One of the many strengths of the National Eisteddfod is the way in which it stimulates singers to take part chorally, and often to continue afterwards in new formations that play a vital part in the life of their communities. So it was with the creation of Dolgellau's Côr Bro Meirion, after Bala 2009. Anglesey 2017 was the spur for Branwen Haf Williams to bring together a group of young male singers from Llanuwchllyn and its environs to compete as Eryrod Meirion; their success was immediate, and has persisted. They were on top form when they entertained the Music Club in Coleg Meirion-Dwyfor on Friday, 4th April.
As Gruffudd Antur, the evening's congenial MC, pointed out, Eryrod Meirion are strongly rooted in their community, with many members having made a considered decision to stay and raise families in the area. A strong sense of optimism, perhaps deriving from this, permeated the programme – and not just in the folksong Moliannwn, with its refrain 'Mae amser gwell i ddyfod, haleliwia!', 'there are good times ahead!' The 'theme song' Eryrod Meirion (also the title of their excellent 2022 CD), to words by local writer Haf Llywellyn set by choir member Osian Huw Williams, urges the listener not just to mourn the ruins of Carndochan (a C13 castle west of the village), but to wake up and hear 'a new song' – embodied in the wonderful part-singing (in this item unaccompanied) and hwyl of the choir itself, skilfully coached and led (often from the piano) by Branwen Haf.
As well as folksongs (three of the four subtly arranged by Osian), a key strand was songs from contemporary Welsh musicals, which gave opportunities for individual voices to shine. Pwyll ap Llyr Edwards was moving in O Dad, daeth yr awr from 'Myfi Yw', the remarkable Cwmni Theatr Maldwyn setting of the climax of St John's Gospel (appropriate near to Easter), the disciples represented by a background chorus as the soloist prays "O Dad, cadw di hwy", 'keep them safe'. Meilir Rhys Williams and Steffan Prys Roberts were eloquent in a lyrical duet from 'Hwn yw fy Mrawd', the 2018 show about Paul Robeson. There was also a beguiling solo with chorus from Elis Garmon Jones in the Brigyn lullaby Dôl y Plu, 'the meadow of feathers'.
Community spirit was vividly to the fore in Tawel yma heno from 'A Oes Heddwch' ('Is There Peace'), the 2017 show by Aled Wyn Hughes and Guto Dafydd marking the centenary of the death of Trawsfynydd's Hedd Wyn, with soldiers at the front weary and longing to return home. Strongest of all perhaps from the community angle was the final number Geiriau gwag from the magnificent Cwmni Theatr Meirion show 'Er Mwyn Yfory' ('For Tomorrow') created for the 1997 Bala National Eisteddfod, which tells the story of the late C19 struggle against the church imposition of tithes and general oppression by 'y gyfundrefn', 'the system'. 'Heddiw mae'n rhaid i mi herio' – 'today I must challenge'; 'y balchder yn deillio draw', 'pride is flowing'. This was an uplifting note to end on, and would normally have been the end of the season; there remains however the piano recital by Ignas Macknickas postponed from January, on Friday 30th May.
Un o gryfderau niferus yr Eisteddfod Genedlaethol yw’r modd y mae’n ysgogi cantorion i gymryd rhan mewn ambell i gôr; yn aml iawn wedyn mae grwpiau corawl newydd yn parhau, ac yn chwarae rhan hanfodol ym mywyd eu cymunedau. Felly y bu ar enedigaeth Côr Bro Meirion, yn sgîl Bala 2009. Ynys Môn 2017 oedd y sbardun i Branwen Haf Williams ddod â chriw o feibion ifanc o Lanuwchllyn a’r cyffiniau at ei gilydd i gystadlu fel Eryrod Meirion; cawsant lwyddiant ar unwaith, ac wedi mynd o nerth i nerth ers hynny. Roeddent ar eu gorau wrth ddiddanu'r Clwb yng Ngholeg Meirion-Dwyfor ar nos Wener, 4ydd Ebrill.
Fel y nododd Gruffudd Antur, arweinydd ('MC') hynaws y noson, gwreiddir Eryrod Meirion yn ddwfn yn eu cymuned, gyda sawl un o’r aelodau wedi gwneud penderfyniad strategol i aros a magu teulu yn yr ardal. Oherwydd hyn efallai, rhedodd drwy'r rhaglen ymdeimlad cryf o optimistiaeth – ac nid yn unig yn y gân werin Moliannwn, gyda'i chytgan 'Mae amser gwell i ddyfod, haleliwia!'. Mae'r gân thema fel petai 'Eryrod Meirion' (teitl hefyd eu CD ardderchog o 2022), gosodiad o eiriau'r awdur lleol Haf Llywellyn gan Osian Huw Williams, aelod o’r côr, yn annog gwrandawyr i wneud mwy na galaru adfeilion Castell Carndochan (a leolir i’r gorllewin o’r pentref), ond i ddeffro a chlywed ‘cân newydd’ – cân a ymgorfforir yn ystyrlon yn harmonïau melys a lleisiau dewrion (yn ddi-gyfeiliant yn yr eitem hon) yr Eryrod, dan arweiniad crefftus (mewn sawl eitem o'r piano) Branwen Haf.
Yn ogystal â chaneuon gwerin (tair o’r pedair wedi’u trefnu’n gynnil gan Osian), llinyn allweddol drwy'r rhaglen oedd caneuon o sioeau cerdd cyfoes Cymraeg, a roddodd cyfle i leisiau unigol ddod i'r blaen. Tyner a mynegiannol oedd Pwyll ap Llyr Edwards yn O Dad, daeth yr awr o ‘Myfi Yw’, sioe neilltuol gan Gwmni Theatr Maldwyn sy'n cyflwyno diweddglo ac uchafbwynt Efengyl Sant Ioan (priodol iawn mor agos at y Pasg); cynrychiolir y disgyblion gan gorws yn y cefndir, tra mae'r unawdydd yn gweddïo “O Dad, cadw di hwy”. Bu Meilir Rhys Williams a Steffan Prys Roberts yn huawdl a cherddorol iawn mewn deuawd delynegol allan o 'Hwn yw fy Mrawd', sioe 2018 am Paul Robeson. Cafwyd unawd bendigedig hefyd (cân arall gyda chorws) gan Elis Garmon Jones, sef hwiangerdd dlws o waith Brigyn, Dôl y Plu – 'y sêr i gyd yn llawn addewid'.
Roedd ysbryd cymunedol yn elfen ganolog yn Tawel yma heno allan o ‘A Oes Heddwch’, sioe 2017 Aled Wyn Hughes a Guto Dafydd a nododd ganmlwyddiant marwolaeth Hedd Wyn o Drawsfynydd, gyda milwyr ar y ffrynt yn flinedig ac yn hiraethu am ddychwelyd adref. Cryfaf oll efallai o safbwynt gymunedol oedd yr eitem olaf Geiriau gwag allan o sioe odidog Cwmni Theatr Meirion ‘Er Mwyn Yfory’, a grëwyd ar gyfer Eisteddfod Genedlaethol y Bala 1997: sioe sy'n ail-greu stori'r frwydr ddiwedd y 19eg ganrif yn erbyn degwm yr eglwys, a gorthrymder cyffredinol dan ‘y gyfundrefn sy'n bychanu'n bywydau’. 'Heddiw mae'n rhaid i mi herio'; mae 'balchder yn deillio draw'. Dyna ddiweddglo perffaith i noson gofiadwy; fel arfer byddai wedi bod yn ddiwedd hefyd i'r tymor oll, ond oherwydd gohiriad tywydd drwg erys un cyngerdd ar ôl sef datganiad piano gan Ignas Macknickas, ar nos Wener 30ain o Fai.
As Gruffudd Antur, the evening's congenial MC, pointed out, Eryrod Meirion are strongly rooted in their community, with many members having made a considered decision to stay and raise families in the area. A strong sense of optimism, perhaps deriving from this, permeated the programme – and not just in the folksong Moliannwn, with its refrain 'Mae amser gwell i ddyfod, haleliwia!', 'there are good times ahead!' The 'theme song' Eryrod Meirion (also the title of their excellent 2022 CD), to words by local writer Haf Llywellyn set by choir member Osian Huw Williams, urges the listener not just to mourn the ruins of Carndochan (a C13 castle west of the village), but to wake up and hear 'a new song' – embodied in the wonderful part-singing (in this item unaccompanied) and hwyl of the choir itself, skilfully coached and led (often from the piano) by Branwen Haf.
As well as folksongs (three of the four subtly arranged by Osian), a key strand was songs from contemporary Welsh musicals, which gave opportunities for individual voices to shine. Pwyll ap Llyr Edwards was moving in O Dad, daeth yr awr from 'Myfi Yw', the remarkable Cwmni Theatr Maldwyn setting of the climax of St John's Gospel (appropriate near to Easter), the disciples represented by a background chorus as the soloist prays "O Dad, cadw di hwy", 'keep them safe'. Meilir Rhys Williams and Steffan Prys Roberts were eloquent in a lyrical duet from 'Hwn yw fy Mrawd', the 2018 show about Paul Robeson. There was also a beguiling solo with chorus from Elis Garmon Jones in the Brigyn lullaby Dôl y Plu, 'the meadow of feathers'.
Community spirit was vividly to the fore in Tawel yma heno from 'A Oes Heddwch' ('Is There Peace'), the 2017 show by Aled Wyn Hughes and Guto Dafydd marking the centenary of the death of Trawsfynydd's Hedd Wyn, with soldiers at the front weary and longing to return home. Strongest of all perhaps from the community angle was the final number Geiriau gwag from the magnificent Cwmni Theatr Meirion show 'Er Mwyn Yfory' ('For Tomorrow') created for the 1997 Bala National Eisteddfod, which tells the story of the late C19 struggle against the church imposition of tithes and general oppression by 'y gyfundrefn', 'the system'. 'Heddiw mae'n rhaid i mi herio' – 'today I must challenge'; 'y balchder yn deillio draw', 'pride is flowing'. This was an uplifting note to end on, and would normally have been the end of the season; there remains however the piano recital by Ignas Macknickas postponed from January, on Friday 30th May.
Un o gryfderau niferus yr Eisteddfod Genedlaethol yw’r modd y mae’n ysgogi cantorion i gymryd rhan mewn ambell i gôr; yn aml iawn wedyn mae grwpiau corawl newydd yn parhau, ac yn chwarae rhan hanfodol ym mywyd eu cymunedau. Felly y bu ar enedigaeth Côr Bro Meirion, yn sgîl Bala 2009. Ynys Môn 2017 oedd y sbardun i Branwen Haf Williams ddod â chriw o feibion ifanc o Lanuwchllyn a’r cyffiniau at ei gilydd i gystadlu fel Eryrod Meirion; cawsant lwyddiant ar unwaith, ac wedi mynd o nerth i nerth ers hynny. Roeddent ar eu gorau wrth ddiddanu'r Clwb yng Ngholeg Meirion-Dwyfor ar nos Wener, 4ydd Ebrill.
Fel y nododd Gruffudd Antur, arweinydd ('MC') hynaws y noson, gwreiddir Eryrod Meirion yn ddwfn yn eu cymuned, gyda sawl un o’r aelodau wedi gwneud penderfyniad strategol i aros a magu teulu yn yr ardal. Oherwydd hyn efallai, rhedodd drwy'r rhaglen ymdeimlad cryf o optimistiaeth – ac nid yn unig yn y gân werin Moliannwn, gyda'i chytgan 'Mae amser gwell i ddyfod, haleliwia!'. Mae'r gân thema fel petai 'Eryrod Meirion' (teitl hefyd eu CD ardderchog o 2022), gosodiad o eiriau'r awdur lleol Haf Llywellyn gan Osian Huw Williams, aelod o’r côr, yn annog gwrandawyr i wneud mwy na galaru adfeilion Castell Carndochan (a leolir i’r gorllewin o’r pentref), ond i ddeffro a chlywed ‘cân newydd’ – cân a ymgorfforir yn ystyrlon yn harmonïau melys a lleisiau dewrion (yn ddi-gyfeiliant yn yr eitem hon) yr Eryrod, dan arweiniad crefftus (mewn sawl eitem o'r piano) Branwen Haf.
Yn ogystal â chaneuon gwerin (tair o’r pedair wedi’u trefnu’n gynnil gan Osian), llinyn allweddol drwy'r rhaglen oedd caneuon o sioeau cerdd cyfoes Cymraeg, a roddodd cyfle i leisiau unigol ddod i'r blaen. Tyner a mynegiannol oedd Pwyll ap Llyr Edwards yn O Dad, daeth yr awr o ‘Myfi Yw’, sioe neilltuol gan Gwmni Theatr Maldwyn sy'n cyflwyno diweddglo ac uchafbwynt Efengyl Sant Ioan (priodol iawn mor agos at y Pasg); cynrychiolir y disgyblion gan gorws yn y cefndir, tra mae'r unawdydd yn gweddïo “O Dad, cadw di hwy”. Bu Meilir Rhys Williams a Steffan Prys Roberts yn huawdl a cherddorol iawn mewn deuawd delynegol allan o 'Hwn yw fy Mrawd', sioe 2018 am Paul Robeson. Cafwyd unawd bendigedig hefyd (cân arall gyda chorws) gan Elis Garmon Jones, sef hwiangerdd dlws o waith Brigyn, Dôl y Plu – 'y sêr i gyd yn llawn addewid'.
Roedd ysbryd cymunedol yn elfen ganolog yn Tawel yma heno allan o ‘A Oes Heddwch’, sioe 2017 Aled Wyn Hughes a Guto Dafydd a nododd ganmlwyddiant marwolaeth Hedd Wyn o Drawsfynydd, gyda milwyr ar y ffrynt yn flinedig ac yn hiraethu am ddychwelyd adref. Cryfaf oll efallai o safbwynt gymunedol oedd yr eitem olaf Geiriau gwag allan o sioe odidog Cwmni Theatr Meirion ‘Er Mwyn Yfory’, a grëwyd ar gyfer Eisteddfod Genedlaethol y Bala 1997: sioe sy'n ail-greu stori'r frwydr ddiwedd y 19eg ganrif yn erbyn degwm yr eglwys, a gorthrymder cyffredinol dan ‘y gyfundrefn sy'n bychanu'n bywydau’. 'Heddiw mae'n rhaid i mi herio'; mae 'balchder yn deillio draw'. Dyna ddiweddglo perffaith i noson gofiadwy; fel arfer byddai wedi bod yn ddiwedd hefyd i'r tymor oll, ond oherwydd gohiriad tywydd drwg erys un cyngerdd ar ôl sef datganiad piano gan Ignas Macknickas, ar nos Wener 30ain o Fai.
It was heartening to have a full house, on Friday 7th March in Coleg Meirion-Dwyfor, for the special concert in memory of Club member Hilary Jones. Her son Martin Gwilym-Jones, Sub-Leader of the BBC National Orchestra of Wales and a Professor of violin at the Royal Welsh College of Music and Drama, came together with fellow members of BBC NOW to form the MacFeaverJones String Quartet, especially for this event. Over £600 was raised in support of the Addison's Disease Self-Help Group, a charity of immense value to Hilary once (late in life) her condition had been properly diagnosed, as Martin revealed in a short address.
Schubert and Mozart were two of Hilary's favourite composers, and both featured prominently. The former's 'Rosemunde'Quartet in A minor Op. 29 No. 1 contains some of his loveliest music, not least in the haunting andante that gives the piece its label (from theme music for a now forgotten play). No one does hiraeth, or yearning, quite like Schubert, whereby passages in the major can somehow seem even more poignant than those in the minor. The quartet brought these contrasts out to the full.
There was longing too in Mozart's concert aria “Mentre ti lascio, oh figlia” K513 ('As I leave you, oh daughter'), a lament on the part of the captured Darius King of Persia (defeated by Alexander the Great), magnificently performed by baritone Thomas Coltman against the quartet's backing in his own arrangement of the orchestral score. Martin's BBC NOW companions Juan Gonzalez (violin) Tetsuumi Nagata (viola) and Jessica Feaver (cello) are all senior members of their sections, and their rich and powerful tone amply supplied the colours needed to endorse the singer's moving utterances, building to 'Ah, mi si spezza il cor! Ah, my heart is breaking!'.
The same combination provided an eloquent opening to the second half in the form of Samuel Barber's Op. 3 setting of Matthew Arnold's 1850 poem 'Dover Beach', still relevant today, about the shrinking of the Sea of Faith seen as waves retreating down the 'naked shingles of the world'. Sadness is for a while transcended at the climax, strongly realised by Thomas and the quartet – 'Ah, love, let us be true to one another!'
Mendelssohn's early Quartet in A minor Op. 13 deserves to be heard much more often, and made an uplifting ending to the programme. The delicate fast music in the Intermezzo movement, reminiscent of the sprightly scherzo in Mendelssohn's writing for A Midsummer Night’s Dream, showed the players' virtuosity and mastery in creating a range of textures. Martin's brilliance was to the fore in the final Presto, and Juan and Tetsuumi brought out every nuance of their inner parts; Jessica's underpinning bass was impeccable throughout. Crowned by Thomas's heroic and expressive singing, this was an occasion that amply fulfilled all hopes and expectations.
Bu'n braf cael gweld y lle'n llawn, nos Wener 7fed Mawrth yng Ngholeg Meirion-Dwyfor, ar achlysur cyngerdd arbennig er cof am Hilary Jones, aelod a gyfrannodd cymaint i'r Clwb. Daeth ei mab Martin Gwilym-Jones, Is-Arweinydd Cerddorfa Genedlaethol Gymreig y BBC ac Athro ffidil yng Ngholeg Brenhinol Cerdd a Drama Cymru, ynghyd â chyd-aelodau BBC NOW – yn neilltuol ar gyfer y digwyddiad hwn – i ffurfio Pedwarawd Llinynnol MacFeaverJones. Codwyd dros £600 at Grŵp Hunangymorth Clefyd Addison, elusen o gymorth aruthrol i Hilary unwaith (yn hwyr yn ei bywyd) y cafwyd ganddi ddiagnosis cywir, fel y datgelodd Martin mewn anerchiad byr.
Roedd Schubert a Mozart ymhlith hoff gyfansoddwyr Hilary, a dyna'r ddau yn flaengar yn ystod y rhaglen hon. Cynhwysa Pedwarawd yn A leiaf Op.29 Rh.1 'Rosemunde' lawr o gerddoriaeth fwyaf hyfryd Schubert, yn enwedig yn yr andante swynol sy'n rhoi ei enw i'r darn (thema o gerddoriaeth ar gyfer drama sydd bellach wedi ei hanghofio). Mae gan y cyfansoddwr hwn ddawn arbennig i fynegu hiraeth, wrth wneud yr elfennau yn y mwyaf weithiau hyd yn oed yn fwy ingol na'r rhai yn y lleiaf. Cyflawnodd pedwarawd Martin y gwrthgyferbyniadau hyn i'r eithaf.
Roedd hiraeth i'w theimlo hefyd yn aria gyngerdd Mozart "Mentre ti lascio, oh figlia" K513 ('Wrth i fi dy adael, o ferch'), galarnad gan Dariws Brenin Persia (a ddaliwyd gan Alecsander Fawr) wedi'i pherfformio'n wych gan y bariton Thomas Coltman dros gyfeiliant y pedwarawd (mewn trefniant Thomas ei hun o'r sgôr gerddorfaol.) Mae cyfeillion Martin – Juan Gonzalez (ffidil), Tetsuumi Nagata (fiola) a Jessica Feaver (soddgrwth) – yn aelodau uwch o'u hadrannau yn y Gerddorfa, a dim syndod oedd felly bod eu sain gyfoethog a phwerus yn cyflenwi mor effeithiol liwiau'r llais. Adeiladodd y cyfan yn gryf at ddiweddglo angerddol – 'Ah, mi si spezza il cor! Mae 'nghalon yn torri!'
Agorwyd yr ail hanner gyda'r un cyfuniad o lais a phedwarawd wrth iddynt gyflwyno gosodiad Op. 3 Samuel Barber o gerdd Matthew Arnold 'Dover Beach' (1850), sy'n dal yn berthnasol heddiw: dyma ddelwedd o sut mae Môr Ffydd yn encilio fel tonnau i lawr 'the...naked shingles of the world'. Lleiha'r tristwch am foment yn uchafbwynt y gân, a gyflawnwyd i'r dim gan Thomas a'r pedwarawd – 'Ah, love, let us be true to one another!'
