadau yn y 50au a’r 60au (dan ddylanwad syniadaeth John Cage o fod ansawdd gelfyddydol i bob math o sŵn) yn cynnwys elfennau ‘dibwys’ o fywyd dyddiol a oedd yn gwthio’r ffiniau celfyddydol o ran yr hyn a ellid ei dderbyn fel celfyddyd ond ar yr un pryd yn pryfocio a chwarae ar ddisgwyliadau’r gynulleidfa.

Yn aml yr hyn sy’n nodweddiadol o’r gweithiau yw eu bod ond yn cynnwys cyfarwyddiadau perfformio ysgrifenedig sy’n awgrymu gweithred benodol - a ellid ei berfformio gan unrhyw un. Mae’r perfformiad heno yn cynnwys cyfuniad o nifer o ‘ddigwyddiadau’ ynghyd ac ambell i gerddoriaeth nodiant. Pwysleisir yr elfen theatrig (Digwyddiad Ces Dillad a Tri Digwyddiad Lamp gan Brecht, Cerddoriaeth Theatr gan Takehisa Kosugi a Naid Sgi gan Puw) a’r abswrd (cyfansoddiadau La Monte Young) o fewn y darnau Fluxus.

Yn ogystal pleser yw medru cynnwys dau ddarn gan fyfyrwyr cyfansoddi ôl-radd yr Ysgol Cerddoriaeth, gyda Phlatiau Swper gan Allen Ince yn ymatebiad sensitif i brofiadau sawl person mewn ambell i dŷ bwyta, a Phleth-Sain i ddau gan Nia Davies

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7:30pm Powis Hall, BU John Cage – Fluxus Event Bangor New Music Ensemble with Xenia Pestova (piano) During the course of the event, the following pieces will be performed (though not in this order): George Brecht: Comb Music; Dripping Music; Incidental Music; Suitcase event; Three Lamp Event; Octet for Winds. John Cage: Living Room Music; Suite for Toy Piano; Dream. Luce Fiernes: Balloon event. Allen Ince: Dinner Plates (premiere). Takehisa Kosugi: Theatre Music. György Ligeti: Three Bagatelles. Guto Pryderi Puw: Ski Jump (premiere); Vacuum Event (premiere); Empty Cycle (movements 5 & 6). Nia Davies Williams: Sound Weave duet (premiere). La Monte Young: Piano Piece for Terry Riley #1 (1960); Poem for Chairs, Tables, Benches, etc.; Composition #7 (1960).

(There will be no interval for this event.)

John Cage was such an influential figure in the creative life of New York during his whole career, but especially during the 50’s and 60’s of the twentieth century when the New York School of Composers came to prominence. During this period he was responsible for supporting cultural forums and discussions with many interdisciplinary artist attending, resulting in George Maciunas establishing the Fluxus movement that was to influence such artists as George Brecht, Nam June Paik and La Monte Young to name but a few.

The Fluxus inspired pieces of these composers has inspired and infuriated audiences alike over the years. One reason for this is the fact that the performances in the 50’s and 60’s (under the influence of John Cage’s notion that all sound has an artistic quality) consisted of ‘trivial’ elements of every day life that pushed the cultural boundaries of what was artistically acceptable as ‘art’ but at the same time played with audience’s anticipation and challenged their understanding of the arts. Often what is characteristic of these pieces is that they only consist of short written instructions that suggest an action, in which anyone could perform. The performance this evening consists of a combination of many different ‘events’ and a few notated compositions. Theatrical elements are emphasised (in Suitcase Event and Three Lamp Event by Brecht, Theatre Music by Kosugi and Ski Jump by Puw) together with the absurd (La Monte Young’s compositions) within these Fluxus pieces.

Also included are two pieces by MA composition students at the School of Music, with Dinner Plates by Allen Ince’s subtle response to many person’s experiences in Restaurants, while Nia Davies Williams’ Sound-Weave explores the meditative elements of creating vocal drones, influenced by the Deep Listening of Pauline Oliveros and Meredith Monk.

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Williams sy’n archwilio’r elfennau myfyriol o greu drônau lleisiol, dan ddylanwad y syniad o ‘Wrando Treiddgar’ (Deep Listening) gan Pauline Oliveros a Meredith Monk.

Yng nghanol y prysurdeb ‘theatrig’ ceir ambell i ddarn nodiant gan Cage a Puw a berfformir gan y pianyddion Sarah Westwood a Xenia Pestova ac aelodau eraill o ECNB. Fe greir y synnau taro yn Cerddoriaeth Ystafell Fyw gan Cage drwy ddefnyddio gwrthrychau bob dydd a geir mewn ystafell fyw.

Pe dymunir, rhoddir gwahoddiad cynnes i’r gynulleidfa ymuno yn y gweithgareddau drwy gymryd rhan ym mherfformiad o’r Digwyddiad Balŵn gan Luce Fiernes (sy’n ymddangos tua’r diwedd), gan ddilyn cyfarwyddiadau arweinydd y noson ynghyd â’r cyfarwyddiadau canlynol: Cymerwch Falŵn.

Chwythwch.

Gadewch iddi fynd.

Dywedwch: ‘Ta-ta’!!!

Mwynhewch y digwyddiad! © Guto Pryderi Puw Aelodau Ensemble Cerddoriaeth Newydd Bangor yw: Simon Armstrong, Louis Ashton Butler, Collette Astley-Jones, Melanie Cross, Jo Cakebread, David Draper, Philip Gietzen, Joseph Graves, Jessica Hutchings, Allen Ince (Cyd-gyfarwyddwr), Catherine Linney, David Lorimer, Ellen Mason, Xenia Pestova (Cyd-gyfarwyddwr), Christine Poon, Frances Pritchard, Guto Pryderi Puw (Cydgyfarwyddwr), Francesca Reader, Rob Thompson, Sarah Westwood, Roy Woods.

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Amongst the busy theatrical actions a few notated compositions by Cage and Puw are performed by pianists Sarah Westwood and Xenia Pestova together with members of the BNME. The sounds created in Living Room Music are made from every day objects in a living room.

If desired, a warm invitation is given to audience members to take part in the performance of Balloon Event by Luce Fiernes (to be performed towards the end), which includes following both instructions of the concert leader and the instructions below: Take a Baloon.

Blow.

Let it go.

Say: ‘Goodbye’!!!

Enjoy the event! © Guto Pryderi Puw Members of the Bangor New Music Ensemble are: Simon Armstrong, Louis Ashton Butler, Collette Astley-Jones, Melanie Cross, Jo Cakebread, David Draper, Philip Gietzen, Joseph Graves, Jessica Hutchings, Allen Ince (Co-director), Catherine Linney, David Lorimer, Ellen Mason, Xenia Pestova (Co-director), Christine Poon, Frances Pritchard, Guto Pryderi Puw (Co-director), Francesca Reader, Rob Thompson, Sarah Westwood, Roy Woods.

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7:30pm Neuadd Powis, PB Suddo’r Titanic Ensemble Cymru a Sioned Eleri Roberts (clarinét) Gavin Bryars: The Sinking of the Titanic Gareth Glyn: Morluniau Môn Disgyblion Ysgol y Traeth: gwaith newydd (premiere byd) --- Egwyl --Kimon Emmanouil Grigoriadis: Ice (premiere byd) Gareth Peredur Churchill: Ad Profunda (premiere byd) James MacMillan: Tuireadh Gavin Bryars The Sinking of the Titanic (1969-) fersiwn pedwarawd llinynnol, 15’ Mae’r darn hwn wedi tarddu o fraslun a ysgrifenwyd ar gyfer arddangosfa i gefnogi myrfyriwr celf ym Mhortsmouth yn 1969. O weithio mewn awyrgylch coleg celf roedd gennyf ddiddordeb mewn gweld beth fuasai’n cyfatebiad cerddorol i waith celf cysyniadol. Cyrhaeddodd1972 cyn y gwnes fersiwn berfformio o’r darn fel rhan o noson o’m cerddoriaeth yn Neuadd y Frenhines Elisabeth, Llundain a thros y tair blynedd dilynnol fe berfformiais y darn sawl gwaith. Mae’r darn bob amser wedi bod yn un agored, wedi ei seilio ar ddata am y drychineb ond gan gysidro unrhyw wybodaeth newydd a ddaw i olau dydd wedi’r ysgrifennu gwreiddiol. Mae’r fersiwn a berfformir heno wedi cael ei haddasu o recordiad Pedwarawd Smith ar label Signum yn 2007.

Mae holl ddeunydd a ddefnyddir yn y darn wedi tarddu o’r ymchwil a’r damcaniaethau wnaed am suddo’r llong deithio foethus ‘ansuddadwy.’ Ar y 14eg o Ebrill 1912 fe wrthdarodd y Titanic mewn mynydd rhew am 11.40 y nos yng Ngogledd yr Iwerydd a suddodd am 2.20 y bore ar y 15fed o Ebrill. O’r 2201 o bobl ar ei bwrdd dim ond 711 wnaeth gyrraedd Efrog Newydd. Yn wreiddiol man dechrau’r darn oedd y ffaith a nodwyd fod y band wedi chwarae emyn dôn yn ystod munudau olaf suddo’r llong. Adnabuwyd yr emyn yn ystod y pum munud olaf hwnnw gan Harold Bride, y dyn radio iau, yn ei adroddiad:

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7:30pm Powis Hall, BU Sinking of the Titanic Ensemble Cymru and Sioned Eleri Roberts (clarinet) Gavin Bryars: The Sinking of the Titanic Gareth Glyn: Anglesey Seascapes Pupils from Ysgol y Traeth: new work (world premiere) --- Interval --Kimon Emmanouil Grigoriadis: Ice (world premiere) Gareth Peredur Churchill: Ad Profunda (world premiere) James MacMillan: Tuireadh Gavin Bryars The Sinking of the Titanic (1969-) version for string quartet, 15’ This piece originated in a sketch written for an exhibition in support of beleaguered art students at Portsmouth in 1969. Working as I was in an art college environment I was interested to see what might be the musical equivalent of a work of conceptual art. It was not until 1972 that I made a performing version of the piece for part of an evening of my work at the Queen Elizabeth Hall, London and during the next three years I performed the piece several times. The piece has always been an open one, being based on data about the disaster but taking account of any new information that came to hand after the initial writing. The version played tonight has been adapted from the latest recording in 2007 by the Smith Quartet on the Signum label.

All the materials used in the piece are derived from research and speculations about the sinking of the “unsinkable” luxury liner. On April 14th 1912 the Titanic struck an iceberg at 11.40 PM in the North Atlantic and sank at 2.20 AM on April 15th. Of the 2201 people on board only 711 were to reach New York. The initial starting point for the piece was the reported fact of the band having played a hymn tune in the final moments of the ship’s sinking. A number of other features of the disaster which generate musical or sounding performance material, or which ‘take the mind to other regions’, are also included. The final hymn played during those last 5 minutes of the ship’s life was identified in an account by Harold Bride, the junior wireless operator

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“...from aft came the tunes of the band.....The ship was gradually turning on her nose - just like a duck that goes down for a dive... The band was still playing. I guess all of the band went down. They were playing “Autumn” then. I swam with all my might. I suppose I was 150 feet away when the Titanic, on her nose, with her afterquarter sticking straight up in the air, began to settle slowly.... The way the band kept playing was a noble thing... the last I saw of the band, when I was floating out in the sea with my lifebelt on, it was still on deck playing “Autumn”. How they ever did it I cannot imagine.”

Felly daw’r emyn Esgobaidd hon yn brif elfen y gerddoriaeth lle ceir ymdriniaeth amrywiol ohonni ac fe ffurfia sail lle caiff deunydd eraill ei arosod. Er i mi greu y darn lawer o flynyddoedd yn ôl rwy’n dal i fwynhau darganfod ffyrdd newydd o edrych ar y deunydd ohonno gan groesawu cyfleon eraill i edrych arno o’r newydd. © Gavin Bryars Gareth Glyn Morluniau Môn (2001), 15’ Mae Gareth Glyn yn byw ar Ynys Môn, lle bu’r môr amgylchynol wastad yn rhan annatod o fytholeg, hanes a bywyd a gwaith bob dydd ei thrigolion. Mae’r cylch hwn o ddarnau byrion, mewn arddull ysgafn, yn ymchwilio i gynrychioli gwahanol agweddau o’r môr a welir o lecynnau manteisiol ar hyd arfordir Môn. Caiff yr holl waith ei gysylltu gyda motifau cerddorol sy’n ailymddangos, sy’n newid mewn cymeriad yn ôl yr awyrgylch gyfredol.

1. Llanddwyn (Reverie): Ynys nawddsant Cymreig y cariadon, Dwynwen, lle na ddigwyddodd ei phriodas gyda Maelon, a’r hon wnaeth gysegru ei bywyd i Dduw.

2. Malltraeth (Pastorale): Am dro sydyn ar hyd Cob Malltraeth, sy’n glawdd uchel i rwystro’r môr.

3. Penmon (Intermezzo): O lecyn manteisiol wrth briordy cysegredig Sant Seiriol gwelir hen longau a chychod modern yn pasio fel y gwynt yn ystod wythnos y Regatta.