Haedda pedwarawd cynnar Mendelssohn yn A leiaf Op. 13 wrandawiad mwy arferol, a phenderfyniad doeth oedd ei ddewis er mwyn codi hwyliau ar y diwedd. Dangosodd cerddoriaeth gyflym cain yr Intermezzo, mor debyg ei naws i'r scherzo sionc a greodd Mendelssohn ar gyfer A Midsummer Night's Dream, feistrolaeth y chwaraewyr wrth iddynt greu patrwm coeth o weadau. Daeth hyfrededd Martin i'r amlwg yn y Presto olaf, ac achubodd Juan a Tetsuumi ar bob cyfle i bwysleisio arlliwiau eu rhannau mewnol. Gan Jessica gafwyd drwyddi draw sail gadarn yn y llinell bas. Gyda chyfraniad lleisiol mor arwrol a sensitif gan Thomas, llwyddodd y cyfan i sicrhau noson a gyflawnodd i'r eithaf y gobeithion a disgwyliadau a aeth o'i blaen.
Schubert and Mozart were two of Hilary's favourite composers, and both featured prominently. The former's 'Rosemunde'Quartet in A minor Op. 29 No. 1 contains some of his loveliest music, not least in the haunting andante that gives the piece its label (from theme music for a now forgotten play). No one does hiraeth, or yearning, quite like Schubert, whereby passages in the major can somehow seem even more poignant than those in the minor. The quartet brought these contrasts out to the full.
There was longing too in Mozart's concert aria “Mentre ti lascio, oh figlia” K513 ('As I leave you, oh daughter'), a lament on the part of the captured Darius King of Persia (defeated by Alexander the Great), magnificently performed by baritone Thomas Coltman against the quartet's backing in his own arrangement of the orchestral score. Martin's BBC NOW companions Juan Gonzalez (violin) Tetsuumi Nagata (viola) and Jessica Feaver (cello) are all senior members of their sections, and their rich and powerful tone amply supplied the colours needed to endorse the singer's moving utterances, building to 'Ah, mi si spezza il cor! Ah, my heart is breaking!'.
The same combination provided an eloquent opening to the second half in the form of Samuel Barber's Op. 3 setting of Matthew Arnold's 1850 poem 'Dover Beach', still relevant today, about the shrinking of the Sea of Faith seen as waves retreating down the 'naked shingles of the world'. Sadness is for a while transcended at the climax, strongly realised by Thomas and the quartet – 'Ah, love, let us be true to one another!'
Mendelssohn's early Quartet in A minor Op. 13 deserves to be heard much more often, and made an uplifting ending to the programme. The delicate fast music in the Intermezzo movement, reminiscent of the sprightly scherzo in Mendelssohn's writing for A Midsummer Night’s Dream, showed the players' virtuosity and mastery in creating a range of textures. Martin's brilliance was to the fore in the final Presto, and Juan and Tetsuumi brought out every nuance of their inner parts; Jessica's underpinning bass was impeccable throughout. Crowned by Thomas's heroic and expressive singing, this was an occasion that amply fulfilled all hopes and expectations.
Bu'n braf cael gweld y lle'n llawn, nos Wener 7fed Mawrth yng Ngholeg Meirion-Dwyfor, ar achlysur cyngerdd arbennig er cof am Hilary Jones, aelod a gyfrannodd cymaint i'r Clwb. Daeth ei mab Martin Gwilym-Jones, Is-Arweinydd Cerddorfa Genedlaethol Gymreig y BBC ac Athro ffidil yng Ngholeg Brenhinol Cerdd a Drama Cymru, ynghyd â chyd-aelodau BBC NOW – yn neilltuol ar gyfer y digwyddiad hwn – i ffurfio Pedwarawd Llinynnol MacFeaverJones. Codwyd dros £600 at Grŵp Hunangymorth Clefyd Addison, elusen o gymorth aruthrol i Hilary unwaith (yn hwyr yn ei bywyd) y cafwyd ganddi ddiagnosis cywir, fel y datgelodd Martin mewn anerchiad byr.
Roedd Schubert a Mozart ymhlith hoff gyfansoddwyr Hilary, a dyna'r ddau yn flaengar yn ystod y rhaglen hon. Cynhwysa Pedwarawd yn A leiaf Op.29 Rh.1 'Rosemunde' lawr o gerddoriaeth fwyaf hyfryd Schubert, yn enwedig yn yr andante swynol sy'n rhoi ei enw i'r darn (thema o gerddoriaeth ar gyfer drama sydd bellach wedi ei hanghofio). Mae gan y cyfansoddwr hwn ddawn arbennig i fynegu hiraeth, wrth wneud yr elfennau yn y mwyaf weithiau hyd yn oed yn fwy ingol na'r rhai yn y lleiaf. Cyflawnodd pedwarawd Martin y gwrthgyferbyniadau hyn i'r eithaf.
Roedd hiraeth i'w theimlo hefyd yn aria gyngerdd Mozart "Mentre ti lascio, oh figlia" K513 ('Wrth i fi dy adael, o ferch'), galarnad gan Dariws Brenin Persia (a ddaliwyd gan Alecsander Fawr) wedi'i pherfformio'n wych gan y bariton Thomas Coltman dros gyfeiliant y pedwarawd (mewn trefniant Thomas ei hun o'r sgôr gerddorfaol.) Mae cyfeillion Martin – Juan Gonzalez (ffidil), Tetsuumi Nagata (fiola) a Jessica Feaver (soddgrwth) – yn aelodau uwch o'u hadrannau yn y Gerddorfa, a dim syndod oedd felly bod eu sain gyfoethog a phwerus yn cyflenwi mor effeithiol liwiau'r llais. Adeiladodd y cyfan yn gryf at ddiweddglo angerddol – 'Ah, mi si spezza il cor! Mae 'nghalon yn torri!'
Agorwyd yr ail hanner gyda'r un cyfuniad o lais a phedwarawd wrth iddynt gyflwyno gosodiad Op. 3 Samuel Barber o gerdd Matthew Arnold 'Dover Beach' (1850), sy'n dal yn berthnasol heddiw: dyma ddelwedd o sut mae Môr Ffydd yn encilio fel tonnau i lawr 'the...naked shingles of the world'. Lleiha'r tristwch am foment yn uchafbwynt y gân, a gyflawnwyd i'r dim gan Thomas a'r pedwarawd – 'Ah, love, let us be true to one another!'
Haedda pedwarawd cynnar Mendelssohn yn A leiaf Op. 13 wrandawiad mwy arferol, a phenderfyniad doeth oedd ei ddewis er mwyn codi hwyliau ar y diwedd. Dangosodd cerddoriaeth gyflym cain yr Intermezzo, mor debyg ei naws i'r scherzo sionc a greodd Mendelssohn ar gyfer A Midsummer Night's Dream, feistrolaeth y chwaraewyr wrth iddynt greu patrwm coeth o weadau. Daeth hyfrededd Martin i'r amlwg yn y Presto olaf, ac achubodd Juan a Tetsuumi ar bob cyfle i bwysleisio arlliwiau eu rhannau mewnol. Gan Jessica gafwyd drwyddi draw sail gadarn yn y llinell bas. Gyda chyfraniad lleisiol mor arwrol a sensitif gan Thomas, llwyddodd y cyfan i sicrhau noson a gyflawnodd i'r eithaf y gobeithion a disgwyliadau a aeth o'i blaen.
It was a pleasure for the Club, in Coleg Meirion-Dwyfor on Friday 7th February, to welcome a return visit from its founder, cellist Nicholas Jones, tutor and Assistant Principal at Chetham's, together with his fellow tutor the pianist Gemma Webster. Their programme comprised three substantial pieces, engaging in their own right but also making an interesting arc across just over a century – from Beethoven's Sonata in G minor Op.5 No.2 ('classical') of 1796, through Schumann's Fantasy Pieces Op.73 of 1849 ('romantic'), to Rachmaninov's Sonata in G minor Op. 19 of 1901 ('late romantic'). One could enjoy each piece in turn, but also get a meaningful sense of evolution and development.
In performances of this calibre one really could enjoy the music to the full, with both instrumentalists in assured technical control throughout even where a high degree of virtuosity was required (not least in the Rachmaninov), yet also able to give the many tender and lyrical moments space to breathe. Excellent rapport and balance between the two showed a partnership truly 'in the groove'.
Beethoven's two Op.5 sonatas were in fact the first to give cello and piano equal weight (the cello previously having mostly doubled continuo accompaniment), and as the monarch for whom they were written (Friedrich Wilhelm II of Prussia) was himself an enthusiastic cellist, Beethoven made sure to allow him a prominent role. In this role Nick's sweetness of tone and precise intonation were at once in evidence, and filigree piano work showed why Gemma has been praised for her playing of Mozart. The duo fully deserved their warm applause, just as Beethoven undoubtedly merited his reward of a gold snuff box filled with louis d'ors!
The very headings of Schumann's Fantasy Pieces, 'tender and with expression', 'lively', rasch und mit Feuer/'fast and fiery', indicate the romantic direction in which music had evolved by the mid-century. 1849 was an incredibly productive year for Schumann seeing him compose as many as 40 notable pieces, many of them social (for choirs and orchestras), but some like these more personal and exploring an inner world. The last piece 'drives into a frenzy of passion and fiery energy, bordering on the irrational', to quote one description, and the players here were fully equal to the challenge.
A greater one still lay ahead in the Rachmaninov sonata, one of the 'Everests' of the repertoire. Praise be to the Moscow doctor who with hypnotherapy cured Rachmaninov of his composer's block after the failure of his 1897 First Symphony; 1901 saw the creation of his much-loved 2nd Piano Concerto (dedicated to the doctor), and this magnificent chamber piece. Nick and Gemma were equal to the climb, and left listeners in a state of exhilaration. Calm was restored with an eloquent rendering by way of encore of Saint-Säens' 'The Swan', the perfect ending to a deeply satisfying, indeed therapeutic, evening's music-making.
Pleser mawr oedd i'r Clwb, ar nos Wener 7fed Chwefror yng Ngholeg Meirion-Dwyfor, gael croesawu'n ôl sylfaenydd y Clwb sef y sielydd Nicholas Jones, ynghyd â'i gyd-diwtor yn Chetham's (lle mae o hefyd yn Ddirpwy Bennaeth) y pianydd Gemma Webster. Yn eu rhaglen clywyd tri darn sylweddol, a rychwantodd ychydig dros ganrif – o 1796 a Sonata Beethoven yn G leiaf Op.5 Rh. 2 ('clasurol'), trwy Ddarnau Ffantasi Op.73 o waith Schumann (1849, 'rhamantaidd'), hyd at Sonata Rachmaninoff yn G leiaf Op. 19 o 1901 (yn y cyfnod 'rhamantiaeth ddiweddar'). Yn ogystal â mwynhad o bob darn yn ei dro, cafwyd hefyd argraff ystyrlon o esblygiad a thwf.
Wrth wrando ar berfformiadau o'r safon a gafwyd gallai unrhyw un fwynhau'r gerddoriaeth i'r eithaf, gyda'r ddau offerynnwr mewn rheolaeth dechnegol sicr hyd yn oed lle roedd angen lefel uchel o feistrolaeth (yn enwedig yn y Rachmaninoff); caniatawyd hefyd le i anadlu, fel petai, i'r alawon tyner a thelynegol. Daeth i'r amlwg cydbwysedd a dealltwriaeth arbennig rhwng y ddau.
Yn y ddwy sonata Op.5 rhoddodd Beethoven gyfle cyfartal am y tro cyntaf i'r sielo a'r piano (hyd hynny, roedd y sielo'n bennaf wedi dyblu cyfeiliant y continwo); ar gyfer Friedrich Wilhelm II o Brwsia yr ysgrifennodd Beethoven y ddau ddarn, ac am fod y Brenin ei hun yn sielydd brwdfrydig, gwnaeth Beethoven yn siŵr o ganiatáu rôl bwysig i'w offeryn. Roedd melyster sain ac uniondeb traw yn amlwg ar unwaith o ran Nick, ac yn ei chyfeiliant tryloyw dangosodd Gemma pam y mae hi wedi cael clod am ei dehongliadau o waith Mozart. Haeddwyd yn llawn y gymeradwyaeth gynnes a ddaeth ar ddiwedd y darn. Heb os, haeddodd Beethoven yntau ei wobr o flwch snisin aur, llawn louis d'ors!
Dangosir ym mhenawdau Darnau Ffantasi Schumann, 'tyner a chyda mynegiant', 'bywiog', rasch und mit Feuer/'cyflym a thanllyd', sut oedd cerddoriaeth wedi esblygu mewn cyfeiriad rhamantus erbyn canol y 19eg Ganrif. Roedd 1849 yn flwyddyn hynod gynhyrchiol ym mywyd Schumann, wrth iddo gyfansoddi tua 40 darn nodedig yn y flwyddyn honno, rhai yn gymdeithasol (ar gyfer corau a cherddorfeydd), ond eraill fel y Fantasiestücke hyn yn fwy personol ac yn archwilio byd mewnol. Mae'r darn olaf yn adeiladu at 'uchafbwynt o angerdd ac egni tanllyd, sy'n ffinio ar wallgofrwydd', yng ngeiriau un disgrifiad, ac roedd y chwaraewyr yma yn gwbl hyderus a galluog wrth wynebu'r her.
Roedd her hyd yn oed yn fwy o'u blaen yn yr ail hanner gyda sonata Rachmaninoff, Eferest go iawn y repertoire. Rhaid cofio gyda diolch y meddyg ym Moscow a iacháodd Rachmaninoff drwy gyfrwng hypnotherapi, yn sgîl argyfwng a brofodd y cyfansoddwr ym 1897 oherwydd methiant ei Symffoni Gyntaf. Ym 1901 llwyddodd i greu ei Ail Consierto ar gyfer Piano (ei gyfansoddiad mwyaf poblogaidd, a ymroddwyd ganddo i'w feddyg), a'r darn siambr godidog hwn. Roedd Nick a Gemma unwaith eto yn barod am yr her ac ar ben y dasg; erbyn y diwedd roedd y gwrandawyr i gyd yn rhannu i'r dim orfoledd y gerddoriaeth. Cafwyd llonydd i gloi gyda'r 'Alarch' o waith Saint-Säens fel encôr, diweddglo perffaith i noson hynod foddhaol – mwy na hyn, noson therapiwtig!
In performances of this calibre one really could enjoy the music to the full, with both instrumentalists in assured technical control throughout even where a high degree of virtuosity was required (not least in the Rachmaninov), yet also able to give the many tender and lyrical moments space to breathe. Excellent rapport and balance between the two showed a partnership truly 'in the groove'.
Beethoven's two Op.5 sonatas were in fact the first to give cello and piano equal weight (the cello previously having mostly doubled continuo accompaniment), and as the monarch for whom they were written (Friedrich Wilhelm II of Prussia) was himself an enthusiastic cellist, Beethoven made sure to allow him a prominent role. In this role Nick's sweetness of tone and precise intonation were at once in evidence, and filigree piano work showed why Gemma has been praised for her playing of Mozart. The duo fully deserved their warm applause, just as Beethoven undoubtedly merited his reward of a gold snuff box filled with louis d'ors!
The very headings of Schumann's Fantasy Pieces, 'tender and with expression', 'lively', rasch und mit Feuer/'fast and fiery', indicate the romantic direction in which music had evolved by the mid-century. 1849 was an incredibly productive year for Schumann seeing him compose as many as 40 notable pieces, many of them social (for choirs and orchestras), but some like these more personal and exploring an inner world. The last piece 'drives into a frenzy of passion and fiery energy, bordering on the irrational', to quote one description, and the players here were fully equal to the challenge.
A greater one still lay ahead in the Rachmaninov sonata, one of the 'Everests' of the repertoire. Praise be to the Moscow doctor who with hypnotherapy cured Rachmaninov of his composer's block after the failure of his 1897 First Symphony; 1901 saw the creation of his much-loved 2nd Piano Concerto (dedicated to the doctor), and this magnificent chamber piece. Nick and Gemma were equal to the climb, and left listeners in a state of exhilaration. Calm was restored with an eloquent rendering by way of encore of Saint-Säens' 'The Swan', the perfect ending to a deeply satisfying, indeed therapeutic, evening's music-making.
Pleser mawr oedd i'r Clwb, ar nos Wener 7fed Chwefror yng Ngholeg Meirion-Dwyfor, gael croesawu'n ôl sylfaenydd y Clwb sef y sielydd Nicholas Jones, ynghyd â'i gyd-diwtor yn Chetham's (lle mae o hefyd yn Ddirpwy Bennaeth) y pianydd Gemma Webster. Yn eu rhaglen clywyd tri darn sylweddol, a rychwantodd ychydig dros ganrif – o 1796 a Sonata Beethoven yn G leiaf Op.5 Rh. 2 ('clasurol'), trwy Ddarnau Ffantasi Op.73 o waith Schumann (1849, 'rhamantaidd'), hyd at Sonata Rachmaninoff yn G leiaf Op. 19 o 1901 (yn y cyfnod 'rhamantiaeth ddiweddar'). Yn ogystal â mwynhad o bob darn yn ei dro, cafwyd hefyd argraff ystyrlon o esblygiad a thwf.
Wrth wrando ar berfformiadau o'r safon a gafwyd gallai unrhyw un fwynhau'r gerddoriaeth i'r eithaf, gyda'r ddau offerynnwr mewn rheolaeth dechnegol sicr hyd yn oed lle roedd angen lefel uchel o feistrolaeth (yn enwedig yn y Rachmaninoff); caniatawyd hefyd le i anadlu, fel petai, i'r alawon tyner a thelynegol. Daeth i'r amlwg cydbwysedd a dealltwriaeth arbennig rhwng y ddau.
Yn y ddwy sonata Op.5 rhoddodd Beethoven gyfle cyfartal am y tro cyntaf i'r sielo a'r piano (hyd hynny, roedd y sielo'n bennaf wedi dyblu cyfeiliant y continwo); ar gyfer Friedrich Wilhelm II o Brwsia yr ysgrifennodd Beethoven y ddau ddarn, ac am fod y Brenin ei hun yn sielydd brwdfrydig, gwnaeth Beethoven yn siŵr o ganiatáu rôl bwysig i'w offeryn. Roedd melyster sain ac uniondeb traw yn amlwg ar unwaith o ran Nick, ac yn ei chyfeiliant tryloyw dangosodd Gemma pam y mae hi wedi cael clod am ei dehongliadau o waith Mozart. Haeddwyd yn llawn y gymeradwyaeth gynnes a ddaeth ar ddiwedd y darn. Heb os, haeddodd Beethoven yntau ei wobr o flwch snisin aur, llawn louis d'ors!
Dangosir ym mhenawdau Darnau Ffantasi Schumann, 'tyner a chyda mynegiant', 'bywiog', rasch und mit Feuer/'cyflym a thanllyd', sut oedd cerddoriaeth wedi esblygu mewn cyfeiriad rhamantus erbyn canol y 19eg Ganrif. Roedd 1849 yn flwyddyn hynod gynhyrchiol ym mywyd Schumann, wrth iddo gyfansoddi tua 40 darn nodedig yn y flwyddyn honno, rhai yn gymdeithasol (ar gyfer corau a cherddorfeydd), ond eraill fel y Fantasiestücke hyn yn fwy personol ac yn archwilio byd mewnol. Mae'r darn olaf yn adeiladu at 'uchafbwynt o angerdd ac egni tanllyd, sy'n ffinio ar wallgofrwydd', yng ngeiriau un disgrifiad, ac roedd y chwaraewyr yma yn gwbl hyderus a galluog wrth wynebu'r her.