4. Cemaes (Scherzo): Rhuthr chwarae plant a marchogaeth mulod ar y traeth yng nghanol haf.

5. Moelfre (Marwnad): Er cof am yr eneidiau lu a gollwyd wedi llongddrylliadau ar yr arfordir, gan gynnwys y Royal Charter gyda’r 452 o’i bywydau coll. © Gareth Glyn Disgyblion Ysgol y Traeth gwaith newydd (premiere byd) – cyflwynir y gwaith gan y disgyblion.

--- Egwyl --22

“...from aft came the tunes of the band.....The ship was gradually turning on her nose - just like a duck that goes down for a dive... The band was still playing. I guess all of the band went down. They were playing “Autumn” then. I swam with all my might. I suppose I was 150 feet away when the Titanic, on her nose, with her afterquarter sticking straight up in the air, began to settle slowly.... The way the band kept playing was a noble thing... the last I saw of the band, when I was floating out in the sea with my lifebelt on, it was still on deck playing “Autumn”. How they ever did it I cannot imagine.”

This Episcopal hymn, then, becomes the principle element of the music and is subject to a variety of treatments and it forms a base over which other material is superimposed. Although I conceived the piece many years ago I continue to enjoy finding new ways of looking at the material in it and welcome opportunities to look at it afresh. © Gavin Bryars Gareth Glyn Anglesey Seascapes (2001) 15’ Gareth Glyn lives on the island of Anglesey, where the encircling sea has always been indivisible from the mythology, history and everyday life and work of its people. This cycle of short miniatures, in a light music vein, seeks to represent various aspects of the sea as seen from five vantage-points around the coast of Anglesey. The whole work is bound together by recurring musical motifs which change their character according to the prevailing mood.

1. Llanddwyn (Reverie): Island of the Welsh patron saint of lovers, Dwynwen, whose marriage to Maelon was never to be, and who dedicated her life to God. 2. Malltraeth (Pastorale): A brisk walk along Cob Malltraeth, a high dyke built to keep out the sea.

3. Penmon (Intermezzo): From a vantage point by the sacred priory of St Seiriol, old sailing ships and modern yachts can be seen scudding by in Regatta week.

4. Cemaes (Scherzo): The bustle of children’s play and donkey-rides on the beach in midsummer.

5. Moelfre (Elegy): In remembrance of innumerable souls lost in shipwrecks off this coast, including the Royal Charter with its loss of 452 lives. © Gareth Glyn Ysgol y Traeth Pupils New work (world premiere) - the work will be introduced by the puplis.

--- Interval --23

Kimon Emmanouil Grigoriadis Ice (2011-12) 8’ Darn acwstig i bedwarawd llinynnol a chlarinét yn Bb yw Ice. Comisiynwyd y darn gan Ŵyl Gerdd Newydd Bangor yn 2012, gyda’r Titanic fel ei thema. Seilir y gwaith ar ddadansoddiad sbectrol o glip sain unigol (rhew yn cracio’n deilchion), a recordiwyd gan yr Athro Andrew Lewis. Defnyddir y sain hwn i greu gweadau i’r offerynnau acwstig gyda synau sy’n awgrymu cracio’r rhew. Yn ogystal seilir ei strwythur ar wrthdrawiad y llong gyda’r mynydd rhew (yn wreiddiol yn 10 eiliad o hyd) a ymestynnir i amserlin o ddeng munud. © Kimon Emmanouil Grigoriadis Gareth Peredur Churchill Ad Profunda (premiere) (2012) 10’ Mae Ad Profunda (‘I’r Dyfnderoedd’) ar gyfer clarinét a phedwarawd llinynnol yn fath o gonsierto bychan a ddatgelir fel un symudiad mewn episodau araf – cyflym – araf: caiff y synwyr o hwylio didrafferth (er pryderus) a gyflwynir gan y Delicato agoriadol ei darfu’n ddisymwth gan y Vigoroso anrhefnus cyn yr unawd fer y clarinét ein harwain at y Calmo clo; gyda’r darn yn gostegu i dawelwch.

Wedi rhoddi cryn feddwl i’r darn a ddylai gysylltu mewn rhyw fodd gyda suddo’r Titanic yn 1912, yn y diwedd roedd fy ateb yn gymharol syml: agora Ad Profunda gyda synau uchaf posibl y gall yr ensemble ei chwarae a gorffenna, oddeutu deng munud yn ddiweddarach, wedi ‘suddo’ i’r synau isaf. Comisiynwyd Ad Profunda gan Ŵyl Gerdd Newydd Bangor 2012 a derbyniodd ei berfformiad cyntaf gan Ensemble Cymru yn ysto yr ŵyl. © Gareth Peredur Churchill James MacMillan Tuireadh (1991) 22’ Cyflwynir y darn hwn i ddioddefwyr trychined Piper Alpha a’u teuluoedd. Fin nos ar y 6 Gorffennaf 1988 dechreuodd tân ar blatfform olew a nwy ym Môr y Gogledd. Nid oedd posibl ffrwyno’r tân a bu’r gwagio yn annigonol, ac o ganlyniad bu farw 167 o ddynion a bu raid i 62 gael eu hachub o’r môr.

Tuireadh yw’r Gaeleg o Farwnad (neu offeren) ar gyfer y marw, ac fe ysgrifenwyd y gerddoriaeth i gydfynd gyda cherflun coffa a grëwyd gan Sue Jan Taylor ac a ddadorchuddwyd yn Aberdeen yn 1991. Yn benodol fe’m hysbrydolwyd gan lythyr 24

Kimon Emmanouil Grigoriadis Ice (2011-12) 8’ Ice is an acoustic piece for String quartet and Clarinet in B-flat. This piece was commissioned by the Bangor New Music Festival; its theme is the Titanic. The core of this piece lies on the spectral analysis of a single sound clip (ice cracking into pieces), which was recorded by Prof. Andrew Lewis. This sound is used to create textures for the acoustical instruments with sonorities that suggest the cracking of the ice.

Furthermore, its structure is based on the ship’s collision with the iceberg (originally 10 seconds in duration) stretched to an eight-minute timeline. © Kimon Emmanouil Grigoriadis Gareth Peredur Churchill Ad Profunda (premiere) (2012) 10’ Ad Profunda (‘To the Depths’) for clarinet and string quartet is a sort of mini concerto for clarinet and strings which unfolds as a single movement in slow ~ quick ~ slow episodes: the sense of plain (if uneasy) sailing presented by the opening Delicato is somewhat abruptly interrupted by the chaotic Vigoroso before a brief solo for the clarinet leads to the closing Calmo; as the piece descends into silence.

Having put a great deal of thought into a piece that should relate somehow to the famous sinking of the Titanic in 1912 my solution, in the end, was a relatively simplistic one: Ad Profunda opens with some of the highest sounds the ensemble are capable of playing and concludes, some ten minutes later, having ‘sunk’ to the lowest. Ad Profunda was commissioned by the 2012 Bangor New Music Festival and received its first performance there thanks to Ensemble Cymru. © Gareth Peredur Churchill James MacMillan Tuireadh (1991) 22’ This piece is dedicated to the victims of the Piper Alpha disaster and their families.

On the evening of 6 July 1988 a fire broke out on the Piper Alpha off-shore oil and gas platform located in the North Sea. The fire was uncontrollable and evacuations inadequate, and as a result 167 men died and 62 had to be rescued from the sea.

Tuireadh is Gaelic for Lament (or requiem) for the dead, and the piece was written as a musical complement to the memorial sculpture created by Sue Jan Taylor and unveiled in Aberdeen in 1991. I was specifically inspired by a letter sent to me 25

un o famau’r meirwon lle ysgrifennodd yn angerddol am ei hymweliad gyda’r lleoliad ar gyfer gwasanaeth coffa. Daeth y seremoni’n fodd o ddygymod i’r sawl na ddarganfuwyd eu hanwyliaid, a disgrifiodd y fam sut roedd sŵn dolefain digymell yn codi o’r galarwyr a ymgynullwyd ar y gwch. Ceisia Tuireadh gyfleu’n gerddorol y galaru dwys hwn gan gyfeirio at fodelau cyfyngol ac addurniadol y gwahanol ffurfiau marwnad a geir yng ngherddoriaeth draddodiadol yr Alban. © James MacMillan

10am-12pm Ysgol Cerddoriaeth, PB Dosbarthiadau Meistr - Ensemble Cymru

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by the mother of one of the dead men in which she wrote movingly of her visit to the scene for a memorial service. The ceremony became a right of passage for those whose loved ones had not been found, and the mother described how a spontaneous keening sound rose gently from the mourners assembled on the boat.

Tuireadh attempts to capture this outpouring of grief in music and makes allusions to the intervallic and ornamental archtypes of various lament-forms from Scottish traditional music. Š James MacMillan

10am-12pm, School of Music, BU Masterclasses – Ensemble Cymru

ARBENNIGWYR MEWN GOSOD TA I A F F L AT I A U Y M M A N G O R SPECIALISTS IN LETTING H O U S E S A N D F L AT S I N B A N G O R

t: 01248 351535 m: 07836 681366

3 Bodlondeb, Ffordd y Borth, Bangor, LL57 2HX

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George Brecht Cerflunydd, artist perfformio ac ysgrifennwr oedd George Brecht (19262008). Astudiodd gyfansoddi arbrofol gyda John Cage yn yr Ysgol Newydd ar gyfer Ymchwil Cymdeithasol yn Efrog Newydd, lle cafodd ei ddylanwadu gan ymdoddiad Cage o’r ffiniau rhwng celf, barddoniaeth, cerddoriaeth, rhyddiaith a theatr a chan swyddogaeth o siawns a chwarae yn y weithred o greu. Ymysg ei ‘ddigwyddiadau’ cerddorol mwyaf adnabyddus ceir Piano Piece 1962 a Solo for Violin, sydd wedi eu dylanwadu’n gryf gan weithredoedd theatrig symudiad y Fluxus.

George Brecht (1926-2008) is a sculptor, performance artist and writer. He studied experimental composition with John Cage at the New School for Social Research in New York, where he was influenced by Cage’s dissolution of boundaries between art, poetry, music, literature and theatre and by the role of chance and play in the creative act. Amongst his best known musical ‘events’ are Piano Piece 1962 and Solo for Violin, which are heavily influenced by the theatric actions and gestures of the Fluxus movement. © George Brecht

Gavin Bryars Astudiodd Gavin Bryars Athroniaeth ym mhrifysgol Sheffield a daeth yn fasydd jas gan arloesoli gyda byr fyfyio rhydd drwy weithio’n arbennig gyda Derek Bailey a Tony Oxley. Yn niwedd yr 1960au gweithiodd gyda John Cage, yr hwn gafodd ddylanwad ar ei weithiau cynnar megis The Sinking of the Titanic yn 1969 a’r clasur Jesus’ Blood Never Failed Me Yet yn 1971.

Mae Bryars wedi creu nifer helaeth o gerddoriaeth siambr ar gyfer ei ensemble ei hun ac ar gyfer eraill. Bu’n dysgu am flynyddedd mewn colegau celf gan gydweithio gydag amryw o artistiaid gweledol megis Bruce McLean, Tim Head, James Hugonin, Bill Woodrow a Will Alsop. Cafodd nifer o goreograffwyr eu denu at ei gerddoriaeth a bu’n gweithio’n agos gyda Lucinda Child (ar gyfer Cwmni Dawns Rambert), Laurie Booth a William Forsyth (Ballet Frankfurt). Yn 1999 cydweithiodd gyda Merce Cunningham ar BIPED ac o 2002 gweithiodd yn agos gyda Carolyn Carson ar Writings on Water ar gyfer y Biennale Fenis. Ar hyn o bryd mae’n datblygu dwy opera siambr gyda’r ysgrifenwraig o Ganada, Marilyn Bowering (ar Marilyn Monroe) a Glen David Gold (ar y swynwr Erdnase).

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Gavin Bryars studied philosophy at Sheffield University and became a professional jazz bassist and a pioneer of free improvisation working especially with Derek Bailey and Tony Oxley. In the late 1960s he worked with John Cage and this influenced early works such as the indeterminately scored The Sinking of the Titanic of 1969 and the classic Jesus’ Blood Never Failed Me Yet of 1971.

Bryars has produced a large body of chamber music both for his own ensemble and for other performers. He taught for a number of years in art colleges and has collaborated with many visual artists such as Bruce McLean, Tim Head, James Hugonin, Bill Woodrow and Will Alsop.

Numerous choreographers have been drawn to his music and he has worked closely with Lucinda Child (for Rambert Dance Company), Laurie Booth, and William Forsyth (Frankfurt Ballet). In 1999 he collaborated with Merce Cunningham on BIPED and from 2002 he worked closely with Carolyn Carlson on Writings on Water for the Venice Biennale.

He is currently developing two chamber operas with Canadian writer Marilyn Bowering (on Marilyn Monroe) and with Glen David Gold (on the magician Erdnase). © Gavin Bryars

Gareth Peredur Churchill Wedi ei eni yng Ngwlad yr Haf yn 1980 i rieni Cymraeg, astudiodd Gareth gyda Rhian Samuel ac yng Nghaerdydd gydag Andrew Powers a Juith Weir (PhD 2007). Ers troi’n broffesiynol cafodd gomisiynau gan Ŵyl Bro Morgannwg, y clarinetydd David Campbell, y countertenor Iestyn Davies, ac yn ddiweddar Pedwarad Mavron. Yn ogystal a derbyn perfformiadau drwy Brydain mae ei waith wedi teithio ‘r Eidal, Sbaen ac Estonia; enillodd ei Annwn ar gyfer telyn Wobr Gyfansoddi William Mathias yn 2011.