Roedd her hyd yn oed yn fwy o'u blaen yn yr ail hanner gyda sonata Rachmaninoff, Eferest go iawn y repertoire. Rhaid cofio gyda diolch y meddyg ym Moscow a iacháodd Rachmaninoff drwy gyfrwng hypnotherapi, yn sgîl argyfwng a brofodd y cyfansoddwr ym 1897 oherwydd methiant ei Symffoni Gyntaf. Ym 1901 llwyddodd i greu ei Ail Consierto ar gyfer Piano (ei gyfansoddiad mwyaf poblogaidd, a ymroddwyd ganddo i'w feddyg), a'r darn siambr godidog hwn. Roedd Nick a Gemma unwaith eto yn barod am yr her ac ar ben y dasg; erbyn y diwedd roedd y gwrandawyr i gyd yn rhannu i'r dim orfoledd y gerddoriaeth. Cafwyd llonydd i gloi gyda'r 'Alarch' o waith Saint-Säens fel encôr, diweddglo perffaith i noson hynod foddhaol – mwy na hyn, noson therapiwtig!
Although not a Christmas programme the concert presented in Coleg Meirion-Dwyfor on Friday 29th November by the early music group Sirinu left its audience in buoyant mood, delighted (in the words of one member) by 'this festive pre-Yuletide event'. One factor was the sheer range and variety of instruments performed by the five players, amounting to over a dozen; combined with excellent singing, this made for an exhilarating musical experience.
Narrative colour was another key ingredient. 'The Road to Toledo' was the show's theme, following the thousand-mile journey in 1501 of Archduke Philip the Fair of Burgundy that played its part in the dynasty-building politics of his marriage to Juana, second daughter of Ferdinand & Isabella of Spain; their son would as Charles V become ruler of the massive Spanish Empire. Philip took along musicians and composers as well as soldiers, and Sirinu members introduced their sets with short extracts from an eyewitness chronicle of the trip (by a courtier more interested in the food and wine consumed than the music played!). The first half comprised mostly French or Flemish repertoire including the famous Mille regrets by Josquin des Prez, a favourite with Emperor Charles who had it sung for him every night before sleep. Lutenist Matthew Spring added (on the vihuela, the Spanish lute) Luis de Narváez' delicate transcription of the piece, intimate and reflective.
Journeying into Spain itself produced more extrovert items, beginning with the traditional Asturianada beautifully sung and ornamented by soprano Sara Stowe, who also captured the folk spirit of Tres morillas about three Moorish girls from Jaén called Aisha, Fátima and Merién. Recorder-player Kira Thomas's shawm – a penetrating reed instrument for outdoors, she explained – came into its own as the band processed round the hall in a traditional Marcia, Matthew's hurdy-gurdy providing the drone and Jon Banks's drum the essential beat. Jon mostly played the medieval harp, whose shape (he pointed out) can be seen on all those Christmas cards featuring early paintings with angels... As well as showing skill on the medieval fiddle Lewis Spring enhanced many items with his pure alto voice, not least in his solo the anonymous Dezí, flor resplandeciente, a Nativity song. Sara brought in castanets and the men early guitars for the final set comprising two dances, Zarabanda and Bransle de Montarde, in which Kira's piccolo-like high recorder sparkled with its embellishing melodies. A fine display of brio, and a splendid conclusion to an altogether memorable evening.
Nid oedd y cyngerdd a gyflwynwyd yng Ngholeg Meirion-Dwyfor ar nos Wener 29ain Tachwedd gan Sirinu (grŵp cerddoriaeth gynnar) yn Nadoligaidd o'i hanfod; serch hynny, gadawodd ei gynulleidfa mewn hwyliau da iawn. Un ffactor oedd yr ystod a'r amrywiaeth eang o offerynnau, dros ddwsin ohonynt, a berfformiwyd gan y pum chwaraewr. Gyda chanu ardderchog yn ogystal, cafwyd fel cyfanswm brofiad cerddorol gwefreiddiol a gwahanol.
Elfen allweddol arall oedd y lliw naratif. 'Y Ffordd i Toledo' oedd thema'r sioe, oedd yn dilyn y daith o fil milltir a wnaethpwyd gan yr Archddug Philip Deg o Fwrgwyn fel rhan o'i uchelgais i adeiladu llinach drwy ei briodas â Juana, ail ferch Ferdinand ac Isabella o Sbaen; byddai eu mab Siarl (Siarl V nes ymlaen) yn rheoli dros yr Ymerodraeth Sbaenaidd gyfan. Teithiodd Philip gyda cherddorion a chyfansoddwyr yn ogystal â milwyr, a chyflwynwyd gan aelodau Sirinu rhwng eu setiau ddarnau byrion allan o gronicl llygad-dyst cyfoes – llyswr â mwy o ddiddordeb yn y bwyd a'r gwin a fwynhawyd na'r gerddoriaeth a chwaraewyd!). Roedd hanner cyntaf y rhaglen yn cynnwys repertoire Ffrengig neu Ffleminaidd yn bennaf, gan gynnwys y Mille Regrets enwog o waith Josquin des Prez – ffefryn gyda'r Ymerawdwr Siarl a mynnodd am i'r gân gael ei pherfformio bob nos cyn iddo fynd i gysgu. Ychwanegodd Matthew Spring (ar fihwela, y liwt Sbaenaidd) drawsgrifiad cain o'r darn gan Luis de Narváez, addasiad agos atoch a myfyriol.
Yn yr ail ran, wrth i daith Philip gyrraedd Sbaen, clywyd eitemau mwy allblyg, gan ddechrau gyda'r Asturianadadraddodiadol a gyflwynwyd gydag addurniadau hyfryd gan y soprano Sara Stowe; cipiwyd ganddi hefyd naws werinol Tres morillas m'enamoran en Jaén, sy'n sôn am dair merch Mwraidd o Jaén o'r enwau Aisha, Fátima a Merién. Daeth chwythgorn (shawm) Kira Thomas – offeryn corsen treiddgar sy'n siwtio'r awyr agored, fel yr eglurodd - i'r amlwg wrth i'r band orymdeithio o gwmpas y neuadd mewn Marcia traddodiadol, gyda hyrdi-gyrdi Matthew yn cyfrannu'r drôn a drymiau Jon Banks y curiad hanfodol. Prif offeryn Jon yn gyffredinol oedd y delyn ganoloesol, ei siâp (nododd) i'w weld ar yr holl gardiau Nadolig hynny sy'n dangos hen luniau llawn angylion... Yn ogystal â dangos sgil ar y ffidil ganoloesol fe wnaeth Lewis Spring harddu llawer o eitemau gyda'i lais alto pur, yn anad dim yn ei unawd Dezí, flor resplandeciente, cân y Geni. Daeth Sara â chastanetau i mewn a'r dynion gitarau cynnar ar gyfer set ola'r sioe sef dwy ddawns, Zarabandaa Bransle de Montarde, lle disgleiriodd recordydd uchel Kira gyda'i felodïau deniadol. Dyna 'brio' go iawn, a diweddglo ysblennydd i noson gofiadwy.
Narrative colour was another key ingredient. 'The Road to Toledo' was the show's theme, following the thousand-mile journey in 1501 of Archduke Philip the Fair of Burgundy that played its part in the dynasty-building politics of his marriage to Juana, second daughter of Ferdinand & Isabella of Spain; their son would as Charles V become ruler of the massive Spanish Empire. Philip took along musicians and composers as well as soldiers, and Sirinu members introduced their sets with short extracts from an eyewitness chronicle of the trip (by a courtier more interested in the food and wine consumed than the music played!). The first half comprised mostly French or Flemish repertoire including the famous Mille regrets by Josquin des Prez, a favourite with Emperor Charles who had it sung for him every night before sleep. Lutenist Matthew Spring added (on the vihuela, the Spanish lute) Luis de Narváez' delicate transcription of the piece, intimate and reflective.
Journeying into Spain itself produced more extrovert items, beginning with the traditional Asturianada beautifully sung and ornamented by soprano Sara Stowe, who also captured the folk spirit of Tres morillas about three Moorish girls from Jaén called Aisha, Fátima and Merién. Recorder-player Kira Thomas's shawm – a penetrating reed instrument for outdoors, she explained – came into its own as the band processed round the hall in a traditional Marcia, Matthew's hurdy-gurdy providing the drone and Jon Banks's drum the essential beat. Jon mostly played the medieval harp, whose shape (he pointed out) can be seen on all those Christmas cards featuring early paintings with angels... As well as showing skill on the medieval fiddle Lewis Spring enhanced many items with his pure alto voice, not least in his solo the anonymous Dezí, flor resplandeciente, a Nativity song. Sara brought in castanets and the men early guitars for the final set comprising two dances, Zarabanda and Bransle de Montarde, in which Kira's piccolo-like high recorder sparkled with its embellishing melodies. A fine display of brio, and a splendid conclusion to an altogether memorable evening.
Nid oedd y cyngerdd a gyflwynwyd yng Ngholeg Meirion-Dwyfor ar nos Wener 29ain Tachwedd gan Sirinu (grŵp cerddoriaeth gynnar) yn Nadoligaidd o'i hanfod; serch hynny, gadawodd ei gynulleidfa mewn hwyliau da iawn. Un ffactor oedd yr ystod a'r amrywiaeth eang o offerynnau, dros ddwsin ohonynt, a berfformiwyd gan y pum chwaraewr. Gyda chanu ardderchog yn ogystal, cafwyd fel cyfanswm brofiad cerddorol gwefreiddiol a gwahanol.
Elfen allweddol arall oedd y lliw naratif. 'Y Ffordd i Toledo' oedd thema'r sioe, oedd yn dilyn y daith o fil milltir a wnaethpwyd gan yr Archddug Philip Deg o Fwrgwyn fel rhan o'i uchelgais i adeiladu llinach drwy ei briodas â Juana, ail ferch Ferdinand ac Isabella o Sbaen; byddai eu mab Siarl (Siarl V nes ymlaen) yn rheoli dros yr Ymerodraeth Sbaenaidd gyfan. Teithiodd Philip gyda cherddorion a chyfansoddwyr yn ogystal â milwyr, a chyflwynwyd gan aelodau Sirinu rhwng eu setiau ddarnau byrion allan o gronicl llygad-dyst cyfoes – llyswr â mwy o ddiddordeb yn y bwyd a'r gwin a fwynhawyd na'r gerddoriaeth a chwaraewyd!). Roedd hanner cyntaf y rhaglen yn cynnwys repertoire Ffrengig neu Ffleminaidd yn bennaf, gan gynnwys y Mille Regrets enwog o waith Josquin des Prez – ffefryn gyda'r Ymerawdwr Siarl a mynnodd am i'r gân gael ei pherfformio bob nos cyn iddo fynd i gysgu. Ychwanegodd Matthew Spring (ar fihwela, y liwt Sbaenaidd) drawsgrifiad cain o'r darn gan Luis de Narváez, addasiad agos atoch a myfyriol.
Yn yr ail ran, wrth i daith Philip gyrraedd Sbaen, clywyd eitemau mwy allblyg, gan ddechrau gyda'r Asturianadadraddodiadol a gyflwynwyd gydag addurniadau hyfryd gan y soprano Sara Stowe; cipiwyd ganddi hefyd naws werinol Tres morillas m'enamoran en Jaén, sy'n sôn am dair merch Mwraidd o Jaén o'r enwau Aisha, Fátima a Merién. Daeth chwythgorn (shawm) Kira Thomas – offeryn corsen treiddgar sy'n siwtio'r awyr agored, fel yr eglurodd - i'r amlwg wrth i'r band orymdeithio o gwmpas y neuadd mewn Marcia traddodiadol, gyda hyrdi-gyrdi Matthew yn cyfrannu'r drôn a drymiau Jon Banks y curiad hanfodol. Prif offeryn Jon yn gyffredinol oedd y delyn ganoloesol, ei siâp (nododd) i'w weld ar yr holl gardiau Nadolig hynny sy'n dangos hen luniau llawn angylion... Yn ogystal â dangos sgil ar y ffidil ganoloesol fe wnaeth Lewis Spring harddu llawer o eitemau gyda'i lais alto pur, yn anad dim yn ei unawd Dezí, flor resplandeciente, cân y Geni. Daeth Sara â chastanetau i mewn a'r dynion gitarau cynnar ar gyfer set ola'r sioe sef dwy ddawns, Zarabandaa Bransle de Montarde, lle disgleiriodd recordydd uchel Kira gyda'i felodïau deniadol. Dyna 'brio' go iawn, a diweddglo ysblennydd i noson gofiadwy.
Not all music clubs seem keen to feature song recitals, but in Dolgellau they're always a firm favourite – and this year's proved as firm and as favourite as it gets, with an eager audience crowding the Coleg hall on Friday 1st November to hear soprano Erin Rossington and tenor Rhys Meilyr with Eirian Owen at the piano. There is a local following for Eirian of course, but one based on musical trust, with a guarantee of first-rate playing and unfailing support for her singers. Such confidence was amply repaid.
Erin was International Voice of the Future at Llangollen in 2019 and last year won the Towyn Roberts Scholarship at the National Eisteddfod, progressing this year to becoming an Associate Artist for 2024/25 at Welsh National Opera: she is currently performing the role of Cercatrice in Puccini's Suor Angelica, and will be performing the role of La Contessa in Le Nozze di Figaro next year in Swansea. Her heroine, she said in presenting an aria by Cilea, is Maria Callas, and her own strong soprano has indeed a touch in the best sense of Callas steel; she will surely go on to sing many great roles in the future. The opening number, 'Porgi amor', gave a foretaste of her Contessa. In the famous Jewel Song from Gounod'sFaust she conveyed vividly the young Marguerite's excitement as she looks at herself in the mirror, trying on the dazzling gems provided by Mephistopheles. There was nuanced emotion as she became Dvořák's Rusalka, the water-nymph longing to be human, who sings to the moon begging it to tell the Prince just who is waiting for him, 'kdo tu nan ceka!'. (Also in fluent Czech, two of Dvořák's Gypsy Songs.) Songs in addition by Strauss, Meirion Williams and Ivor Novello made up a polished and varied contribution.
Rhys Meilyr is a graduate of the Only Boys Aloud Academy and the Royal Academy of Music, and has had a busy year with his most recent performance being in September in the new opera Gresford: Up from the Underground by Jon Guy. He is currently one of '3 Tenors' attracting audiences in Warwick, Shrewsbury & Wrexham. Like Erin Rhys combined exhilarating tone with intense characterisation, not least in Lenski's Aria (in Russian) sung ahead of the latter's fatal duel with Onegin; and a moving rendering of 'Bring Him Home', Valjean's prayer for Marius at the barricades. Of Rhys's Welsh songs, 'Cilfan y Coed' was also deeply affecting; on a lighter note, 'Take a Pair of Sparkling Eyes' ("a bit of a silly song really"!) added good contrast. The two voices blended perfectly for Robat Arwyn's evergreen Benedictus, and a suitable high was reached at the end with the inevitable – but oh so enjoyable! – declaration of passionate love between Hywel & Blodwen. These two duets certainly 'hit the spot', as did the sixteen solo items, all of which added up to a richly satisfying evening.
Nid yw pob clwb cerdd yn awyddus, mae'n debyg, i gynnal datganiadau o ganeuon, ond yn Nolgellau maen nhw'n wastad yn ffefryn mawr – ac nid eithriad oedd y datganiad lleisiol eleni, gyda chynulleidfa eiddgar yn tyrru at neuadd y Coleg nos Wener 1af Tachwedd i glywed Erin Rossington (soprano) a Rhys Meilyr (tenor), gydag Eirian Owen wrth y piano. Roedd gan Eirian ei dilynwyr lleol wrth gwrs, ond ar sail ffydd gerddorol, gyda gwarant o chwarae o'r radd flaenaf a chefnogaeth ddi-ffael i'w chantorion. Gwireddwyd y fath hyder i'r dim.
Erin oedd Llais Rhyngwladol y Dyfodol yn Llangollen yn 2019, ac y llynedd enillodd Ysgoloriaeth Towyn Roberts yn y Genedlaethol, gan symud ymlaen eleni i fod yn Artist Cyswllt ar gyfer 2024/25 yn Opera Cenedlaethol Cymru: mae hi ar hyn o bryd yn perfformio rhan Cercatrice yn Suor Angelica gan Puccini, a bydd hi'n perfformio rhan La Contessa yn Le Nozze di Figaro haf nesaf yn Abertawe. Ei harwres, meddai hi wrth gyflwyno aria gan Cilea, yw Maria Callas, ac mae gan ei llais nodweddiadol gyffyrddiad o ddur (yn yr ystyr orau ) lais Callas; heb os y bydd Erin yn canu nifer o rolau blaengar yn y dyfodol. Yn ei chyflwyniad agoriadol, 'Porgi amor', cafwyd rhagflas o'i Contessa. Yng Nghân y Tlysau enwog o Faust gan Gounod cyfleuodd i'r dim gyffro Marguerite wrth iddi edrych arni'i hun yn y drych, i edmygu'r gemau disglair a ddarparwyd ar ei chyfer gan Mephistopheles. Roedd emosiwn cynnil wrth iddi bortreadu Rusalka, o waith Dvořák, y nymff dŵr sy'n hiraethu am fod yn ddynol, ac yn canu i'r lleuad gan erfyn arno i ddweud wrth y Tywysog pwy sy'n aros amdano, 'kdo tu nan ceka!'. (Mewn Tsieceg rhugl clywyd hefyd gan Erin ddwy o Ganeuon Sipsiwn Dvořák.) Gyda chaneuon yn ogystal gan Strauss, Meirion Williams ac Ivor Novello, dyma gyfraniad caboledig ac amrywiol.
Mae Rhys Meilyr yn raddedig o Academi Only Boys Aloud a’r Academi Gerdd Frenhinol, ac mae o wedi cael blwyddyn brysur gyda’i berfformiad diweddaraf ym mis Medi yn yr opera newydd Gresford: Up from the Underground gan Jon Guy. Ar hyn o bryd mae Rhys yn un o '3 Tenor' sy'n denu cynulleidfaoedd yn Warwick, Amwythig a Wrecsam. Fel Erin, cyfunodd Rhys naws leisiol gyffrous â chymeriadu dwys, megis yn Aria Lenski (yn Rwsieg) a genir cyn y gornest angheuol rhwng Lenski ac Onegin; neu yn ei gyflwyniad teimladwy o 'Bring Him Home', gweddi Valjean dros ddiogelwch Marius ar y gwrthgloddiau. O'i ganeuon Cymraeg, cafwyd ganddo ddehongliad teimladwty iawn o 'Cilfan y Coed'; ar nodyn ysgafnach, trodd nes ymlaen at 'Take a Pair of Sparkling Eyes' ("tipyn o gân wirion a dweud y gwir"!), gyferbyniad effeithiol. Daeth y ddau lais at ei gilydd yn berffaith ar gyfer y Benedictws bytholwyrdd o waith Robat Arwyn, a chyrhaeddwyd uchafbwynt addas ar ddiwedd y rhaglen gyda’r datganiad anochel – ond mor bleserus bob tro – o serch angerddol rhwng Hywel a Blodwen. Llwyddodd y ddwy ddeuawd hyn i 'daro'r smotyn' go iawn, fel y gwnaeth pob un o'r un ar bymtheg o unawdau: darpariaeth a greodd, yn ei chrynswth, noson hynod foddhaol.
Erin was International Voice of the Future at Llangollen in 2019 and last year won the Towyn Roberts Scholarship at the National Eisteddfod, progressing this year to becoming an Associate Artist for 2024/25 at Welsh National Opera: she is currently performing the role of Cercatrice in Puccini's Suor Angelica, and will be performing the role of La Contessa in Le Nozze di Figaro next year in Swansea. Her heroine, she said in presenting an aria by Cilea, is Maria Callas, and her own strong soprano has indeed a touch in the best sense of Callas steel; she will surely go on to sing many great roles in the future. The opening number, 'Porgi amor', gave a foretaste of her Contessa. In the famous Jewel Song from Gounod'sFaust she conveyed vividly the young Marguerite's excitement as she looks at herself in the mirror, trying on the dazzling gems provided by Mephistopheles. There was nuanced emotion as she became Dvořák's Rusalka, the water-nymph longing to be human, who sings to the moon begging it to tell the Prince just who is waiting for him, 'kdo tu nan ceka!'. (Also in fluent Czech, two of Dvořák's Gypsy Songs.) Songs in addition by Strauss, Meirion Williams and Ivor Novello made up a polished and varied contribution.