Bu’n diwtor cyson ar gyrsiau cyfansoddi John Metcalf yn y MusicFest yn Aberystwyth a nawr mae’n dysgu cyfansoddi yn adran Dysgu Gydol Oes Prifysgol Caerdydd.

Born in Somerset in 1980 to Welsh parents, Gareth trained in London with Rhian Samuel and in Cardiff with Anthony Powers and Judith Weir (PhD 2007). Since turning professional he has received commissions from The Vale of Glamorgan Festival, clarinettist David Campbell, countertenor Iestyn Davies and, recently, the Mavron Quartet. In addition to performances throughout Britain his work has travelled to Italy, Spain and Estonia; his Annwn, for solo harp won the 2011 William Mathias Composition Prize. He has been a regular tutor on John Metcalf’s composition course at Musicfest Aberystwyth and is teacher of composition for Cardiff University Lifelong Learning. © Gareth Peredur Churchill

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Ensemble Cymru Cenhadaeth yr Ensemble yw hyrwyddo cerddoriaeth siambr o’r safon uchaf yng Nghymru a mannau eraill. Mae’r Ensemble yn hyrwyddo cerddoriaeth siambr trwy ystod eang o ensemblau, o agosatrwydd y ddeuawd datganiad hyd at gerddorfa siambr o 27 chwaraewr. Mae Ensemble Cymru’n gweithio i sefydlu cylch cenedlaethol o leoliadau ar gyfer cerddoriaeth siambr yng Nghymru yn ogystal â sefydlu cylch teithio yn Ewrop erbyn 2020. Yn 20112012, blwyddyn ei ddengmlwyddiant, penododd yr Ensemble yr arweinydd rhyngwladol a’r sielydd, Paul Watkins fel ei Artist Cyswllt cyntaf; dechrau ei breswyliaeth yn Venue Cymru; penodi’r clarinetydd Sioned Roberts fel ei Lysgennad ar gyfer Cerddoriaeth Newydd cyntaf ynghyd â hyrwyddo ei daith genedlaethol gyntaf yng Nghymru.

Ensemble Preswyl Prifysgol Bangor a Venue Cymru yw Ensemble Cymru. Yn 2006 roedd yn un o dri ensemble Prydeinig a gyrhaeddodd rhestr fer ar gyfer gwobr oddi wrth Y Gymdeithas Ffilharmonig Frenhinol am ei waith. Ceir rhagor o wybodaeth ar safle we’r Ensemble: www.ensemblecymru.co.uk The Ensemble’s mission is to champion chamber music of the highest quality both in Wales and elsewhere. The Ensemble promotes chamber music through a wide range of ensembles from the intimacy of recital duo through to a chamber orchestra of 27 players. The Ensemble is working to establish a national circuit of venues for chamber music in Wales as well as establishing a touring circuit in Europe by 2020. In 2011-2012, its 10th anniversary year, the Ensemble appointed the international conductor and cellist, Paul Watkins as its first Artist in Association; took up its residency at Venue Cymru; appointed the clarinettist Sioned Roberts as its first Ambassador for New Music and promoted its first national tour in Wales.

Ensemble Cymru is Bangor University’s and Venue Cymru’s Resident Ensemble. In 2006 it was one of 3 British ensembles shortlisted for an award from the Royal Philharmonic Society in London for its work. More information on the Ensemble is available from the Ensemble’s website on www.ensemblecymru.co.uk.

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.

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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. He 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. © Gareth Glyn

Yuri Goloubev Ganwyd Yuri Goloubev yn Moscow, Rwsia yn 1972 ac wedi sefydlu gyrfa mewn cerddoriaeth glasurol symudodd i Milan yn 2004 er mwyn canolbwyntio’n benodol ar jas. Yn ystod y cyfnod hwn bu’n cydweithio gydag artistiaid megis Enrico Pieranunzi, Rosario Giuliani, Francesco Bearzatti, Paolo Fresu, Fabrizio Bosso, Glauco Venier, Claudio Fasoli, Giovanni Falzone, Guido Manusardi, Gianni Cazzola, Massimo Manzi a llawer i un arall o dramor. Yn 2010 fe’i penodwyd yn Athro mewn Bas Dwbl Jas yn y Conservatoire Talaith Trento “F.Bonporti”.

Pefformiodd Yuri mewn nifer o wyliau jas ac yn 2002 daeth yn chwaraewr ieuengaf un i ennill y teitl Artist Anrhydeddus o Rwsia gan Arlywydd Putin.

Caiff ei gyfansoddiadau a’i chwarae ei gynnwys ar dros 70 o recordiadau CD, rhai ohonnynt fel blaenwr neu cyd-flaenwr.

Yuri Goloubev was born in Moscow, Russia, in 1972 and after establishing a career in classical music, in 2004 he moved to Milan and dedicated himself exclusively to jazz. During this period he collaborated with such artists as Enrico Pieranunzi, Rosario Giuliani, Francesco Bearzatti, Paolo Fresu, Fabrizio Bosso, Glauco Venier, Claudio Fasoli, Giovanni Falzone, Guido Manusardi, Gianni Cazzola, Massimo Manzi and many other musicians from overseas. In 2010 Yuri was appointed as the Jazz Double Bass Professor at Trento State Conservatory “F.Bonporti”.

Yuri has performed at many renowned jazz festivals and in 2002 he became the youngest bass player ever in the history of both USSR and Russia to be awarded with the prestigious title of the Honored Artist of Russia by President Putin. His playing and compositions are featured on over 70 CD recordings, some of them – as a leader or co-leader. © Yuri Goloubev

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Kimon Emmanouil Grigoriadis Cyfansoddwr cerddoriaeth acwsmatig ac offerynnol yw Kimon Emmanouil Grigoriadis (g.1983, Kos, Groeg). Astudiodd gerddoriaeth fel myfyriwr isradd ym Mhrifysgol Anglia Ruskin (2002-2005) gan barhau ei astudiaethau cerddorol yng Ngroeg tam 2008. Yn 2009 astudiodd ym Mhrifysgol Bangor gyda’r cyfansoddwr a’r athro Andrew Lewis lle cwblhaodd ei ddoethuriaeth gyda rhagoriaeth. Ar hyn o bryd mae’n ymgymryd â Doethuriaeth mewn Celfyddyd Sonig ym Mhrifysgol Bangor wedi ennill Ysgoloriaeth 125ain ‘Celf Sonig Ddigidol.’

Kimon Emmanouil Grigoriadis (b.1983, Kos, Greece) is a composer of acousmatic and instrumental music. He studied music at the Anglia Ruskin University (2002-2005) as an undergraduate student, and continued his musical studies in Greece until 2008. In 2009 he studied at Bangor University with the composer Prof. Andrew Lewis where he completed his Master in Composition with distinction. He is currently undertaking PhD studies in Sonic art and Composition at Bangor University after winning the 125th Anniversary Scholarship “Digital Sonic Art”. © Kimon Emmanouil Grigoriadis

James MacMillan Astudiodd James MacMillan gerddoriaeth ym Mhrifysgol Caeredin gan ymgymryd astudiaethau ôlradd cyfansoddi gyda John Casken yn Durham, gan yn ddiweddarach gael ei benodi’n ddarlithydd ym Mhrifysgol Manceinion cyn symud yn ô li Glasgow. Arweiniodd y perffrmiad cyntaf llwyddianus o’i Tryst yng Ngwyl St Magnus yn 1990 iddo gael ei benodi’n Gyfansoddwr Cysylltiol gyda Cherddorfa Siambr yr Alban. Mae MacMillan yn weithgar yn rhyngwladol fel arweinydd, gan weithio fel arweinyddgyfansoddwr gyda Philharmonic y BBC rhwng 2000 a 2009, ynghyd a’i benodi fel Prif Arweinydd Gwadd Cerddorfa Siambr Radio’r Iseldiroedd o 2010. Mae uchafbwyntiau 2011 yn cynnwys perfformiad cyntaf o’i Gonsierto i’r Piano Rhif 3 ar gyfer Jean-Yves Thibaudet a Cherddorfa Minnesota.

James MacMillan read music at Edinburgh University and took Doctoral studies in composition at Durham University with John Casken and later was appointed as a lecturer at Manchester University before returning to Glasgow. The successful premiere of Tryst at the 1990 St Magnus Festival led to his appointment as Affiliate Composer of the Scottish Chamber Orchestra. MacMillan is internationally active as a conductor, working as Composer/Conductor with the BBC Philharmonic between 2000 and 2009, and appointed Principal Guest Conductor of the Netherlands Radio Chamber Philharmonic from 2010. 2011 highlights include premieres of MacMillan’s Piano Concerto No.3 for Jean-Yves Thibaudet and the Minnesota Orchestra. © Reprinted by kind permission of Boosey & Hawkes

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Roberto Olzer Graddiodd Olzer mewn Organ a Chyfansoddi (1994), Athroniaeth (1997) a Phiano (2003). Mae ganddo hefyd ddiploma mewn Techneg Alexander (2008) ac fe ddatblygodd ei weithgareddau cerddorol mewn perfformio, trefnu a chyfansoddi. Mae’n perfformio yn y cylchoedd clasurol a jas gan amlaf fel organydd, pianydd, neu arweinydd gan berfformio fwyaf yn yr Eidal, Swistir a Ffrainc. Ysgrifennodd drefniannau ar gyfer pedwarad llinynnol ac ar gyfer yr Ensemble Pres y Teatro all Scala ym Milan. Fel cyfansoddwr mae wedi cyhoeddi ‘Tetragono’ ar gyfer clarinet a phiano (Editions BIM, Vuarmarens-CH), ‘Sciccareddu’ a ‘Monte Rosa’ (Ed. Wicky Milan).

Roberto Olzer graduated with degrees in Organ and Composition (1994), Philosophy (1997) and Piano (2003). He also holds a diploma in Alexander Technique (2008) and has developed his musical activities in performing, arranging and composing. He performs in both the classical and jazz environments mainly as an organist, pianist, and a conductor, performing mainly in Italy, Switzerland and France. He has written arrangements for string quartets and for the Brass Ensemble of the Teatro alla Scala in Milan.

As a composer he has published ‘Tetragono’ for clarinet and piano (Editions BIM, Vuarmarens-CH), ‘Sciccareddu’ and ‘Monte Rosa’ (Ed. Wicky - Milan). © Roberto Olzer

Xenia Pestova Mae Xania Pestova yn gerddor perfformio wedi ei lleoli yng Ngogledd Cymru. Mae ei gwobrau yn cynnwys Gwobr Gyntaf yng Nghystadleuaeth Piano Rhyngwladol Xavier Montsalvatge 2004 yn Girona, Sbaen, a Chlod Arbennig yng Nghystadleuaeth Piano Rhyngwladol Messiaen 2003 ym Mharis, ac Ail Wobr yng Nghystadleuaeth Piano Cenedlaethol KeriKeri 2000 yn Seland Newydd.

Yn ogystal â phrosiectau unawdol, mae Xenia yn weithgar fel pianydd ensemble a cerddor siambr. Comisiynodd, perfformiodd, recordiodd a darlledodd nifer o weithiau newydd ac yn aml bu’n cydweithio gyda chyfansoddwyr a thechnolegwyr cerddorol ar greadigaethau rhyng ddisgyblaethol. Mae’n Bennaeth Perfformio yn Ysgol Cerddoriaeth Prifysgol Bangor ac yn Artist Cyngerdd Schoenhut .

Xenia Pestova is a performing musician currently based in North Wales. Her awards include the unanimous First Prize at the 2004 Xavier Montsalvatge International Piano Competition in Girona, Spain, a Special Mention at the 2003 Messiaen International Piano Competition in Paris, and Second Prize at the 2000 KeriKeri National Piano Competition, New Zealand.

In addition to solo projects, Xenia is active as an ensemble pianist and chamber musician. She has commissioned, premiered, recorded and 33

broadcast numerous new works and often collaborates with composers and music technologists on interdisciplinary creation. She is Head of Performance at the Bangor University School of Music and a Schoenhut Concert Artist. © Xenia Pestova

Guto Pryderi Puw Astudiodd Guto Pryderi Puw gerddoriaeth ym Mhrifysgol Bangor, lle derbyniodd MMus yn 1996 a Doethuriaeth yn 2002 drwy Ysgoloriaeth Parry Williams. 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. Yn 2007 enillodd y Concerto ar gyfer Obo ‘Wobr y Gwrandawyr’ yng Ngwobrau Cyfansoddwr Prydeinig tra pherfformiwyd ‘… onyt agoraf y drws…’ yn ystod y Proms. Yn 2009 derbyniodd wobr Cymru Greadigol gan Gyngor Celfyddydau Cymru er mwyn datblygu ei ysgrifennu operatig ac fe ryddheir ei gyfansoddiadau cerddorfaol ar label Signum yn 2012.