Rhys Meilyr is a graduate of the Only Boys Aloud Academy and the Royal Academy of Music, and has had a busy year with his most recent performance being in September in the new opera Gresford: Up from the Underground by Jon Guy. He is currently one of '3 Tenors' attracting audiences in Warwick, Shrewsbury & Wrexham. Like Erin Rhys combined exhilarating tone with intense characterisation, not least in Lenski's Aria (in Russian) sung ahead of the latter's fatal duel with Onegin; and a moving rendering of 'Bring Him Home', Valjean's prayer for Marius at the barricades. Of Rhys's Welsh songs, 'Cilfan y Coed' was also deeply affecting; on a lighter note, 'Take a Pair of Sparkling Eyes' ("a bit of a silly song really"!) added good contrast. The two voices blended perfectly for Robat Arwyn's evergreen Benedictus, and a suitable high was reached at the end with the inevitable – but oh so enjoyable! – declaration of passionate love between Hywel & Blodwen. These two duets certainly 'hit the spot', as did the sixteen solo items, all of which added up to a richly satisfying evening.
Nid yw pob clwb cerdd yn awyddus, mae'n debyg, i gynnal datganiadau o ganeuon, ond yn Nolgellau maen nhw'n wastad yn ffefryn mawr – ac nid eithriad oedd y datganiad lleisiol eleni, gyda chynulleidfa eiddgar yn tyrru at neuadd y Coleg nos Wener 1af Tachwedd i glywed Erin Rossington (soprano) a Rhys Meilyr (tenor), gydag Eirian Owen wrth y piano. Roedd gan Eirian ei dilynwyr lleol wrth gwrs, ond ar sail ffydd gerddorol, gyda gwarant o chwarae o'r radd flaenaf a chefnogaeth ddi-ffael i'w chantorion. Gwireddwyd y fath hyder i'r dim.
Erin oedd Llais Rhyngwladol y Dyfodol yn Llangollen yn 2019, ac y llynedd enillodd Ysgoloriaeth Towyn Roberts yn y Genedlaethol, gan symud ymlaen eleni i fod yn Artist Cyswllt ar gyfer 2024/25 yn Opera Cenedlaethol Cymru: mae hi ar hyn o bryd yn perfformio rhan Cercatrice yn Suor Angelica gan Puccini, a bydd hi'n perfformio rhan La Contessa yn Le Nozze di Figaro haf nesaf yn Abertawe. Ei harwres, meddai hi wrth gyflwyno aria gan Cilea, yw Maria Callas, ac mae gan ei llais nodweddiadol gyffyrddiad o ddur (yn yr ystyr orau ) lais Callas; heb os y bydd Erin yn canu nifer o rolau blaengar yn y dyfodol. Yn ei chyflwyniad agoriadol, 'Porgi amor', cafwyd rhagflas o'i Contessa. Yng Nghân y Tlysau enwog o Faust gan Gounod cyfleuodd i'r dim gyffro Marguerite wrth iddi edrych arni'i hun yn y drych, i edmygu'r gemau disglair a ddarparwyd ar ei chyfer gan Mephistopheles. Roedd emosiwn cynnil wrth iddi bortreadu Rusalka, o waith Dvořák, y nymff dŵr sy'n hiraethu am fod yn ddynol, ac yn canu i'r lleuad gan erfyn arno i ddweud wrth y Tywysog pwy sy'n aros amdano, 'kdo tu nan ceka!'. (Mewn Tsieceg rhugl clywyd hefyd gan Erin ddwy o Ganeuon Sipsiwn Dvořák.) Gyda chaneuon yn ogystal gan Strauss, Meirion Williams ac Ivor Novello, dyma gyfraniad caboledig ac amrywiol.
Mae Rhys Meilyr yn raddedig o Academi Only Boys Aloud a’r Academi Gerdd Frenhinol, ac mae o wedi cael blwyddyn brysur gyda’i berfformiad diweddaraf ym mis Medi yn yr opera newydd Gresford: Up from the Underground gan Jon Guy. Ar hyn o bryd mae Rhys yn un o '3 Tenor' sy'n denu cynulleidfaoedd yn Warwick, Amwythig a Wrecsam. Fel Erin, cyfunodd Rhys naws leisiol gyffrous â chymeriadu dwys, megis yn Aria Lenski (yn Rwsieg) a genir cyn y gornest angheuol rhwng Lenski ac Onegin; neu yn ei gyflwyniad teimladwy o 'Bring Him Home', gweddi Valjean dros ddiogelwch Marius ar y gwrthgloddiau. O'i ganeuon Cymraeg, cafwyd ganddo ddehongliad teimladwty iawn o 'Cilfan y Coed'; ar nodyn ysgafnach, trodd nes ymlaen at 'Take a Pair of Sparkling Eyes' ("tipyn o gân wirion a dweud y gwir"!), gyferbyniad effeithiol. Daeth y ddau lais at ei gilydd yn berffaith ar gyfer y Benedictws bytholwyrdd o waith Robat Arwyn, a chyrhaeddwyd uchafbwynt addas ar ddiwedd y rhaglen gyda’r datganiad anochel – ond mor bleserus bob tro – o serch angerddol rhwng Hywel a Blodwen. Llwyddodd y ddwy ddeuawd hyn i 'daro'r smotyn' go iawn, fel y gwnaeth pob un o'r un ar bymtheg o unawdau: darpariaeth a greodd, yn ei chrynswth, noson hynod foddhaol.
It's hard to imagine the Club's 40th season getting off to a much better start than the one given in Coleg Meirion-Dwyfor on Friday 4th October by Lumas Winds, a quintet whose virtuosity (individually) and musicality (as an ensemble) made a tremendous impression.
The programme chosen was adventurous, and unafraid to challenge listeners – no bad thing. A 'safe' start was given however by horn player Benjamin Hartnell-Booth's skilful arrangement of Glinka's 1842 Overture to Ruslan and Lyudmila, whose energy and familiar melodies engaged immediately, together with the cleverly achieved symphonic effect. This contrasted well with the delightful Divertissement by Jean Françaix that followed, involving just oboe (Chris Vettraino), clarinet (Rennie Sutherland) and bassoon (Flo Plane); it was difficult to believe that such a joyful piece could have been written during the Nazi occupation of Paris. Another subtle piece of arranging followed, this time of Mozart's Andante in F major for mechanical organ, a piece as brimful as ever of that genius's melodic invention.
So to a contemporary composition somewhat further from the 'comfort zone', Thea Musgrave's Wind Quintet of 1992, whose experimental style requires the instruments to play 'with the freedom of expression found in opera'. Variety of mood ('drammatico', 'elegiaco') between the four movements helped to maintain interest, and vivid textures drew listeners in more readily than they perhaps expected.
A bright start opened the second half in the form of Jacques Ibert's Trois Pièces Brèves of 1930, whose animated charm reflects its theatrical origins. A duet in the middle piece was lyrically realised by Beth Stone's flute and the clarinet of Rennie Sutherland. The latter enjoyed introducing (all five were lively in presentation) Czech composer Pavel Haas' Wind Quintet Op.10 of 1929, which deploys a perky E flat clarinet (as well as piccolo) in its third-movement 'ballo eccentrico', full of catchy folk motifs. (Haas was one of Leos Janácek's best pupils.) There was poignancy in the second movement's prayer, 'misterioso e triste', knowing as we do that its creator would fall victim to the Holocaust in Auschwitz 15 years later.
Perhaps the high point of the evening was another contemporary piece, William Mathias' Wind Quintet of 1992, which Lumas Winds have recently recorded for Champs Hill Records and clearly (as they told and showed the audience) relish performing. Though modernist, Mathias' music is never forbidding, and the Quintet's march, waltz, scherzo, elegy and dance swept listeners along. A final bluesy Red Clay and Mississipi Delta (2009) by Valerie Coleman made a perfect ending to a varied session of music-making, one that found its audience enthusing and wondering at the quality and richness of what they had experienced.
Mae'n anodd dychmygu agoriad gwell i 40fed tymor y Clwb na'r un a gafwyd yng Ngholeg Meirion-Dwyfor ar nos Wener 4ydd Hydref gan Lumas Winds – pumawd chwith a wnaeth argraff gryf iawn am feistrolaeth neilltuol pob un o'r offerynnwyr, ac am eu haeddfedrwydd cerddorol fel ensemble.
Eithaf anturus oedd eu dewis o ran repertoire, a heriodd weithiau eu cynulleidfa – dim yn ei hun yn ddrwg o beth. Bid a fo am hynny, dechreuodd y noson yn 'saff' gyda threfniant crefftus Benjamin Hartnell-Booth (canwr y corn Ffrengig) o'r darn adnabyddus Agorawd i Ruslan a Lyudmila gan Mikhail Glinka: dalwyd y sylw yn syth gan holl egni'r darn, gyda'i alawon bywiog a phoblogaidd, a gan yr effaith simffonig a grewyd (5 offeryn yn swnio fel 20!). Dilynodd cyferbyniad dymunol gyda Divertissement gan Jean Françaix ar gyfer triawd yn unig, sef obô (Chris Vettraino), clarinet (Rennie Sutherland) a basŵn (Flo Plane): syndod oedd cael deall mai ym Mharis o dan feddiannaeth y Natsïaidd y crewyd darn mor orfoleddus a phositif. Clywyd enghraifft arall o drefniant caboledig yn yr Andante yn F mwyaf ar gyfer organ mecanyddol o waith Mozart, athrylith sy'n darparu bob tro lu o alawon ffres a deniadol.
Tu allan i'r 'parth cysur' fel petai, mentrodd y grŵp wedyn i gyflwyno Pumawd Chwith (1992) gan Thea Musgrave, lle mae'r arddull arbrofiadol yn gofyn i'r offerynnau chwarae 'gyda'r un rhyddid mynegiannol a geir mewn opera'. Mwynhawyd yr amrywiaeth o ran awyrgylch rhwng y symudiadau ('drammatico', 'elegiaco'), a diolch i'r ansoddau lliwgar, tynnwyd y gwrandawyr i mewn yn haws efallai nac yr oeddant yn ei ddisgwyl.
Agorwyd yr ail hanner yn ddisglair gyda Trois Pièces Brèves (1930) gan Jacques Ibert, cyfansoddiad llawn hud siriol sy'n adlewyrchu ei wreiddiau theatrig. Dehonglwyd deuawd y darn canol rhwng ffliwt a chlarinet yn delynegol gan Beth Stone a Rennie Sutherland. Achubodd Rennie ar ei gyfle i gyflwyno (fel y gwnaeth pob un o'r pumawd yn ei dro) wrth sôn am Bumawd Chwith Op.10 (1929) gan y cyfansoddwr Tsiecaidd Pavel Haas, lle mae clarinet E fflat sionc (yn ogystal â phicolo) yn cyfrannu'n helaeth yn y 3ydd symudiad ('ballo eccentrico'), llawn themâu gwerinol bachiog. (Pavel Haas oedd un o ddisgyblion gorau Leos Janácek.) Teimlwyd ing wrth wrando ar yr ail symudiad, gweddi 'misterioso e triste', gan sylweddoli mai 15 mlynedd yn ddiweddarach y buasai'r creawdwr dawnus hwn yn cwrdd â ffawd trasig yn Auschwitz.
Uchafbwynt y noson efallai oedd darn cyfoes arall, Pumawd Chwith (1992) o waith William Mathias, a recordiwyd gan Lumas Winds yn ddiweddar ar gyfer y label Champs Hill ac sy'n rhoi pleser arbennig iddynt (meddan nhw, ac fel yr oedd yn amlwg). Er yn 'fodernistaidd', nid oes erioed cynnwys anhyfryd yng ngherddoriaeth Mathias, a llwyddodd y pump symudiad – marts, wals, scherzo, terynged a dawns – i gario'r gwrandawyr ymlaen yn eu llif. Fel diweddglo nid oedd angen encôr ar ôl Red Clay and Mississipi Delta (2009) o waith Valerie Coleman, gyda'i naws melanganaidd (' bluesy') a'i arddull penigamp – gair olaf perffaith. Ar y ffordd allan, rhyfeddodd y gynulleidfa at gyfoeth a safon yr hyn oll a ddarparwyd iddynt yn ystod cyngerdd arbennig.
The programme chosen was adventurous, and unafraid to challenge listeners – no bad thing. A 'safe' start was given however by horn player Benjamin Hartnell-Booth's skilful arrangement of Glinka's 1842 Overture to Ruslan and Lyudmila, whose energy and familiar melodies engaged immediately, together with the cleverly achieved symphonic effect. This contrasted well with the delightful Divertissement by Jean Françaix that followed, involving just oboe (Chris Vettraino), clarinet (Rennie Sutherland) and bassoon (Flo Plane); it was difficult to believe that such a joyful piece could have been written during the Nazi occupation of Paris. Another subtle piece of arranging followed, this time of Mozart's Andante in F major for mechanical organ, a piece as brimful as ever of that genius's melodic invention.
So to a contemporary composition somewhat further from the 'comfort zone', Thea Musgrave's Wind Quintet of 1992, whose experimental style requires the instruments to play 'with the freedom of expression found in opera'. Variety of mood ('drammatico', 'elegiaco') between the four movements helped to maintain interest, and vivid textures drew listeners in more readily than they perhaps expected.
A bright start opened the second half in the form of Jacques Ibert's Trois Pièces Brèves of 1930, whose animated charm reflects its theatrical origins. A duet in the middle piece was lyrically realised by Beth Stone's flute and the clarinet of Rennie Sutherland. The latter enjoyed introducing (all five were lively in presentation) Czech composer Pavel Haas' Wind Quintet Op.10 of 1929, which deploys a perky E flat clarinet (as well as piccolo) in its third-movement 'ballo eccentrico', full of catchy folk motifs. (Haas was one of Leos Janácek's best pupils.) There was poignancy in the second movement's prayer, 'misterioso e triste', knowing as we do that its creator would fall victim to the Holocaust in Auschwitz 15 years later.
Perhaps the high point of the evening was another contemporary piece, William Mathias' Wind Quintet of 1992, which Lumas Winds have recently recorded for Champs Hill Records and clearly (as they told and showed the audience) relish performing. Though modernist, Mathias' music is never forbidding, and the Quintet's march, waltz, scherzo, elegy and dance swept listeners along. A final bluesy Red Clay and Mississipi Delta (2009) by Valerie Coleman made a perfect ending to a varied session of music-making, one that found its audience enthusing and wondering at the quality and richness of what they had experienced.
Mae'n anodd dychmygu agoriad gwell i 40fed tymor y Clwb na'r un a gafwyd yng Ngholeg Meirion-Dwyfor ar nos Wener 4ydd Hydref gan Lumas Winds – pumawd chwith a wnaeth argraff gryf iawn am feistrolaeth neilltuol pob un o'r offerynnwyr, ac am eu haeddfedrwydd cerddorol fel ensemble.
Eithaf anturus oedd eu dewis o ran repertoire, a heriodd weithiau eu cynulleidfa – dim yn ei hun yn ddrwg o beth. Bid a fo am hynny, dechreuodd y noson yn 'saff' gyda threfniant crefftus Benjamin Hartnell-Booth (canwr y corn Ffrengig) o'r darn adnabyddus Agorawd i Ruslan a Lyudmila gan Mikhail Glinka: dalwyd y sylw yn syth gan holl egni'r darn, gyda'i alawon bywiog a phoblogaidd, a gan yr effaith simffonig a grewyd (5 offeryn yn swnio fel 20!). Dilynodd cyferbyniad dymunol gyda Divertissement gan Jean Françaix ar gyfer triawd yn unig, sef obô (Chris Vettraino), clarinet (Rennie Sutherland) a basŵn (Flo Plane): syndod oedd cael deall mai ym Mharis o dan feddiannaeth y Natsïaidd y crewyd darn mor orfoleddus a phositif. Clywyd enghraifft arall o drefniant caboledig yn yr Andante yn F mwyaf ar gyfer organ mecanyddol o waith Mozart, athrylith sy'n darparu bob tro lu o alawon ffres a deniadol.
Tu allan i'r 'parth cysur' fel petai, mentrodd y grŵp wedyn i gyflwyno Pumawd Chwith (1992) gan Thea Musgrave, lle mae'r arddull arbrofiadol yn gofyn i'r offerynnau chwarae 'gyda'r un rhyddid mynegiannol a geir mewn opera'. Mwynhawyd yr amrywiaeth o ran awyrgylch rhwng y symudiadau ('drammatico', 'elegiaco'), a diolch i'r ansoddau lliwgar, tynnwyd y gwrandawyr i mewn yn haws efallai nac yr oeddant yn ei ddisgwyl.
Agorwyd yr ail hanner yn ddisglair gyda Trois Pièces Brèves (1930) gan Jacques Ibert, cyfansoddiad llawn hud siriol sy'n adlewyrchu ei wreiddiau theatrig. Dehonglwyd deuawd y darn canol rhwng ffliwt a chlarinet yn delynegol gan Beth Stone a Rennie Sutherland. Achubodd Rennie ar ei gyfle i gyflwyno (fel y gwnaeth pob un o'r pumawd yn ei dro) wrth sôn am Bumawd Chwith Op.10 (1929) gan y cyfansoddwr Tsiecaidd Pavel Haas, lle mae clarinet E fflat sionc (yn ogystal â phicolo) yn cyfrannu'n helaeth yn y 3ydd symudiad ('ballo eccentrico'), llawn themâu gwerinol bachiog. (Pavel Haas oedd un o ddisgyblion gorau Leos Janácek.) Teimlwyd ing wrth wrando ar yr ail symudiad, gweddi 'misterioso e triste', gan sylweddoli mai 15 mlynedd yn ddiweddarach y buasai'r creawdwr dawnus hwn yn cwrdd â ffawd trasig yn Auschwitz.
Uchafbwynt y noson efallai oedd darn cyfoes arall, Pumawd Chwith (1992) o waith William Mathias, a recordiwyd gan Lumas Winds yn ddiweddar ar gyfer y label Champs Hill ac sy'n rhoi pleser arbennig iddynt (meddan nhw, ac fel yr oedd yn amlwg). Er yn 'fodernistaidd', nid oes erioed cynnwys anhyfryd yng ngherddoriaeth Mathias, a llwyddodd y pump symudiad – marts, wals, scherzo, terynged a dawns – i gario'r gwrandawyr ymlaen yn eu llif. Fel diweddglo nid oedd angen encôr ar ôl Red Clay and Mississipi Delta (2009) o waith Valerie Coleman, gyda'i naws melanganaidd (' bluesy') a'i arddull penigamp – gair olaf perffaith. Ar y ffordd allan, rhyfeddodd y gynulleidfa at gyfoeth a safon yr hyn oll a ddarparwyd iddynt yn ystod cyngerdd arbennig.
Talents on Display
What better tonic for a post-election-night hangover than to hear promising young musicians perform? So thought the many who turned out on Friday 5th July for a concert at Coleg Meirion-Dwyfor foregrounding recent recipients of Dolgellau Music Club's Youth Fund awards, whose progress has been helped by money towards the costs of lessons, travel, music, instruments and/or exam fees.
The programme got off to a splendid start with a bravura performance by Bala-based 19-year-old Gruffydd ab Owain of Chopin's Heroic Polonaise. Gruffydd has already had success in the National Eisteddfod, is in demand as an accompanist and is studying for a diploma in accompaniment. He later revealed how his club award had recently enabled him to have a master session with Richard Ormerod (a past soloist in Dolgellau) and gave a fine performance of the piece they'd worked on, Ante el Escorial by Cuban composer Ernesto Lecuona, vividly evoking that forbidding palace.
Also from the Bala area are tenor Cadog Edwards and pianist Nel Thomas. Cadog, accompanied by Nia Morgan, gave confident renderings of Cilfan y Coed (Rhys Jones) and Ti ydyw Hedd (Schubert), whilst Nel was no less proficient in presenting some delightful Grade 6 pieces such as Cunning Mr Fox (Pam Wedgwood) and Granados' Vals Poético. In a free pianistic style Dolgellau's Osian Lewis-Smith improvised on his own compositions (one of them based on Eleanor Rigby) supported by cellist Andrew Richardson, mature and beguiling music-making that made an excellent contrast.