Guto Pryderi Puw studied Music at Bangor University where he gained his MMus degree in 1996 and later his PhD in Composition in 2002 after winning the Parry Williams Scholarship. 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 music festivals around the country. In February 2006 he was appointed as Resident Composer with the BBC NOW. His Concerto for Oboe won the Listeners’ Award category at the British Composer Awards in 2007 while ‘… ony agoraf y drws…’ (‘unless I open the door’) was premiered at the Proms. In 2009 he received a Creative Wales Award from the Arts Council of Wales to develop his operatic writing and his orchestral pieces will be released on the Signum label later in 2012. © Guto Pryderi Puw

Sioned Eleri Roberts Cafodd Sioned ei magu a’i haddysgu ym Mangor, a graddiodd o Brifysgol Cymru Bangor gyda BMus anrhydedd dosbarth cyntaf yn haf 2003. Yno astudiodd y clarinét gyda Peryn Clement-Evans gyda dosbarthiadau meistr gyda Charles Neidich, Nicholas Cox, David Campbell a Roger Heaton.

Yn 2005, cafodd Sioned ysgoloriaeth i astudio gyda Michael Whight yng

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Ngholeg Cerdd y Drindod. Yno derbyniodd PGDip gydag anrhydedd. Eleni derbynniodd Sioned ysgoloriaeth KESS, a fydd yn galluogi iddi barhau â’i hastudiaethau o gerddoriaeth gyfoes ar gyfer y clarinet.

Clarinetist Sioned Eleri Roberts was brought up and educated in Bangor, North Wales. She graduated from the University of Wales Bangor with a BMus 1st Class Hons in July 2003 where she studied the clarinet with Peryn Clement-Evans with masterclasses by Charles Neidich, Nicholas Cox, David Campbell and Roger Heaton. In 2005 she was awarded a scholarship to go to Trinity College of Music and study with Michael Whight. On the completion of her course she was awarded a PGDip distinction in performance. This year, Sioned was awarded a KESS scholarship which is enabling her to proceed with her clarinet studies – with emphasis on contemporary music. © Sioned Eleri Roberts

Asaf Sirkis Ganwyd Asaf Sirkis (www.asafsirkis.co.uk) yn Israel yn 1969. Yn Ebrill 1999 symudodd i Lundain lle daeth yn rhan o’r sîn jas a cerddoriaeth byd a maes o law ffurfio ei drio ei hun, The Inner Noise. Yn 2000 daeth Asaf yn aelod cyson o Ensemble Gilad Atzmon’s Orient House, gan recordio pedair albwm ar gyfer Reordiau ENJA a teithiau cyson i Ewrop, gyda’u halbwm ‘Exile’ yn cael ei henwebu yn ‘CD Gorau’r Flwyddyn’ yng Ngwobrau Jas y BBC yn 2003. Perfformia a recordia’n gyson gydag amryw o artistiaid jas eraill, megis Larry Coryell, Chick Corea, Gary Husband, John Taylor, Dave Liebman, Tim Garland, Glauco Venier, Phil Robson, Mark Latimer a Julian Siegel.

Asaf Sirkis (www.asafsirkis.co.uk) was born in Israel in 1969. In April 1999 he moved to London where he became a part of the UK jazz and world music scene, eventually forming his own trio, The Inner Noise. In 2000 Asaf became a regular member of Gilad Atzmon’s Orient House Ensemble, recording four albums for ENJA Records and frequent tours to Europe, with their album ‘Exile’ being nominated for the ‘Best CD of the Year’ at the BBC Jazz Award in 2003. He extensively performs and records with many jazz artists, which includes Larry Coryell, Chick Corea, Gary Husband, John Taylor, Dave Liebman, Tim Garland, Glauco Venier, Phil Robson, Mark Latimer and Julian Siegel. © Asaf Sirkis

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Denis Smalley Ganwyd Denis Smalley yn Seland Newydd ym 1946. Astudiodd gerddoriaeth ym Mhrifysgol Canterbury ac ym Mhrifysgol Victoria, Wellington cyn astudio yn y Paris Conservatoire gyda Messiaen, a chyda’r Groupe de Recherches Musicales. Yna, symudodd i Loegr, gan fyw ar y cychwyn yng Nghaerefrog, lle cwblhaodd ddoethuriaeth mewn cyfansoddi ym Mhrifysgol Efrog. Tan 1994, bu’n Uwch Ddarlithydd mewn Cerddoriaeth ym Mhrifysgol East Anglia, a hefyd yn gyfarwyddwr ar y Stiwdio Gerddoriaeth Electroacwstig yno. Yna, symudodd i Brifysgol City, Llundain, yn Athro Cerddoriaeth ac yn Bennaeth ar yr Adran Gerddoriaeth. Ymddeolodd o Brifysgol City yn 2009, ac mae bellach yn Athro Emeritws.

Mae Denis Smalley yn weithgar fel cyfansoddwr cerddoriaeth electroacwstig ers 35 mlynedd, a’i weithiau wedi cael canmoliaeth ar raddfa eang, gan ennill nifer o wobrau rhyngwladol, yn cynnwys y Prix Ars Electronica ym 1988. Yn 2008, dyfarnodd Prifysgol Huddersfield radd Doethur mewn Llên er anrhydedd iddo, am ei lwyddiannau ym maes cerddoriaeth electroacwstig.

Mae wedi cyflwyno cyfraniadau gwreiddiol tuag at feddwl am gerddoriaeth electroacwstig, yn benodol ei ymchwiliadau i ddirnadaeth y gwrandäwr o gerddoriaeth electroacwstig, a’i ddatblygiad o’r syniad o sbectromorffoleg (ffurfio sbectra sain trwy amser). Cyhoeddwyd ei waith ysgrifenedig pwysig diweddaraf yn Organised Sound (12) 1: Space-form and the Acousmatic Image. Cyhoeddwyd llyfr ar ei gerddoriaeth gan GRM/INA yn y gyfres ‘Polychrome Portraits’ – yn Saesneg yn 2010, ac yn Ffrangeg yn 2011 – a cheir adnoddau cysylltiedig ar-lein ar: http://www.institut-national-audiovisuel. fr/sites/ina/medias/upload/grm/mini-sites/smalley/co/siteWeb_Smalley. html.

Denis Smalley was born in New Zealand in 1946. He studied music at the University of Canterbury and the Victoria University of Wellington prior to studying at the Paris Conservatoire with Messiaen, and with the Groupe de Recherches Musicales. He then moved to England, living initially in York where he completed a doctorate in composition at the University of York. Until 1994 he was Senior Lecturer in Music and Director of the Electroacoustic Music Studio at the University of East Anglia. He then moved to City University, London as Professor of Music and Head of the Department of Music. He retired from City University in 2009, and is now Professor Emeritus.

Denis Smalley has been active as a composer of electroacoustic music for thirty-five years, and his works have been widely acclaimed, winning a number of international awards including the Prix Ars Electronica in 1988.