From Blaenau Ffestiniog came classical guitarist Jessica Jones, whose playing of Giuliani's La Melancolia and a Villa-Lobos Prelude showed how far she has already come in mastering the instrument's technical challenges. Head in the Clouds (Maria Linnemann), in lighter vein, was an excellent third choice; we wish her luck as she progresses towards her Grade 8. 13-year-old Isaac Roberts from Tywyn introduced a different part of the guitar story, and a touch of Glastonbury, as he strummed his amped-up electroacoustic guitar (purchased with his club award) and sang Coldplay's Yellow and two other pieces, all with a commitment that promises well for the future.
Another welcome visitor from Tywyn was pianist Tudor Jones, who accompanied club chair Ben Ridler in two songs and rounded off a full programme with the Myra Hess arrangement of Bach's Jesu, Joy of Man's Desiring.
Thanks are due to the teachers who have nurtured all this promise, amongst them Branwen Williams, Nia Morgan, John Jones and Leigh Matthews of Totaleigh Music. One performer said this was 'my first time in front of a large audience' – invaluable experience. Warm feedback suggests there may well be appetite for another such event in the future.
Dathlu Doniau
Pa ffordd well o osgoi teimladau fflat yn sgîl bwrlwm yr etholiad, na gwrando ar berfformiadau cerddorol gan bobl ifanc addawol? Yn amlwg dyna farn y criw niferus a ddaeth i Goleg Meirion-Dwyfor ar nos Wener 5ed Gorffennaf i fwynhau cyngerdd arbennig, 'Dathlu Doniau': achlysur a roddodd gyfle i'r rhai sydd wedi derbyn cymorth ariannol gan y Clwb (tuag at gostau gwersi, teithio, llyfrau, offerynnau, ffîoedd arholiad) gael dathlu eu doniau o flaen cynulleidfa.
Agorwyd y rhaglen gyda pherfformiad gorchestol o Polonaise Arwrol o waith Chopin
gan Gruffydd ab Owain, pianydd 19 oed o'r Bala. Cafodd Gruffydd lwyddiant ym Moduan y llynedd, ac mae cryn alw yn yr ardal am ei sgiliau fel cyfeilydd; yn wir, anelu y mae ar hyn o bryd at Ddiploma Cyfeilio. Nes ymlaen datgelodd sut mae cymorth y Clwb wedi'i alluogi i gael sesiwn unigol gyda Richard Ormerod, pianydd o fri (a chyn-unawdydd yn Nolgellau), cyn dangos ffrwyth y dosbarth wrth gyflwyno'n awdurdodol Ante el Escorial gan Ernesto Lecuona o Giwba, darn sy'n galw ar ddarlun cryf o'r palas anferthol hwnnw.
O ardal Y Bala daeth hefyd y tenor Cadog Edwards a'r pianydd Nel Thomas. I gyfeiliant Nia Morgan, canodd Cadog yn hyderus ac yn rhwydd Cilfan y Coed (Rhys Jones) a Ti ydyw Hedd (Schubert), tra gan Nel gyflwynwyd yr yn mor hyderus ddarnau Gradd 6 swynol megis Cunning Mr Fox (Pam Wedgwood) a Vals Poético (Granados).
Mewn arddull rhydd datganodd ar y pryd y pianydd Osian Lewis-Smith o Ddolgellau gyda'i ffrind Andrew Richardson (soddgrwth), unwaith gyda'r gân Eleanor Rigby fel thema ac unwaith ar sail thema o'i ddychymyg ei hun – perfformiadau aeddfed a chyfareddol a greodd gyferbyniad llwyddiannus.
O Flaenau Ffestiniog daeth y gitaryddes glasurol Jessica Jones, a ddangosodd wrth gyflwyno La Melancolia (Giuliani) a Phreliwd Rh.3 (Villa-Lobos) pa mor bell mae hi wedi teithio'n barod tuag at feistrioli'r heriau technegol a wynebir gyda chyflwyniadau o'r math. Dewis da hefyd, ysgafnach ei naws, oedd Head in the Clouds (Maria Linnemann); pob lwc i Jessica wrth iddi symud ymlaen at ei Gradd 8. Agwedd wahanol o stori'r gitâr a gafwyd gydag Isaac Roberts (13 oed) o Dywyn, a chyffyrddiad hefyd o Glastonbury, wrth iddo strymio ei gitâr electroacwstig (a brynwyd drwy gymorth y Clwb) a chanu Yellow (Coldplay) a dwy gân arall, ei ymroddiad yn amlwg ac yn addo'n dda wrth iddo fentro 'mhellach i lawr y llwybr hwn.
Bu'n bleser croesawu cerddor arall o Dywyn, y pianydd profiadol Tudur Jones, a gyfeiliodd cadeirydd y Clwb Ben Ridler mewn dwy gân gelf, ac a ddaeth â rhaglen gyflawn i ben gyda threfniant Myra Hess o Jesu, Joy of Man's Desiring gan Bach.
Rhaid talu diolch i'r athrawon i gyd sydd wedi gofalu am ddatblygiad y doniau uchod, gan gynnwys Branwen Williams, Nia Morgan, John Jones a Leigh Matthews o Totaleigh Music. Dywedodd un o'r perfformwyr wedyn, "Dyna'm tro cyntaf o flaen cynulleidfa sylweddol' – profiad gwerthfawr, mae'n siwr. Yng ngolau'r ymateb frwd a dderbynnwyd, mae'n bosibl iawn y daw awydd am ddigwyddiad tebyg yn y dyfodol.
What better tonic for a post-election-night hangover than to hear promising young musicians perform? So thought the many who turned out on Friday 5th July for a concert at Coleg Meirion-Dwyfor foregrounding recent recipients of Dolgellau Music Club's Youth Fund awards, whose progress has been helped by money towards the costs of lessons, travel, music, instruments and/or exam fees.
The programme got off to a splendid start with a bravura performance by Bala-based 19-year-old Gruffydd ab Owain of Chopin's Heroic Polonaise. Gruffydd has already had success in the National Eisteddfod, is in demand as an accompanist and is studying for a diploma in accompaniment. He later revealed how his club award had recently enabled him to have a master session with Richard Ormerod (a past soloist in Dolgellau) and gave a fine performance of the piece they'd worked on, Ante el Escorial by Cuban composer Ernesto Lecuona, vividly evoking that forbidding palace.
Also from the Bala area are tenor Cadog Edwards and pianist Nel Thomas. Cadog, accompanied by Nia Morgan, gave confident renderings of Cilfan y Coed (Rhys Jones) and Ti ydyw Hedd (Schubert), whilst Nel was no less proficient in presenting some delightful Grade 6 pieces such as Cunning Mr Fox (Pam Wedgwood) and Granados' Vals Poético. In a free pianistic style Dolgellau's Osian Lewis-Smith improvised on his own compositions (one of them based on Eleanor Rigby) supported by cellist Andrew Richardson, mature and beguiling music-making that made an excellent contrast.
From Blaenau Ffestiniog came classical guitarist Jessica Jones, whose playing of Giuliani's La Melancolia and a Villa-Lobos Prelude showed how far she has already come in mastering the instrument's technical challenges. Head in the Clouds (Maria Linnemann), in lighter vein, was an excellent third choice; we wish her luck as she progresses towards her Grade 8. 13-year-old Isaac Roberts from Tywyn introduced a different part of the guitar story, and a touch of Glastonbury, as he strummed his amped-up electroacoustic guitar (purchased with his club award) and sang Coldplay's Yellow and two other pieces, all with a commitment that promises well for the future.
Another welcome visitor from Tywyn was pianist Tudor Jones, who accompanied club chair Ben Ridler in two songs and rounded off a full programme with the Myra Hess arrangement of Bach's Jesu, Joy of Man's Desiring.
Thanks are due to the teachers who have nurtured all this promise, amongst them Branwen Williams, Nia Morgan, John Jones and Leigh Matthews of Totaleigh Music. One performer said this was 'my first time in front of a large audience' – invaluable experience. Warm feedback suggests there may well be appetite for another such event in the future.
Dathlu Doniau
Pa ffordd well o osgoi teimladau fflat yn sgîl bwrlwm yr etholiad, na gwrando ar berfformiadau cerddorol gan bobl ifanc addawol? Yn amlwg dyna farn y criw niferus a ddaeth i Goleg Meirion-Dwyfor ar nos Wener 5ed Gorffennaf i fwynhau cyngerdd arbennig, 'Dathlu Doniau': achlysur a roddodd gyfle i'r rhai sydd wedi derbyn cymorth ariannol gan y Clwb (tuag at gostau gwersi, teithio, llyfrau, offerynnau, ffîoedd arholiad) gael dathlu eu doniau o flaen cynulleidfa.
Agorwyd y rhaglen gyda pherfformiad gorchestol o Polonaise Arwrol o waith Chopin
gan Gruffydd ab Owain, pianydd 19 oed o'r Bala. Cafodd Gruffydd lwyddiant ym Moduan y llynedd, ac mae cryn alw yn yr ardal am ei sgiliau fel cyfeilydd; yn wir, anelu y mae ar hyn o bryd at Ddiploma Cyfeilio. Nes ymlaen datgelodd sut mae cymorth y Clwb wedi'i alluogi i gael sesiwn unigol gyda Richard Ormerod, pianydd o fri (a chyn-unawdydd yn Nolgellau), cyn dangos ffrwyth y dosbarth wrth gyflwyno'n awdurdodol Ante el Escorial gan Ernesto Lecuona o Giwba, darn sy'n galw ar ddarlun cryf o'r palas anferthol hwnnw.
O ardal Y Bala daeth hefyd y tenor Cadog Edwards a'r pianydd Nel Thomas. I gyfeiliant Nia Morgan, canodd Cadog yn hyderus ac yn rhwydd Cilfan y Coed (Rhys Jones) a Ti ydyw Hedd (Schubert), tra gan Nel gyflwynwyd yr yn mor hyderus ddarnau Gradd 6 swynol megis Cunning Mr Fox (Pam Wedgwood) a Vals Poético (Granados).
Mewn arddull rhydd datganodd ar y pryd y pianydd Osian Lewis-Smith o Ddolgellau gyda'i ffrind Andrew Richardson (soddgrwth), unwaith gyda'r gân Eleanor Rigby fel thema ac unwaith ar sail thema o'i ddychymyg ei hun – perfformiadau aeddfed a chyfareddol a greodd gyferbyniad llwyddiannus.
O Flaenau Ffestiniog daeth y gitaryddes glasurol Jessica Jones, a ddangosodd wrth gyflwyno La Melancolia (Giuliani) a Phreliwd Rh.3 (Villa-Lobos) pa mor bell mae hi wedi teithio'n barod tuag at feistrioli'r heriau technegol a wynebir gyda chyflwyniadau o'r math. Dewis da hefyd, ysgafnach ei naws, oedd Head in the Clouds (Maria Linnemann); pob lwc i Jessica wrth iddi symud ymlaen at ei Gradd 8. Agwedd wahanol o stori'r gitâr a gafwyd gydag Isaac Roberts (13 oed) o Dywyn, a chyffyrddiad hefyd o Glastonbury, wrth iddo strymio ei gitâr electroacwstig (a brynwyd drwy gymorth y Clwb) a chanu Yellow (Coldplay) a dwy gân arall, ei ymroddiad yn amlwg ac yn addo'n dda wrth iddo fentro 'mhellach i lawr y llwybr hwn.
Bu'n bleser croesawu cerddor arall o Dywyn, y pianydd profiadol Tudur Jones, a gyfeiliodd cadeirydd y Clwb Ben Ridler mewn dwy gân gelf, ac a ddaeth â rhaglen gyflawn i ben gyda threfniant Myra Hess o Jesu, Joy of Man's Desiring gan Bach.
Rhaid talu diolch i'r athrawon i gyd sydd wedi gofalu am ddatblygiad y doniau uchod, gan gynnwys Branwen Williams, Nia Morgan, John Jones a Leigh Matthews o Totaleigh Music. Dywedodd un o'r perfformwyr wedyn, "Dyna'm tro cyntaf o flaen cynulleidfa sylweddol' – profiad gwerthfawr, mae'n siwr. Yng ngolau'r ymateb frwd a dderbynnwyd, mae'n bosibl iawn y daw awydd am ddigwyddiad tebyg yn y dyfodol.
In listening to jazz improvisation it helps to know the tunes being riffed on, and that was certainly true in the case of the Tim Kliphuis Trio's programme in Coleg Meirion-Dwyfor on Friday 15th March. The first half was based largely on Mussorgsky's Pictures from an Exhibition, which – 150 years on from its composition – had received a standing ovation back in January when performed in the original version by pianist Victor Maslov; so the music was still fresh in mind. 'Bydlo' ('cattle', or the ox-cart) was a good example, with Roy Percy's double bass vividly evoking heavy wagon wheels rolling through mud. 'Promenade' (through the 'exhibition') came three times, with different variations each time. The Old Castle, Gnomus and the witch Baba Yaga all cast a spell, with this seasoned ensemble (in its 18th year of touring) effortlessly passing the baton as it were from one instrument to another, as well as producing a strong gelled sound. Guitarist Nigel Clark (using acoustic strings) had listeners agog to hear every detail of his mesmerising solos. Ray's bass solos too were compelling, full of rhythmic bite. Inspired by the source piece, Tim has composed and added to the sequence new musical representations of famous paintings like Klimt’s The Kiss (in which his violin climbed tenderly to the heights of its top E string) , Van Gogh’s Starry Night, Hokusai’s Great Wave and Georgia O’Keeffe’s Ritz Tower. This last gave scope for a real New York workout, Tim leading the field in the 'hottest' item thus far.
The Trio's renderings of two Stephane Grappelli/Django Reinhardt favourites opened the second half: 'I surrender, dear' (Bing Crosby's first hit in 1931 and recorded that year by Louis Armstrong), and the big French hit of World War II, 'J'attendrai'. In the same vein came the 1937 Hoagy Carmichael hit 'The Nearness of you', as romantic as you could wish, channelling the original's lyrics ( 'It's not the pale moon that excites me That thrills and delights me, oh no It's just the nearness of you'...) In complete contrast came two virtuoso displays based on classical standards, Bach's 3rd Brandenburg Concerto and Vivaldi's Winter from the Four Seasons, in the opening passages of which Tim showed his prowess as a violinist in any style. This was no less true in the imaginative and intimate choice of encore – an interpretation of Richard Strauss's much loved Morgen, one of the songs the composer gave his wife Pauline (an operatic soprano) in 1894 as a wedding present, 'As over us rapture's great hush will flow'. A perfect ending, rounding off perfectly a successful and enjoyable season. Thanks again to David Vaughan & Co. for supporting the event.
Wrth wrando ar jazz mae'n fantais adnabod yr alawon sy'n fan cychwyn y chwarae ar y pryd, a dyna oedd yn wir yn achos rhaglen Triawd Tim Kliphuis yng Ngholeg Meirion-Dwyfor ar nos Wener 15ed Mawrth. Seiliwyd y rhan gyntaf yn bennaf oll ar y darn Lluniau mewn Arddangosfa o waith Mussorgsky, darn a ddehongliwyd (ganrif a hanner ar ôl dyddiad ei gyfansoddi) yn feistrolgar gan y pianydd Victor Maslov yn ôl yn Ionawr; bu'r gerddoriaeth felly'n fyw ar y cof. Dyna chi 'Bydlo' er enghraifft, a olyga 'gwartheg' ond sy'n galw ar ddelwedd o fen ychen yn rholio'n drwsgl drwy lonnydd lleidiog, llun a ddalwyd i'r dim gan dannau trymion fasgrwth Roy Percy. Dair gwaith y clywyd 'Promenâd' (drwy'r 'arddangosfa' fel petai), gydag amrywiaethau gwahanol bob tro. Hudolus iawn oedd Yr Hen Gastell, Gnomws a Baba Yaga (gwrach y goedwig): mae'r Triawd profiadol hwn (sy'n dathlu 18 mlynedd o fynd ar daith) yn gwybod yn reddfol pa offeryn sydd i fod ar y blaen, a sut i greu sŵn unedig cyfoethog. Bu'r gwrandawyr ar bigau drain i ddal pob nodyn o unawdau (ar dannau acwstig) y gitarydd Nigel Clark; Ray Percy yntau a swynodd gyda'i unawdau bâs, pob un llawn awch rhythmig.
Wedi'i ysbrydoli gan y darn gwreiddiol, mae Tim wedi creu ac ychwanegu i'r dilyniant luniau adnabyddus (h.y. cynrychioliadau cerddorol ohonynt) megis Y Gusan gan Klimt, lle dringodd ei ffidl yn dyner at uchelderau'r tant E; Nos Serennog gan Van Gogh; Y Don Fawr gan Hokusai; a'r Tŵr Ritz o waith Georgia O'Keefe, lle cafodd Tim gyfle i arwain hwrli-bwrli poethaf y noson tan hynny.
Agorwyd yr ail hanner gyda dehongliadau o ddau ffefryn o repertoire Stephane Grappelli a Django Reinhardt, 'I surrender, dear' (llwyddiant cyntaf Bing Crosby ym 1931 ac a recordiwyd gan Louis Armstrong yn yr un flwyddyn), a 'J'attendrai', cân Ffrengig mwyaf poblogaidd yr Ail Ryfel Byd. Wedyn daeth ffefryn allan o lyfr caneuon Americanaidd, 'The Nearness of you' (Hoagy Carmichael 1937), rhamantus dros ben, a greodd naws y geiriau gwreiddiol (( 'It's not the pale moon that excites me That thrills and delights me, oh no It's just the nearness of you'.) Yn hollol wahanol daeth dau gyflwyniad penigamp ar sail darnau clasurol, 3ydd Consierto Brandenburg gan Bach, a Gaeaf allan o'r Pedwar Tymor gan Vivaldi: daeth yn amlwg bod Tim yn feistr o'i offeryn mewn unrhyw arddull. Yr un mor drawiadol oedd y dewis dychmygaidd ac agos atoch o encôr, sef Morgen, cân a roddodd Richard Strauss i'w wraig Pauline (soprano operataidd) ym 1894 fel anrheg briodas ('As over us rapture's great hush will flow', rhed un cyfiethiad). Diweddglo perffaith i'r noson, a orffennodd mewn modd addas iawn dymor amrywiol a llwyddiannus. Diolch i David Vaughan a Chwmni am gefnogi'r digwyddiad.
The Trio's renderings of two Stephane Grappelli/Django Reinhardt favourites opened the second half: 'I surrender, dear' (Bing Crosby's first hit in 1931 and recorded that year by Louis Armstrong), and the big French hit of World War II, 'J'attendrai'. In the same vein came the 1937 Hoagy Carmichael hit 'The Nearness of you', as romantic as you could wish, channelling the original's lyrics ( 'It's not the pale moon that excites me That thrills and delights me, oh no It's just the nearness of you'...) In complete contrast came two virtuoso displays based on classical standards, Bach's 3rd Brandenburg Concerto and Vivaldi's Winter from the Four Seasons, in the opening passages of which Tim showed his prowess as a violinist in any style. This was no less true in the imaginative and intimate choice of encore – an interpretation of Richard Strauss's much loved Morgen, one of the songs the composer gave his wife Pauline (an operatic soprano) in 1894 as a wedding present, 'As over us rapture's great hush will flow'. A perfect ending, rounding off perfectly a successful and enjoyable season. Thanks again to David Vaughan & Co. for supporting the event.
Wrth wrando ar jazz mae'n fantais adnabod yr alawon sy'n fan cychwyn y chwarae ar y pryd, a dyna oedd yn wir yn achos rhaglen Triawd Tim Kliphuis yng Ngholeg Meirion-Dwyfor ar nos Wener 15ed Mawrth. Seiliwyd y rhan gyntaf yn bennaf oll ar y darn Lluniau mewn Arddangosfa o waith Mussorgsky, darn a ddehongliwyd (ganrif a hanner ar ôl dyddiad ei gyfansoddi) yn feistrolgar gan y pianydd Victor Maslov yn ôl yn Ionawr; bu'r gerddoriaeth felly'n fyw ar y cof. Dyna chi 'Bydlo' er enghraifft, a olyga 'gwartheg' ond sy'n galw ar ddelwedd o fen ychen yn rholio'n drwsgl drwy lonnydd lleidiog, llun a ddalwyd i'r dim gan dannau trymion fasgrwth Roy Percy. Dair gwaith y clywyd 'Promenâd' (drwy'r 'arddangosfa' fel petai), gydag amrywiaethau gwahanol bob tro. Hudolus iawn oedd Yr Hen Gastell, Gnomws a Baba Yaga (gwrach y goedwig): mae'r Triawd profiadol hwn (sy'n dathlu 18 mlynedd o fynd ar daith) yn gwybod yn reddfol pa offeryn sydd i fod ar y blaen, a sut i greu sŵn unedig cyfoethog. Bu'r gwrandawyr ar bigau drain i ddal pob nodyn o unawdau (ar dannau acwstig) y gitarydd Nigel Clark; Ray Percy yntau a swynodd gyda'i unawdau bâs, pob un llawn awch rhythmig.
Wedi'i ysbrydoli gan y darn gwreiddiol, mae Tim wedi creu ac ychwanegu i'r dilyniant luniau adnabyddus (h.y. cynrychioliadau cerddorol ohonynt) megis Y Gusan gan Klimt, lle dringodd ei ffidl yn dyner at uchelderau'r tant E; Nos Serennog gan Van Gogh; Y Don Fawr gan Hokusai; a'r Tŵr Ritz o waith Georgia O'Keefe, lle cafodd Tim gyfle i arwain hwrli-bwrli poethaf y noson tan hynny.
Agorwyd yr ail hanner gyda dehongliadau o ddau ffefryn o repertoire Stephane Grappelli a Django Reinhardt, 'I surrender, dear' (llwyddiant cyntaf Bing Crosby ym 1931 ac a recordiwyd gan Louis Armstrong yn yr un flwyddyn), a 'J'attendrai', cân Ffrengig mwyaf poblogaidd yr Ail Ryfel Byd. Wedyn daeth ffefryn allan o lyfr caneuon Americanaidd, 'The Nearness of you' (Hoagy Carmichael 1937), rhamantus dros ben, a greodd naws y geiriau gwreiddiol (( 'It's not the pale moon that excites me That thrills and delights me, oh no It's just the nearness of you'.) Yn hollol wahanol daeth dau gyflwyniad penigamp ar sail darnau clasurol, 3ydd Consierto Brandenburg gan Bach, a Gaeaf allan o'r Pedwar Tymor gan Vivaldi: daeth yn amlwg bod Tim yn feistr o'i offeryn mewn unrhyw arddull. Yr un mor drawiadol oedd y dewis dychmygaidd ac agos atoch o encôr, sef Morgen, cân a roddodd Richard Strauss i'w wraig Pauline (soprano operataidd) ym 1894 fel anrheg briodas ('As over us rapture's great hush will flow', rhed un cyfiethiad). Diweddglo perffaith i'r noson, a orffennodd mewn modd addas iawn dymor amrywiol a llwyddiannus. Diolch i David Vaughan a Chwmni am gefnogi'r digwyddiad.
For many the season's main chamber music concert is a highlight, and this year's did not disappoint: a string trio formed for the occasion by members of the Pleyel Ensemble played splendidly in Coleg Meirion-Dwyfor on Friday 23rd February, and once again the hall's warm acoustic made the listening experience deeply satisfying. All three musicians are highly experienced, with roles including those of violinist Sarah Ewins as Associate Leader of the Hallé Orchestra, David Aspin as principal violist of the Orchestra of Opera North, and Heather Bills as principal cellist of the Welsh Chamber Orchestra. Seasoned chamber players also, their integration as a trio was impeccable.
Born a year after Mozart but living twice as long, the eponymous Ignaz Pleyel is best known today as founder of a piano business that supplied Chopin, no less; but in his day the music he composed was wildly popular, even giving rise to a Pleyel Society on the island of Nantucket off the coast of Massachusetts! His genial String Trio in G Op.44 No.1 made an ideal opener, and Schubert's youthful single-movement
String Trio in Bb D471 was equally tuneful. This prepared listeners well for the String Trio D51 written in 1950 by Arnold Cooke (1906–2005), a British composer only now coming into his own thanks to modern recordings (several of them by the Pleyels). Accessible yet original, and rhythmically engaging throughout, all agreed this work too should be recorded.
Viola & cello opened the second half in Beethoven's 'Eyeglass' Duo WoO.32, a piece Beethoven probably wrote for himself and his cellist friend Baron Nikolaus Zmeskall whom he was known to tease for his short-sightedness! In the absence of a violin part the cellist has to play formidably high at times, a challenge which Heather negotiated with aplomb. David made the very most of having all the upper melodies to himself (not so common an opportunity for viola players...). The programme then reached an exhilarating climax with Ernö von Dohnányi's five-movement Serenade in C Op.10 of 1902, a work full of light and shade that showcased the trio's skills as virtuosi, but also showed them to be listening players who revelled in living up to their title as the Pleyel Ensemble.
I sawl un mae prif gyngerdd cerddoriaeth siambr yn uchafbwynt y tymor, ac ni siomwyd neb ganddo eleni: ar 23ain Chwefror yng Ngholeg Meirion-Dwyfor cafwyd cyflwyniad arbennig gan driawd llinynnol o blith 'Ensemble Pleyel', lle cyfrannodd acwstic cynnes y neuadd yn sylweddol i bleser y gwrandawyr. Mae pob un o'r tri yn gerddor profiadol iawn: mae fiolinyddes Sarah Ewins, er enghraifft, yn Arweinydd Cyswllt Cerddorfa Hallé, mae David Aspin yn brif fiolydd Cerddorfa Opera'r Gogledd, ac mae Heather Bills yn chwarae prif soddgrwth yng Ngherddorfa Siambr Cymru. Mwy na hyn oll, mae'r tri yn deall sut i asio'n berffaith fel triawd.
Wedi'i eni ychydig ar ôl Mozart ond wedi byw ddwywaith yn hirach, adnabyddir Ignaz Pleyel heddiw fel sylfaenydd masnach piano a ddarparodd offeryn i Chopin, neb llai; ond yn ei ddydd roedd o'n enwog fel cyfansoddwr o fri, a chrewyd Cymdeithas Pleyel ar ynys Nantucket hyd yn oed, yn agos i arfordir Massachusetts! Hawddgar iawn oedd ei Driawd Llinynnol yn G Op.44 Rh.1 fel agoriad i'r rhaglen, ac yr un mor siriol a llawn alawon oedd Triawd yn B lleddf D471 gan Schubert, darn un symudiad a greodd yn ei ieuenctid. Paratoad effeithiol oedd yr eitemau traddodiadol hyn at brif ddarn y hanner cyntaf, sef Triawd Llinynnol D51 (1950) o waith Arnold Cooke (1906–2005), cyfansoddwr Prydeinig a esgeuluswyd braidd hyd yn hyn, ond sydd yn dechrau ennill ei dir diolch i recordiadau cyfoes, sawl un ohonynt gan yr Ensemble Pleyel. Mwynhawyd y gwaith yn fawr, yn arbennig am ei rithmau bywiog, a chytunwyd y dylai'r darn hwn hefyd gael ei recordio.
Agorwyd yr ail hanner gyda Deuawd 'Gwydryn Llygad' WoO.32 ar gyfer fiola a soddgrwth o waith Beethoven, darn a gyfansoddwyd ganddo (fwy na thebyg) ar gyfer y fo ei hun (ar y fiola) a'i ffrind Baron Nikolaus Zmeskall. [Arferai Beethoven dynnu coes y Baron am fyrder ei olwg!] Yn absenoldeb darn ffidl gofynnir i'r soddgrwth chwarae'n ofnadwy o uchel, her a gyflawnwyd yn wych gan Heather. Manteisiodd David i'r eithaf o'i gyfle i serennu gyda'r prif alawon, cyfle sydd ddim yn dod bob tro i fiolyddion! Daeth y rhaglen wedyn i uchafbwynt gwefreiddiol wrth i'r triawd ddehongli Serenâd yn C Op.10 (1902) mewn pump symudiad gan Ernö von Dohnányi, darn llawn golau a chysgod lle dangoswyd sgiliau'r tri fel cerddorion penigamp – ond hefyd fel chwarewyr sy'n gwybod sut i wrando, a gwireddu i'r eithaf yr enw Ensemble Pleyel.
Born a year after Mozart but living twice as long, the eponymous Ignaz Pleyel is best known today as founder of a piano business that supplied Chopin, no less; but in his day the music he composed was wildly popular, even giving rise to a Pleyel Society on the island of Nantucket off the coast of Massachusetts! His genial String Trio in G Op.44 No.1 made an ideal opener, and Schubert's youthful single-movement
String Trio in Bb D471 was equally tuneful. This prepared listeners well for the String Trio D51 written in 1950 by Arnold Cooke (1906–2005), a British composer only now coming into his own thanks to modern recordings (several of them by the Pleyels). Accessible yet original, and rhythmically engaging throughout, all agreed this work too should be recorded.
Viola & cello opened the second half in Beethoven's 'Eyeglass' Duo WoO.32, a piece Beethoven probably wrote for himself and his cellist friend Baron Nikolaus Zmeskall whom he was known to tease for his short-sightedness! In the absence of a violin part the cellist has to play formidably high at times, a challenge which Heather negotiated with aplomb. David made the very most of having all the upper melodies to himself (not so common an opportunity for viola players...). The programme then reached an exhilarating climax with Ernö von Dohnányi's five-movement Serenade in C Op.10 of 1902, a work full of light and shade that showcased the trio's skills as virtuosi, but also showed them to be listening players who revelled in living up to their title as the Pleyel Ensemble.
I sawl un mae prif gyngerdd cerddoriaeth siambr yn uchafbwynt y tymor, ac ni siomwyd neb ganddo eleni: ar 23ain Chwefror yng Ngholeg Meirion-Dwyfor cafwyd cyflwyniad arbennig gan driawd llinynnol o blith 'Ensemble Pleyel', lle cyfrannodd acwstic cynnes y neuadd yn sylweddol i bleser y gwrandawyr. Mae pob un o'r tri yn gerddor profiadol iawn: mae fiolinyddes Sarah Ewins, er enghraifft, yn Arweinydd Cyswllt Cerddorfa Hallé, mae David Aspin yn brif fiolydd Cerddorfa Opera'r Gogledd, ac mae Heather Bills yn chwarae prif soddgrwth yng Ngherddorfa Siambr Cymru. Mwy na hyn oll, mae'r tri yn deall sut i asio'n berffaith fel triawd.
Wedi'i eni ychydig ar ôl Mozart ond wedi byw ddwywaith yn hirach, adnabyddir Ignaz Pleyel heddiw fel sylfaenydd masnach piano a ddarparodd offeryn i Chopin, neb llai; ond yn ei ddydd roedd o'n enwog fel cyfansoddwr o fri, a chrewyd Cymdeithas Pleyel ar ynys Nantucket hyd yn oed, yn agos i arfordir Massachusetts! Hawddgar iawn oedd ei Driawd Llinynnol yn G Op.44 Rh.1 fel agoriad i'r rhaglen, ac yr un mor siriol a llawn alawon oedd Triawd yn B lleddf D471 gan Schubert, darn un symudiad a greodd yn ei ieuenctid. Paratoad effeithiol oedd yr eitemau traddodiadol hyn at brif ddarn y hanner cyntaf, sef Triawd Llinynnol D51 (1950) o waith Arnold Cooke (1906–2005), cyfansoddwr Prydeinig a esgeuluswyd braidd hyd yn hyn, ond sydd yn dechrau ennill ei dir diolch i recordiadau cyfoes, sawl un ohonynt gan yr Ensemble Pleyel. Mwynhawyd y gwaith yn fawr, yn arbennig am ei rithmau bywiog, a chytunwyd y dylai'r darn hwn hefyd gael ei recordio.
Agorwyd yr ail hanner gyda Deuawd 'Gwydryn Llygad' WoO.32 ar gyfer fiola a soddgrwth o waith Beethoven, darn a gyfansoddwyd ganddo (fwy na thebyg) ar gyfer y fo ei hun (ar y fiola) a'i ffrind Baron Nikolaus Zmeskall. [Arferai Beethoven dynnu coes y Baron am fyrder ei olwg!] Yn absenoldeb darn ffidl gofynnir i'r soddgrwth chwarae'n ofnadwy o uchel, her a gyflawnwyd yn wych gan Heather. Manteisiodd David i'r eithaf o'i gyfle i serennu gyda'r prif alawon, cyfle sydd ddim yn dod bob tro i fiolyddion! Daeth y rhaglen wedyn i uchafbwynt gwefreiddiol wrth i'r triawd ddehongli Serenâd yn C Op.10 (1902) mewn pump symudiad gan Ernö von Dohnányi, darn llawn golau a chysgod lle dangoswyd sgiliau'r tri fel cerddorion penigamp – ond hefyd fel chwarewyr sy'n gwybod sut i wrando, a gwireddu i'r eithaf yr enw Ensemble Pleyel.
How does one encourage audiences to listen to new pieces? A good way when programming is to splice them with familiar ones, and this worked very well for saxophonist Huw Wiggin and pianist Noriko Ogawa in their recital at Coleg Meirion-Dwyfor on Friday 2nd February. Everyone (give or take) knows Debussy's Clair de Lune, and this gave a perfect point of repose as it were in the middle of the second half, vividly conveyed as a solo by Noriko; her own arrangement of Rachmaninov's Vocalise performed a similar role in the first half. Add in a sparkling Bach sonata (originally for flute, in G minor) played on the soprano sax (+ piano), and the fact that Iain Farrington's ebullient Paganini Patterns (commissioned by the duo) is based on the South Bank Show theme tune; plus a grand finale in the form of Farrington's arrangement of Liszt's Hungarian Rhapsody No. 2 (often used in cartoons!); and you had plenty for listeners to feel at home with.
Less known in Debussy's playlist is his 1911 Rapsodie for alto sax & piano, and this made an excellent opening item (as well as being the inspiration for the duo's new album, Rhapsody). Though he's said not to have cared for it Debussy captures the alto sax's voice beautifully, and the pair immediately established their authority and command, both individually and as a duo. Huw's warm tone and lyrical line were a joy throughout the evening, his breath control consummate as it has to be at this level. Andy Scott's Fujiko took the B flat soprano sax into its higher regions, and was accessible and enjoyable. So too was Joseph Phibbs's Night Paths (Rhapsody for alto sax & piano), which had immediate and memorable impact in its evocation of both loneliness and bustle in the night life of a metropolis such as London or New York. The sax melody's 'hiraeth', and eerie shimmering from the piano, gave outstanding moments in an imaginative and well-structured whole. A second piece from Manchester-based Andy Scott, Respectfully Yours, provided a calming encore after the excitement of the Liszt finale, and rounded off a recital that gave another full house great satisfaction.
Beth yw'r ffordd orau o annog cynulleidfaoedd i wrando ar ddarnau newydd? Un modd effeithiol yw eu cymysgu â darnau cyfarwydd, syniad a lwyddodd i'r dim yn natganiad Huw Wiggin (sacssoffôn) a Noriko Ogawa (piano) yng Ngholeg Meirion-Dwyfor ar nos Wener 2il Chwefror. Mae pawb (mwy neu lai) wedi clywed Clair de Lune gan Debussy – dyna'r 'man gorffwys' fel petai a gafwyd yng nghanol yr ail hanner wrthi Noriko ei gyflwyno'n llewychol a diymdrech. Rhoddwyd moment tebyg ganddi yn ystod yr hanner cyntaf gyda Vocalise (trefniant gan Noriko ei hun) o waith Rachmaninov. Pefriol iawn oedd Sonata yn G leiaf gan Bach ar y sacs soprano (gyda phiano), ac adnabyddus iawn yw thema Paganini Patterns (darn bywiog iawn a gomisynodd Huw a Noriko) gan Iain Farrington, sef thema teledu'r South Bank Show. I gloi, gwefreiddiol iawn oedd dehongliad y ddau o Rapsodi Hwngaraidd Rh.2 (yn nhrefniant Iain Farrington) gan Liszt, a glywir mewn sawl cartwn! Fel cyfan felly, dyna chi ddigon i apelio at bob dant.
Llai adnabyddus yn rhestr darnau Debussy yw ei Rapsodie o 1911 ar gyfer sacs alto a phiano, a ffurfiodd eitem addas iawn fel agoriad i'r rhaglen wrth i ni sylweddoli mai Rapsodie yw craidd a man cychwyn albwn newydd Huw a Noriko, sef – 'Rhapsody'! Er nid yn hoff iawn (mae'n debyg) o'r offeryn, deallodd Debussy ei lais unigryw i'r eithaf; teimlwyd yn syth awdurdod a meistrolaeth y ddau gerddor yn yr agoriad hwn, fel unigolion ac fel deuawd. Pleser pur drwy'r noson oedd tôn gynnes a llinell delynegol Huw ar y ddau offeryn (soprano ac alto), rheolaeth ei wynt yn benigamp fel sy'n orfodol ar y lefel yma o chwarae.
Hawdd gafael arno a'i fwynhau oedd Fujiko gan Andy Scott, lle aeth y sacs soprano B lleddf i fyny i'w uchelderau. Argraff gryf a wnaed gan Night Paths (Rhapsodi ar gyfer sacs alto a phiano) o waith Joseph Phibbs, gyda'i ddarlun dychmygus o fywyd nos dinas fawr megis Llundain neu New York, yr unigrwydd yn ogystal â'r bwrlwm. Addas iawn yw'r sacs alto fel cyfrwng hiraeth... Daeth y rhaglen i ben mewn diweddglo cynhyrfus diolch i Liszt, ond cafwyd llonydd wedyn drwy'r encôr, darn arall gan Andy Scott sef 'Respectfully Yours' – gair olaf imewn noson arbennig a blesiodd ei gwrandawyr niferus yn fawr.
Less known in Debussy's playlist is his 1911 Rapsodie for alto sax & piano, and this made an excellent opening item (as well as being the inspiration for the duo's new album, Rhapsody). Though he's said not to have cared for it Debussy captures the alto sax's voice beautifully, and the pair immediately established their authority and command, both individually and as a duo. Huw's warm tone and lyrical line were a joy throughout the evening, his breath control consummate as it has to be at this level. Andy Scott's Fujiko took the B flat soprano sax into its higher regions, and was accessible and enjoyable. So too was Joseph Phibbs's Night Paths (Rhapsody for alto sax & piano), which had immediate and memorable impact in its evocation of both loneliness and bustle in the night life of a metropolis such as London or New York. The sax melody's 'hiraeth', and eerie shimmering from the piano, gave outstanding moments in an imaginative and well-structured whole. A second piece from Manchester-based Andy Scott, Respectfully Yours, provided a calming encore after the excitement of the Liszt finale, and rounded off a recital that gave another full house great satisfaction.
Beth yw'r ffordd orau o annog cynulleidfaoedd i wrando ar ddarnau newydd? Un modd effeithiol yw eu cymysgu â darnau cyfarwydd, syniad a lwyddodd i'r dim yn natganiad Huw Wiggin (sacssoffôn) a Noriko Ogawa (piano) yng Ngholeg Meirion-Dwyfor ar nos Wener 2il Chwefror. Mae pawb (mwy neu lai) wedi clywed Clair de Lune gan Debussy – dyna'r 'man gorffwys' fel petai a gafwyd yng nghanol yr ail hanner wrthi Noriko ei gyflwyno'n llewychol a diymdrech. Rhoddwyd moment tebyg ganddi yn ystod yr hanner cyntaf gyda Vocalise (trefniant gan Noriko ei hun) o waith Rachmaninov. Pefriol iawn oedd Sonata yn G leiaf gan Bach ar y sacs soprano (gyda phiano), ac adnabyddus iawn yw thema Paganini Patterns (darn bywiog iawn a gomisynodd Huw a Noriko) gan Iain Farrington, sef thema teledu'r South Bank Show. I gloi, gwefreiddiol iawn oedd dehongliad y ddau o Rapsodi Hwngaraidd Rh.2 (yn nhrefniant Iain Farrington) gan Liszt, a glywir mewn sawl cartwn! Fel cyfan felly, dyna chi ddigon i apelio at bob dant.