In 2008 he was awarded an honorary Doctor of Letters by the University of Huddersfield for his achievements in electroacoustic music. He has made original contributions to thinking about electroacoustic music, in particular his investigations into the listener’s perception of electroacoustic music, and his development of the notion of spectromorphology (the shaping of sound

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spectra through time). His most recent major writing was published in Organised Sound (12) 1: Space-form and the Acousmatic Image. A book on his music and ideas was published by GRM/INA in the Polychrome Portraits series - in English in 2010, and in French in 2011 - and there are associated on-line resources available at http://www.institut-national-audiovisuel. fr/sites/ina/medias/upload/grm/mini-sites/smalley/co/siteWeb_Smalley. html. © Denis Smalley

Takehisa Kosugi Ganwyd Takehisa Kosugi yn 1938 ac astudiodd gerddoreg ym Mhrifysgol y Celfyddydau yn Tokyo, gan raddio yn 1962. Yn ystod y cyfnod hwn dechreuodd fyr fyfyrio aml-offerynnol ac yn 1960 fe gyd-sefydlodd “Group Ongaku” yn Tokyo. Derbyniodd ei ddarnau ‘digwyddiad’, a gyflwynwyd gan y Fluxus yn nechrau’r 60au, gydnabyddiaeth yn Ewrop gan aelodau o’r Fluxus yn Efrog Newydd. Bu’n gyfansoddwr a pherfformiwr gyda Chwmni Dawns Merce Cunningham ers 1977, gyda chomisiynau ar gyfer y Cwmni yn cynnwys, S.E. Wave/E.W. Song (1976), Interspersion (1979), Cycles (1981), Spacings (1984), Assemblage (1986), Rhapsody (1987), a Spectra (1989), ymysg eraill.

Born in Tokyo in 1938, Takehisa Kosugi studied musicology at the Tokyo University of Arts, graduating in 1962. During this period he began multi-instrumental improvisation and in 1960 he co-founded the “Group Ongaku” in Tokyo. His event pieces, introduced by Fluxus in the early 60s, received recognition in Europe with Fluxus members in New York. He has been the resident composer and performer with the Merce Cunningham Dance Company since 1977, with the commissions for the Company includes, amongst others, S.E. Wave/E.W. Song (1976), Interspersion (1979), Cycles (1981), Spacings (1984), Assemblage (1986), Rhapsody (1987), and Spectra (1989). © Lovely Music, Ltd

Nia Davies Williams Myfyriwr ôl-radd yn yr Ysgol Gerddoriaeth, Prifysgol Bangor yw Nia Davies Williams. Ei maes ymchwil yw’r ymdriniaeth o gerddoriaeth gyda chleifion sydd yn dioddef o ddementia ac ym mis Mai 2012, bydd yn traddodi papur ar berthynas cerddoriaeth a dementia yng nghynhadledd y Society for the Arts in Healthcare, Detroit, UDA. Mae’n athrawes biano yng Nghanolfan Gerdd William Mathias ac wedi ei apwyntio gan y Gymdeithas Alzheimer’s i gydlynu grwpiau yn Hen Golwyn a Bangor ar gyfer y project Canu i’r Cof (Singing for the Brain). Yn ogystal, mae Nia’n chwarae’r delyn ac yn cyfansoddi a death yn Drydydd yn nghystadleuaeth Cân i Gymru yn 2012.

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Nia Davies Williams is a postgraduate student at the School of Music, Bangor University. Her research is focused on the effect of music on patients suffering from dementia and in May 2012, she will present a paper on this subject at a conference organized by the Society for the Arts in Healthcare, Detroit, USA. She is a piano teacher at the Canolfan Gerdd William Mathias and has been appointed by the Alzheimer’s Society to co-ordinate a project involving singing groups in Old Colwyn and Bangor entitled Singing for the Brain. She is also a harpist and a composer and won Third Prize in the Cân i Gymru (Song for Wales) competition in 2012. © Nia Davies Williams

Ed Wright Ganwyd Ed Wright (http://www.virtual440.com) yn Swydd Buckingham, Lloegr, ym 1980. Gorffennodd ei PhD mewn cerddoriaeth gydag Andrew Lewis ym Mhrifysgol Bangor yng Ngorffennaf 2010. Mae ei waith yn canolbwyntio’n bennaf ar ben electronig y sbectrwm cerddorol, er ei fod hefyd yn chwarae offerynnau gwirioneddol hefyd ac yn ysgrifennu ar eu cyfer.

Mae uchafbwyntiau diweddar yn cynnwys ‘canmoliaeth’ yn y Prix Bourges am ei ddarn ‘Con-chords’, nifer o gomisiynau, yn cynnwys darn sain-osod yng nghell dywyll carchar Rhuthun lle cedwid carcharorion ar eu pennau eu hunain, amser chwarae ar BBC Radio 1 a theledu S4C, a gig mewn hen ffatri bowdr gwn. Mae cerddoriaeth Ed ar gael ar label Blipfonica. http://www. blipfonica.com Ed Wright (http://www.virtual440.com) was born in Buckinghamshire, England in 1980. He finished his PhD in music with Andrew Lewis at Bangor University, in July 2010. His work is mainly focused toward the electroacoustic end of the musical spectrum, although he writes for and plays real instruments as well.

Recent highlights include a ‘mention’ in the Prix Bourges for his piece Conchords, a number of commissions including a 3 day sound installation piece in the dark solitary confinement cell of Ruthin gaol, airplay on BBC Radio 1 and S4C television, and a gig in an old gunpowder factory. Ed’s music is available on the Blipfonica label. http://www.blipfonica.com © Ed Wright

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La Mont Young Ganwyd La Monte Young yn 1935 ac fe’i cysylltir yn bennaf gyda’r avantgarde Americanaidd yn ystod 50au a 60au’r ugeinfed ganrif. Derbyniodd radd BA yn 1958 o Brifysgol California, Los Angeles ac yn 1959 ymwelodd gyda Ysgol Haf Darmstadt lle cyfarfu â John Cage. Yn 1960 symudodd i Efrog Newydd lle bu’n flaengar iawn wrth ddatblygu cyfansoddiadau arbrofol, boed yn ddarnau Fluxus, darnau drôn neu gyfansoddiadau fwy minimalistaidd eu harddull.

La Monte Young was born in 195 and he is mainly connected with the American avant-garde during the 1950’s and 60’s. He received a BA degree from the University of California Los Angeles and in 1959 he visited the Darmstadt Summer Courses where he met John Cage. In 1960 he moved to New York where he was influential in developing highly experimental compositions, which included some Fluxus pieces, drone pieces and other more minimalist compositions. © Guto Pryderi Puw

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