Llai adnabyddus yn rhestr darnau Debussy yw ei Rapsodie o 1911 ar gyfer sacs alto a phiano, a ffurfiodd eitem addas iawn fel agoriad i'r rhaglen wrth i ni sylweddoli mai Rapsodie yw craidd a man cychwyn albwn newydd Huw a Noriko, sef – 'Rhapsody'! Er nid yn hoff iawn (mae'n debyg) o'r offeryn, deallodd Debussy ei lais unigryw i'r eithaf; teimlwyd yn syth awdurdod a meistrolaeth y ddau gerddor yn yr agoriad hwn, fel unigolion ac fel deuawd. Pleser pur drwy'r noson oedd tôn gynnes a llinell delynegol Huw ar y ddau offeryn (soprano ac alto), rheolaeth ei wynt yn benigamp fel sy'n orfodol ar y lefel yma o chwarae.
Hawdd gafael arno a'i fwynhau oedd Fujiko gan Andy Scott, lle aeth y sacs soprano B lleddf i fyny i'w uchelderau. Argraff gryf a wnaed gan Night Paths (Rhapsodi ar gyfer sacs alto a phiano) o waith Joseph Phibbs, gyda'i ddarlun dychmygus o fywyd nos dinas fawr megis Llundain neu New York, yr unigrwydd yn ogystal â'r bwrlwm. Addas iawn yw'r sacs alto fel cyfrwng hiraeth... Daeth y rhaglen i ben mewn diweddglo cynhyrfus diolch i Liszt, ond cafwyd llonydd wedyn drwy'r encôr, darn arall gan Andy Scott sef 'Respectfully Yours' – gair olaf imewn noson arbennig a blesiodd ei gwrandawyr niferus yn fawr.
Standing ovations should not perhaps be given too easily, but the one accorded to pianist Victor Maslov for his recital at Coleg Meirion-Dwyfor on Friday 12th January was fully deserved. As victory bells rang out from the keyboard evoking a procession through the Great Gate of Kiev, the final 'promenade' in Mussorgsky's Pictures from an Exhibition, listeners found it hard not to rise in accolade, grateful not just for the soloist's great virtuosity but also for the sheer imaginative power of his performance.
A much gentler piece began the programme, the 3 Bagatelles Op. 1 by Ukrainian composer Valentin Silvestrov (born in Kiev in 1937, Silvestrov fled Ukraine in 2022 for Berlin where he now lives). Experiencing these pieces has been compared to 'walking through a forest, light shining through the boughs'; although only a few minutes in length, they helped settle the mind ahead of the much more assertive textures of Rachmaninov's 1911 Études-tableaux Op. 33. Famously, Rachmaninov had a hand-span four or five notes beyond your average octave, just one factor contributing to this piano music's many technical challenges. From the martial opening of the first of the eight Études-tableaux Victor established his authority and never looked back, creating vivid contrasts between the most powerful passages and those requiring delicacy. The whirl of notes in the fifth study-picture, known in Russia as 'The Snowstorm', was tossed off with seeming ease. Especially beautiful was the pensive opening of the seventh in the set, which formed a subtle bridge with Silvestrov's Bagatelles. The 'thunder & lightning' of the final number were breathtaking.
Contrast also plays a large part in the magic of Mussorgsky's 1874 Pictures, with sonorities ranging from the heavy wagon-wheels in 'Bydlo' and those climactic Kiev bells, to the scampering quarrels of Paris children in 'Tuileries' and the skittish fantasy dance of 'Ballet of the Unhatched Chickens'. Victor's playing was such that one could lose oneself completely in the whole panoply of images, romantic in the sad troubadour's song of 'The Old Castle', gothic in the resounding 'Catacombs', terrifying in the forest-evocation of the child-eating witch Baba Yaga. Far from exhausted by all this, Victor thanked the audience in his own way with a stunning encore in the form of Manuel de Falla's electric 'Fire Dance'.
Many thanks to the Countess of Munster Musical Trust for its sponsorship of this exhilarating recital.
Efallai ni ddylai perfformiwr dderbyn cymeradwyaeth sefyll yn rhy hawdd, ond heb os, haeddodd yn llwyr y pianydd Victor Maslov ymateb o'r math i'w ddatganiad yng Ngholeg Meirion-Dwyfor ar nos Wener 12fed Ionawr. Wrth i glychau buddugoliaethus atseinio o'r piano ar ddiwedd y sioe gan alw ar orymdaith drwy Borth Mawr Kyiv, 'promenâd' olaf Lluniau o Arddangosfa gan Mussorgsky, bu'n anodd i wrandawyr beidio â chodi ar eu traed – yn ddiolchgar nid yn unig am hyfrededd eithriadol y cerddor ifanc hwn, ond hefyd am nerth dychmygol ei gyflwyniad.
Agorwyd ei raglen gyda darn tawelach, 3 Bagatelles Op. 1 gan Valentin Silvestrov, cyfansoddwr o Wcráin a anwyd yn Kyiv ym 1937; yn 2022 bu'n rhaid iddo ffoi o Wcráin i Berlin lle mae o'n byw hyd yma. Cymherir y profiad o wrando ar y darnau tyner hyn i 'gerdded drwy goedwig, dan fwynhau'r golau sy'n tywynnu drwy'r canghennau'; er iddynt barhau am ychydig o funudau'n unig, cafwyd drwyddynt lonydd i'r meddwl o flaen ansawdd mwy ymosodol Études-tableaux Op. 33 a greodd
Rachmaninov ym 1911. Mae'n ffaith adnabyddus yr oedd gan Rachmaninov ddwylo enfawr, gydag ystod o ryw bedwar neu bump o nodau'n fwy na'r wythfed arferol; dyna un elfen ymhlith y heriau technegol niferus a geir yn ei gerddoriaeth biano.
O agoriad milwrol y cyntaf o'r wyth Études-tableaux sefydlodd Victor ei awdurdod yn y repertoire hwn, ac ni bu lleihau wedyn: cafwyd ganddo gyferbyniadau bywiog rhwng y rhannau cryfach a'r rhai lle roedd angen ysgafnder. Chwyrliodd nodau'r pumed Étude-tableau, a enwir yn Rwsia 'Y Storm Eira', heb lithriad na straen. Arbennig o hardd oedd agoriad myfyriol y seithfed o'r set, lle ffurfiwyd pont cynnil fel petai i'r 3 Bagatelles o waith Silvestrov. Syfrdanol wedyn oedd 'mellt a tharanau' y darn terfynol gyda neidiau anferth, rhediadau cromatig a newidiadau sydyn rhwng tonyddiaethau mwyaf a lleiaf.
Chwery cyferbyniadau ran sylweddol hefyd mewn hud ac awyrgylch Lluniau o Arddangosfa gan Mussorgsky, lle clywir seiniau trymion olwynion gwagen fferm yn
'Bydlo' a chlychau mawrion ac atseiniol Kyiv, yn ogystal â chrychneidio ac ymgecru plant bychain yn 'Tuileries' a ffantasi chwareus dawns y 'Cywion heb Ddeor'. Diolch i ddehongliad Victor bu'n hawdd colli'ch hunan yn llwyr ym myd y delweddau rhyfeddol hyn – rhamant cân drist y trwbadŵr yn 'Yr Hen Gastell', gwefr gothig y 'Catacwmau', erchyll y goedwig lle mae'r wrach Baba Yaga'n disgwyl am blant i'w
llowcio! Ar ben hyn oll, diolchodd Victor ei gynulleidfa wrth ychwanegu fel encôr liwiau trydanol 'Dawns Tân' o waith Manuel de Falla.
A much gentler piece began the programme, the 3 Bagatelles Op. 1 by Ukrainian composer Valentin Silvestrov (born in Kiev in 1937, Silvestrov fled Ukraine in 2022 for Berlin where he now lives). Experiencing these pieces has been compared to 'walking through a forest, light shining through the boughs'; although only a few minutes in length, they helped settle the mind ahead of the much more assertive textures of Rachmaninov's 1911 Études-tableaux Op. 33. Famously, Rachmaninov had a hand-span four or five notes beyond your average octave, just one factor contributing to this piano music's many technical challenges. From the martial opening of the first of the eight Études-tableaux Victor established his authority and never looked back, creating vivid contrasts between the most powerful passages and those requiring delicacy. The whirl of notes in the fifth study-picture, known in Russia as 'The Snowstorm', was tossed off with seeming ease. Especially beautiful was the pensive opening of the seventh in the set, which formed a subtle bridge with Silvestrov's Bagatelles. The 'thunder & lightning' of the final number were breathtaking.
Contrast also plays a large part in the magic of Mussorgsky's 1874 Pictures, with sonorities ranging from the heavy wagon-wheels in 'Bydlo' and those climactic Kiev bells, to the scampering quarrels of Paris children in 'Tuileries' and the skittish fantasy dance of 'Ballet of the Unhatched Chickens'. Victor's playing was such that one could lose oneself completely in the whole panoply of images, romantic in the sad troubadour's song of 'The Old Castle', gothic in the resounding 'Catacombs', terrifying in the forest-evocation of the child-eating witch Baba Yaga. Far from exhausted by all this, Victor thanked the audience in his own way with a stunning encore in the form of Manuel de Falla's electric 'Fire Dance'.
Many thanks to the Countess of Munster Musical Trust for its sponsorship of this exhilarating recital.
Efallai ni ddylai perfformiwr dderbyn cymeradwyaeth sefyll yn rhy hawdd, ond heb os, haeddodd yn llwyr y pianydd Victor Maslov ymateb o'r math i'w ddatganiad yng Ngholeg Meirion-Dwyfor ar nos Wener 12fed Ionawr. Wrth i glychau buddugoliaethus atseinio o'r piano ar ddiwedd y sioe gan alw ar orymdaith drwy Borth Mawr Kyiv, 'promenâd' olaf Lluniau o Arddangosfa gan Mussorgsky, bu'n anodd i wrandawyr beidio â chodi ar eu traed – yn ddiolchgar nid yn unig am hyfrededd eithriadol y cerddor ifanc hwn, ond hefyd am nerth dychmygol ei gyflwyniad.
Agorwyd ei raglen gyda darn tawelach, 3 Bagatelles Op. 1 gan Valentin Silvestrov, cyfansoddwr o Wcráin a anwyd yn Kyiv ym 1937; yn 2022 bu'n rhaid iddo ffoi o Wcráin i Berlin lle mae o'n byw hyd yma. Cymherir y profiad o wrando ar y darnau tyner hyn i 'gerdded drwy goedwig, dan fwynhau'r golau sy'n tywynnu drwy'r canghennau'; er iddynt barhau am ychydig o funudau'n unig, cafwyd drwyddynt lonydd i'r meddwl o flaen ansawdd mwy ymosodol Études-tableaux Op. 33 a greodd
Rachmaninov ym 1911. Mae'n ffaith adnabyddus yr oedd gan Rachmaninov ddwylo enfawr, gydag ystod o ryw bedwar neu bump o nodau'n fwy na'r wythfed arferol; dyna un elfen ymhlith y heriau technegol niferus a geir yn ei gerddoriaeth biano.
O agoriad milwrol y cyntaf o'r wyth Études-tableaux sefydlodd Victor ei awdurdod yn y repertoire hwn, ac ni bu lleihau wedyn: cafwyd ganddo gyferbyniadau bywiog rhwng y rhannau cryfach a'r rhai lle roedd angen ysgafnder. Chwyrliodd nodau'r pumed Étude-tableau, a enwir yn Rwsia 'Y Storm Eira', heb lithriad na straen. Arbennig o hardd oedd agoriad myfyriol y seithfed o'r set, lle ffurfiwyd pont cynnil fel petai i'r 3 Bagatelles o waith Silvestrov. Syfrdanol wedyn oedd 'mellt a tharanau' y darn terfynol gyda neidiau anferth, rhediadau cromatig a newidiadau sydyn rhwng tonyddiaethau mwyaf a lleiaf.
Chwery cyferbyniadau ran sylweddol hefyd mewn hud ac awyrgylch Lluniau o Arddangosfa gan Mussorgsky, lle clywir seiniau trymion olwynion gwagen fferm yn
'Bydlo' a chlychau mawrion ac atseiniol Kyiv, yn ogystal â chrychneidio ac ymgecru plant bychain yn 'Tuileries' a ffantasi chwareus dawns y 'Cywion heb Ddeor'. Diolch i ddehongliad Victor bu'n hawdd colli'ch hunan yn llwyr ym myd y delweddau rhyfeddol hyn – rhamant cân drist y trwbadŵr yn 'Yr Hen Gastell', gwefr gothig y 'Catacwmau', erchyll y goedwig lle mae'r wrach Baba Yaga'n disgwyl am blant i'w
llowcio! Ar ben hyn oll, diolchodd Victor ei gynulleidfa wrth ychwanegu fel encôr liwiau trydanol 'Dawns Tân' o waith Manuel de Falla.
Despite the subzero temperatures a good number ventured out to Coleg Meirion-Dwyfor on Friday 1st December, drawn by the rare opportunity to hear locally an early-music recital on lute & theorbo (the bass lute). Emanuele Addis (a Young Concert Artist for Making Music) did not disappoint. His first half comprised music for lute, with the main focus on John Dowland whose mostly short pieces enjoy vivid titles such as Mrs Winter's Jump, Orlando Sleepeth or The Frog Galliard, as well as other galliards honouring important patrons such as The Most Sacred Queen Elizabeth or The Most High and Mighty Christianus the Fourth, King of Denmark, Dowland's employer for eight years. (The galliard was a vigorous dance involving leaps, jumps & hops – Elizabeth was reported as dancing 'six or seven' of a morning!) The lute's delicate timbre drew listeners in, as did Emanuele's engaging and accomplished presentation.
After several spirited Scottish folk tunes from the 1627 Straloch Lute Book, Emanuele was joined by Club chair Ben Ridler for a rendering of the sung version of Dowland's 'Can she excuse my wrongs?' – a clever song Sting took a fancy to and recorded in his lute phase! The 'rightness' of the lute's intimate tone for this repertoire was apparent throughout the verses.
After the break the theorbo pretty much stole the show, its richly resounding open
bass strings filling the hall's warm acoustic. Although now back in fashion as a continuo instrument for baroque accompaniment, the theorbo flourished only in the 17th and early 18th centuries in the hands of little-known names such as Kapsberger and Piccinini whose pieces came over as full of character; so too did those of Robert de Visée ('Guitar Master' of Louis XV) and viol virtuoso Marin Marais (transcribed for theorbo by Emanuele). Kapsberger's Toccata Arpeggiata gave Emanuele inspiration for an improvised Toccata of his own, a highlight of the evening which breathed fresh life into the tradition and made the instrument seem of the future as well as of the past.
Turning for a final set to his mandolin-like cittern ('as at home in the tavern as at court'), Emanuele rounded off with Parson's Well, the King's March and Bobbing Joe from John Playford's 1651 The English Dancing Master, an upbeat ending that set the perfect seal on a delightful and distinctive recital. Many thanks to Making Music and the Philip & Dorothy Green Music Trust for their sponsorship.
Serch y tymheredd dan sero mentrodd nifer sylweddol allan i Goleg Meirion-Dwyfor
ar nos Wener 1af Rhagfyr, wedi'u denu gan gyfle prin i glywed yn lleol ddatganiad cerdd-gynnar ar liwt a theorbo (y liwt fas). Ni siomwyd neb gan Emanuele Addis (Celfyddyd Cyngerdd Ifanc ar gyfer Making Music). Y liwt yn unig a glywyd drwy'r hanner cyntaf, gyda'r prif ffocws ar John Dowland: darnau byrion sydd ganddo ar y cyfan gyda theitlau bywiog megis Mrs Winter's Jump, Orlando Sleepeth neu The Frog Galliard, yn ogystal â galiardau eraill i anrhydeddu noddwyr pwysig megis The Most Sacred Queen Elizabeth neu The Most High and Mighty Christianus the Fourth, King of Denmark, cyflogwr Dowland am wyth mlynedd. (Dawns egnïol iawn oedd y galiard, gyda neidiau, llamau a hopiau – adroddwyd bod Elizabeth yn arfer dawnsio
'six or seven of a morning'!) Tynnwyd y gwrandawyr i mewn gan soniaredd tyner y liwt, a hefyd gan gyflwyniad dymunol a chain Emanuele.
Ar ôl sawl alaw hoenus Albanaidd o Lyfr Liwt Straloch (1627), ymunodd cadeirydd y Clwb Ben Ridler ag Emanuele er mwyn dehongli fersiwn lleisiol o 'Can she excuse my wrongs?' gan John Dowland, cân ddeheuig a recordiwyd gan Sting yn ei 'gyfnod liwt' yn ôl yn 2014! Teimlwyd drwyddi draw pa mor addas yw'r liwt fel offeryn cyfeilio yn y repertoire hwn.
Y theorbo oedd seren go iawn gweddill y sioe, wrth iddo lenwi acwstig cynnes y neuadd gydag atsain cyfoethog ei dannau bas. Er yn boblogaidd unwaith eto heddiw fel offeryn continwo mewn cerddoriaeth farôc, parodd cyfnod ei ogoniant dim ond o'r 17eg ganrif i ddegawdau cynnar y 18fed yn nwylo enwau anghyfarwydd megis Giovanni Kapsberger ('Canario' un o'i ddarnau, werth ei glywed) ac Alessandro Piccinini ('Ciaconna in partite variate', dawns liwgar). Mwynhawyd hefyd gweithiau gan Robert de Visée ('Meistr Gitâr' o dan Louis XV) a phencerddor y feiol Marin Marais (trawsgrifiad gan Emanuele). Ysbrydolwyd Emanuele gan Toccata Arpeggiata Kapsberger i greu Toccata byrfyfyr ei hun, un o uchafbwyntiau'r noson lle anadlwyd bywyd newydd i mewn i'r traddodiad gan awgrymu mai nid yn unig trysor y gorffennol yw'r theorbo, ond hefyd offeryn gyda photensial creadigol o'i flaen.
I gloi, trodd Emanuele at ei sitern (maint mandolin), a gweddodd (meddaf fo) naws y tafarn gystal â'r llys. Ac yn wir, tapiodd sawl troed wrth glywed Parson's Well, The King's March a Bobbing Joe allan o The English Dancing Master (1651) gan John Playford. Dyna ddiweddglo perffaith i noson ddifyr a nodweddiadol. Diolch i Making Music ac Ymddiriedolaeth Gerdd Philip a Dorothy Green am eu nawdd.
Diolch ymlaenllaw i noddwr arall, sef Ymddiriedolaeth Gerdd Iarlles Mwnster, am gefnogi ymweliad Victor Maslov â'r Clwb ar 12fed Ionawr 2024 am 7.30yh yn y Coleg. Cynhwysa rhaglen y pianydd dawnus hwn 3 Bagatelles op.1 gan Silvestrov (o Wcráin), Études-tableaux op.33 gan Rachmaninoff, a Lluniau mewn Arddangosfa gan Mussorgsky. Sain cryfach a ddisgwylir tro nesaf felly! Estynnir croeso cynnes i bawb.
After several spirited Scottish folk tunes from the 1627 Straloch Lute Book, Emanuele was joined by Club chair Ben Ridler for a rendering of the sung version of Dowland's 'Can she excuse my wrongs?' – a clever song Sting took a fancy to and recorded in his lute phase! The 'rightness' of the lute's intimate tone for this repertoire was apparent throughout the verses.
After the break the theorbo pretty much stole the show, its richly resounding open
bass strings filling the hall's warm acoustic. Although now back in fashion as a continuo instrument for baroque accompaniment, the theorbo flourished only in the 17th and early 18th centuries in the hands of little-known names such as Kapsberger and Piccinini whose pieces came over as full of character; so too did those of Robert de Visée ('Guitar Master' of Louis XV) and viol virtuoso Marin Marais (transcribed for theorbo by Emanuele). Kapsberger's Toccata Arpeggiata gave Emanuele inspiration for an improvised Toccata of his own, a highlight of the evening which breathed fresh life into the tradition and made the instrument seem of the future as well as of the past.
Turning for a final set to his mandolin-like cittern ('as at home in the tavern as at court'), Emanuele rounded off with Parson's Well, the King's March and Bobbing Joe from John Playford's 1651 The English Dancing Master, an upbeat ending that set the perfect seal on a delightful and distinctive recital. Many thanks to Making Music and the Philip & Dorothy Green Music Trust for their sponsorship.
Serch y tymheredd dan sero mentrodd nifer sylweddol allan i Goleg Meirion-Dwyfor
ar nos Wener 1af Rhagfyr, wedi'u denu gan gyfle prin i glywed yn lleol ddatganiad cerdd-gynnar ar liwt a theorbo (y liwt fas). Ni siomwyd neb gan Emanuele Addis (Celfyddyd Cyngerdd Ifanc ar gyfer Making Music). Y liwt yn unig a glywyd drwy'r hanner cyntaf, gyda'r prif ffocws ar John Dowland: darnau byrion sydd ganddo ar y cyfan gyda theitlau bywiog megis Mrs Winter's Jump, Orlando Sleepeth neu The Frog Galliard, yn ogystal â galiardau eraill i anrhydeddu noddwyr pwysig megis The Most Sacred Queen Elizabeth neu The Most High and Mighty Christianus the Fourth, King of Denmark, cyflogwr Dowland am wyth mlynedd. (Dawns egnïol iawn oedd y galiard, gyda neidiau, llamau a hopiau – adroddwyd bod Elizabeth yn arfer dawnsio
'six or seven of a morning'!) Tynnwyd y gwrandawyr i mewn gan soniaredd tyner y liwt, a hefyd gan gyflwyniad dymunol a chain Emanuele.
Ar ôl sawl alaw hoenus Albanaidd o Lyfr Liwt Straloch (1627), ymunodd cadeirydd y Clwb Ben Ridler ag Emanuele er mwyn dehongli fersiwn lleisiol o 'Can she excuse my wrongs?' gan John Dowland, cân ddeheuig a recordiwyd gan Sting yn ei 'gyfnod liwt' yn ôl yn 2014! Teimlwyd drwyddi draw pa mor addas yw'r liwt fel offeryn cyfeilio yn y repertoire hwn.
Y theorbo oedd seren go iawn gweddill y sioe, wrth iddo lenwi acwstig cynnes y neuadd gydag atsain cyfoethog ei dannau bas. Er yn boblogaidd unwaith eto heddiw fel offeryn continwo mewn cerddoriaeth farôc, parodd cyfnod ei ogoniant dim ond o'r 17eg ganrif i ddegawdau cynnar y 18fed yn nwylo enwau anghyfarwydd megis Giovanni Kapsberger ('Canario' un o'i ddarnau, werth ei glywed) ac Alessandro Piccinini ('Ciaconna in partite variate', dawns liwgar). Mwynhawyd hefyd gweithiau gan Robert de Visée ('Meistr Gitâr' o dan Louis XV) a phencerddor y feiol Marin Marais (trawsgrifiad gan Emanuele). Ysbrydolwyd Emanuele gan Toccata Arpeggiata Kapsberger i greu Toccata byrfyfyr ei hun, un o uchafbwyntiau'r noson lle anadlwyd bywyd newydd i mewn i'r traddodiad gan awgrymu mai nid yn unig trysor y gorffennol yw'r theorbo, ond hefyd offeryn gyda photensial creadigol o'i flaen.
I gloi, trodd Emanuele at ei sitern (maint mandolin), a gweddodd (meddaf fo) naws y tafarn gystal â'r llys. Ac yn wir, tapiodd sawl troed wrth glywed Parson's Well, The King's March a Bobbing Joe allan o The English Dancing Master (1651) gan John Playford. Dyna ddiweddglo perffaith i noson ddifyr a nodweddiadol. Diolch i Making Music ac Ymddiriedolaeth Gerdd Philip a Dorothy Green am eu nawdd.
Diolch ymlaenllaw i noddwr arall, sef Ymddiriedolaeth Gerdd Iarlles Mwnster, am gefnogi ymweliad Victor Maslov â'r Clwb ar 12fed Ionawr 2024 am 7.30yh yn y Coleg. Cynhwysa rhaglen y pianydd dawnus hwn 3 Bagatelles op.1 gan Silvestrov (o Wcráin), Études-tableaux op.33 gan Rachmaninoff, a Lluniau mewn Arddangosfa gan Mussorgsky. Sain cryfach a ddisgwylir tro nesaf felly! Estynnir croeso cynnes i bawb.
Though born of necessity (the two previously booked singers having withdrawn late on), the formula of solo song/piano solo/solo song in each half worked very well, in the shared recital given in Coleg Meirion-Dwyfor on Friday 3rd November by Ukrainian soprano Khrystyna Makar and North Wales pianist Iwan Owen. The pair had chosen a programme that mostly comprised well-known repertoire, with some surprises – a mix that delighted their audience. In its first set the duo gave vivid renderings of three baroque favourites, Purcell's Music for a While, Handel's Piangerò la sorte mia, and his wonderful Ombra mai fù. Iwan then played Beethoven's Piano Sonata No. 24 in F sharp major Op. 78, a good choice being not too long (just two movements) and charged with its composer's feelings for the piece's dedicatee Countess Therese Brunswick, one of the many ladies Beethoven loved and lost. The lyricism of the first movement and edgy wit of the second were beautifully captured by Iwan. Khrystyna then gave nuanced readings of Roger Quilter's lovely set of Seven Elizabethan Songs Op. 12, culminating in the glorious Fair House of Joy.
In the second half Khrystyna came fully into her own with impassioned delivery of a set of six songs from her native Ukraine. (She grew up and trained in its cultural capital Lviv, coming to Wales last year to provide security for her two sons' education.) The second and last of these, Oriental Melody and Nothing, Simply Nothing, were settings by Mykola Lysenko (1842–1912), often referred to as 'the Ukrainian Tchaikovsky'. They made a strong impression – as indeed did the whole set.
Iwan's performance of Chopin's Nocturne in B major Op. 62 No. 1 & Barcarolle in F sharp major Op. 60 was, according to one audience member, 'alone worth the trip & ticket price': they made a perfect foil for the vocal items. These were crowned with a splendid trio of operatic 'hits', Khrystyna authentic in the sometimes sentimental O Mio Babbino Caro (Puccini), fervent in Rusalka’s Song to the Moon by Dvořák – one could picture her playing the part in the whole opera – and suitably flirtatious in Lehár's Meine Lippen, sie küssen so heiß. Another deeply felt Ukrainian song by way of encore brought to a close a distinctive and highly accomplished recital.
Er o angenrheidrwydd (gan fod dau o gantorion eraill wedi tynnu'n ôl yn hwyr yn y dydd), bu'r fformiwla o 'unawd lleisiol/unawd piano/unawd lleisiol' ym mhob hanner yn un llwyddiannus iawn yn natganiad Khrystyna Makar (soprano) ac Iwan Owen (piano) yng Ngholeg Meirion-Dwyfor ar nos Wener 3ydd Tachwedd. Dewiswyd gan y ddau ddarnau adnabyddus at ei gilydd, gydag ambell i syrpreis – cymysgfa a blesiodd y gynulleidfa hon yn fawr. Yn y set leisiol gyntaf dehonglwyd mewn arddull briodol ambell i ffefryn barôc – Music for a While o waith Purcell, Piangerò la sorte mia gan Handel, ac eto gan Handel, y bytholwyrdd Ombra mai fù. Dewis da wedyn o ran Iwan oedd chwarae Sonata Rh. 24 yn llonnod F mwyaf Op. 78 gan Beethoven, sonata sydd ddim yn rhy hir (mewn dau symudiad yn lle'r tri arferol), ac sy'n adlewyrchu emosiynau Beethoven ar y pryd (ym 1809): cyflwynir y darn i'r Iarlles Therese Brunswick, un o blith y ledis niferus a garodd y cyfansoddwr yn ofer. Cyfleuwyd i'r dim gan Iwan ddiffuantrwydd telynegol y symudiad cyntaf, ac asbri nerfus yr ail. Wedyn clywyd gan y ddau Seven Elizabethan Songs Op. 12 o waith Roger Quilter, dilyniant mirain sy'n arwain at un o'i ganeuon enwocaf sef Fair House of Joy, cân a ddaeth â'r hanner cyntaf i ben mewn modd gogoneddus ac optimistaidd.
Tristwch a hiraeth oedd i'w teimlo'n aml ar draws y caneuon a ddilynodd yr egwyl, sef cyfres o chwech cân gan gyfansoddwyr o wlad enedigol Khrystyna – Wcráin. (Magwyd hi yn Lviv, brifddinas ddiwylliannol Wcráin, ac yna hyfforddwyd hi fel soprano yn yr Academi Genedlaethol; y llynedd symudodd i Gymru er mwyn rhoi sicrwydd i addysg ei dau fab, sy'n yn eu harddegau.) Cyfeirir at Mykola Lysenko (1842–1912) fel y 'Tchaikovsky Wcreinaidd', ac yn wir roedd y ddwy gân o'r chwech ganddo fo, Oriental Melody a Nothing, Simply Nothing, yn nodweddiadol o ran lliwiau ac emosiwn; ond fe wnaeth y set gyfan argraff gryf iawn, gyda llais a chalon Khrystyna yn tywynnu drwyddynt draw. Perffaith wedyn fel gwrthgyferbyniad oedd perfformiad graenus a sensitif Iwan o Nocturne yn B mwyaf Op. 62 Rh. 1 a Barcarolle yn llonnod F mwyaf Op. 60 gan Chopin, cyfraniad a oedd – ym marn un aelod o'r gynulleidfa – yn ei hun yn werth cost y tocyn a'r daith o Harlech! Coronwyd y rhaglen gan driawd o ffefrynnau operataidd, O Mio Babbino Caro gan Puccini (sentimental weithiau ond nid yn yr achos hwn), Cân Rusalka i'r Lleuad gan Dvořák (hawdd iawn oedd dychmygu Khrystyna'n llenwi'r rôl yn yr opera gyfan), a Meine Lippen, sie küssen so heiß gan Lehár, mor fflyrtaidd â dylsai hi wedi bod... Gyda chân werin o Wcráin fel encôr, cwblhawyd noson gofiadwy a ddiddannodd yn fawr.
In the second half Khrystyna came fully into her own with impassioned delivery of a set of six songs from her native Ukraine. (She grew up and trained in its cultural capital Lviv, coming to Wales last year to provide security for her two sons' education.) The second and last of these, Oriental Melody and Nothing, Simply Nothing, were settings by Mykola Lysenko (1842–1912), often referred to as 'the Ukrainian Tchaikovsky'. They made a strong impression – as indeed did the whole set.
Iwan's performance of Chopin's Nocturne in B major Op. 62 No. 1 & Barcarolle in F sharp major Op. 60 was, according to one audience member, 'alone worth the trip & ticket price': they made a perfect foil for the vocal items. These were crowned with a splendid trio of operatic 'hits', Khrystyna authentic in the sometimes sentimental O Mio Babbino Caro (Puccini), fervent in Rusalka’s Song to the Moon by Dvořák – one could picture her playing the part in the whole opera – and suitably flirtatious in Lehár's Meine Lippen, sie küssen so heiß. Another deeply felt Ukrainian song by way of encore brought to a close a distinctive and highly accomplished recital.
Er o angenrheidrwydd (gan fod dau o gantorion eraill wedi tynnu'n ôl yn hwyr yn y dydd), bu'r fformiwla o 'unawd lleisiol/unawd piano/unawd lleisiol' ym mhob hanner yn un llwyddiannus iawn yn natganiad Khrystyna Makar (soprano) ac Iwan Owen (piano) yng Ngholeg Meirion-Dwyfor ar nos Wener 3ydd Tachwedd. Dewiswyd gan y ddau ddarnau adnabyddus at ei gilydd, gydag ambell i syrpreis – cymysgfa a blesiodd y gynulleidfa hon yn fawr. Yn y set leisiol gyntaf dehonglwyd mewn arddull briodol ambell i ffefryn barôc – Music for a While o waith Purcell, Piangerò la sorte mia gan Handel, ac eto gan Handel, y bytholwyrdd Ombra mai fù. Dewis da wedyn o ran Iwan oedd chwarae Sonata Rh. 24 yn llonnod F mwyaf Op. 78 gan Beethoven, sonata sydd ddim yn rhy hir (mewn dau symudiad yn lle'r tri arferol), ac sy'n adlewyrchu emosiynau Beethoven ar y pryd (ym 1809): cyflwynir y darn i'r Iarlles Therese Brunswick, un o blith y ledis niferus a garodd y cyfansoddwr yn ofer. Cyfleuwyd i'r dim gan Iwan ddiffuantrwydd telynegol y symudiad cyntaf, ac asbri nerfus yr ail. Wedyn clywyd gan y ddau Seven Elizabethan Songs Op. 12 o waith Roger Quilter, dilyniant mirain sy'n arwain at un o'i ganeuon enwocaf sef Fair House of Joy, cân a ddaeth â'r hanner cyntaf i ben mewn modd gogoneddus ac optimistaidd.
Tristwch a hiraeth oedd i'w teimlo'n aml ar draws y caneuon a ddilynodd yr egwyl, sef cyfres o chwech cân gan gyfansoddwyr o wlad enedigol Khrystyna – Wcráin. (Magwyd hi yn Lviv, brifddinas ddiwylliannol Wcráin, ac yna hyfforddwyd hi fel soprano yn yr Academi Genedlaethol; y llynedd symudodd i Gymru er mwyn rhoi sicrwydd i addysg ei dau fab, sy'n yn eu harddegau.) Cyfeirir at Mykola Lysenko (1842–1912) fel y 'Tchaikovsky Wcreinaidd', ac yn wir roedd y ddwy gân o'r chwech ganddo fo, Oriental Melody a Nothing, Simply Nothing, yn nodweddiadol o ran lliwiau ac emosiwn; ond fe wnaeth y set gyfan argraff gryf iawn, gyda llais a chalon Khrystyna yn tywynnu drwyddynt draw. Perffaith wedyn fel gwrthgyferbyniad oedd perfformiad graenus a sensitif Iwan o Nocturne yn B mwyaf Op. 62 Rh. 1 a Barcarolle yn llonnod F mwyaf Op. 60 gan Chopin, cyfraniad a oedd – ym marn un aelod o'r gynulleidfa – yn ei hun yn werth cost y tocyn a'r daith o Harlech! Coronwyd y rhaglen gan driawd o ffefrynnau operataidd, O Mio Babbino Caro gan Puccini (sentimental weithiau ond nid yn yr achos hwn), Cân Rusalka i'r Lleuad gan Dvořák (hawdd iawn oedd dychmygu Khrystyna'n llenwi'r rôl yn yr opera gyfan), a Meine Lippen, sie küssen so heiß gan Lehár, mor fflyrtaidd â dylsai hi wedi bod... Gyda chân werin o Wcráin fel encôr, cwblhawyd noson gofiadwy a ddiddannodd yn fawr.
Côr Bro Meirion gave the 2023-24 season a rousing start in Coleg Meirion-Dwyfor on Friday 6th October with a rich and varied programme that showed the full range of the choir's capabilities. Helpfully, its themes were grouped under four headings, the four (Welsh) Cs of Cymru, Crefydd/Belief, Cartref/Home, and Cerddoriaeth Gwerin/Folk Music. The first set closed with a powerful rendition of the setting by Caradog Williams (a Cardiff-based composer & vocal coach) of the Saunders Lewis text Gwinllan a roddwyd, 'A vineyard was given...' The words refer to Wales & its heritage of course, but the evening put them in the wider context of music itself, sung passionately by a choir formed in the wake of the 2009 National Eisteddfod in Bala and still going strong, for a music club that hopes to celebrate its 40th season in 2024-25. In difficult times the cultural heritage becomes ever more precious.
There was tenderness as well as power in the choir's range of dynamics, not least in Mansel Thomas's delicate Cennin Aur(based on Herrick's 'To Daffodils') and the gentle ending of Cherubini's Veni Iesu. Soloist members of the choir added further class. Baritone Tomos Heddwyn (so successful recently in the under 25s at the National Eisteddfod) gave vibrant renderings of Meirion Williams's Y Cymro and Ti, Arglwydd Abraham from Elijah; tenor Alwyn Evans held a beautiful line in Franck's Panis Angelicus; and conductor Iwan Wyn Parry, his vocal resources undiminished, gave maximum urgency to Dafydd Iwan's cry of protest Hawl i Fyw, 'The right to live'. The choir's indefatigable Huw Davies accompanied each of these impeccably.
Tenor Edryd Williams was the fourth soloist, and it was an especial pleasure to welcome as his accompanist Linda Gittins, the musical genius behind so many Cwmni Theatr Maldwyn hit shows. Beginning with the affecting ballad from Toy Story 2 When She Loved Me, the duo moved on to Sycharth yn y Gwaed from the recently revived Y Mab Darogan, in which Edryd used gesture & expression as well as vocal power to conjure up Owain Glyndwr himself. The concert ended with another CTM classic from their 1988 show about the Chartists, Pum Diwrnod o Ryddid 'Five Days of Freedom'. With some choir members veterans of the original production, Côr Bro Meirion's performance of Ar Noson Fel Hyn 'On a night such as this' was as thrilling as their opening number from Verdi's I Lombardi, and rounded off a highly rewarding sequence of choral and solo singing.
(Pic is from another concert...)
Diolch i Gôr Bro Meirion am roi dechrau mor gyffrous i dymor 2023-24 y Clwb yng Ngholeg Meirion-Dwyfor ar nos Wener 6ed Hydref, gyda rhaglen a ddangosodd ystod
eang o nodweddion. Syniad da oedd rhannu'r eitemau o dan bedwar pennawd, 'Y Pedwar C', sef: Cymru, Crefydd, Cartref, Cerddoriaeth Gwerin. Daeth y set cyntaf i ben gyda dehongliad nerthol o Gwinllan a roddwyd, gosodiad Caradog Williams (cyfansoddwr a hyfforddwr lleisiol yng Nghaerdydd) o eiriau atseiniol Saunders Lewis. Cyfeirir ganddynt wrth gwrs at Gymru a'i hetifeddiaeth, ond teimlwyd drwy gydol y noson fel cyfan eu bod nhw'n berthnasol hefyd i etifeddiaeth gerddorol, mewn cyflwyniad gan gôr a ffurfiwyd yn sgîl Eisteddfod Genedlaethol y Bala yn 2009 ac sy'n dal i fynd yn gryf, yng nghyd-destun clwb cerdd sydd â'i olwg ar ei 40fed tymor yn 2024-25. Mewn cyfnod heriol, mae'n hetifeddiaeth ddiwylliannol yn mynd yn fwyfwy gwerthfawr.
Cafwyd tynerwch yn ogystal â nerth yn ystod deinamig y côr, yn arbennig er enghraifft yng ngosodiad cain Mansel Thomas o gerdd hyfryd Robert Herrick 'To Daffodils', Cennin Aur, ac yn niweddglo tawel Veni Iesu o waith Cherubini. Dyna chi ansawdd hefyd yn yr unawdau a gyfrannwyd gan aelodau'r côr. Diolch i'r baritôn ifanc Tomos Heddwyn o Drawsfynydd, mor lwyddiannus yn ddiweddar yn yr Eisteddfod Genedlaethol ym Moduan), am gyflwyno Y Cymro (Meirion Williams) a Ti, Arglwydd Abraham (o Elijah) mewn modd mor ystyrlon. Telynegol a phur oedd llais tenor Alwyn Evans wrth roi Panis Angelicus gan César Franck. Nid oes lleihad yn adnoddau lleisiol arweinydd y côr Iwan Wyn Parry, y cafwyd ganddo angerdd ac ymroddiad wrth iddo uniaethu'n llwyr â chri gwrthdystiad Dafydd Iwan Hawl i Fyw. Ym mhob un o'r darnau uchod cefnogwyd y cantorion yn ddiffael ac yn gywir gan gyfeilydd y côr Huw Davies.
Pleser arbennig oedd cael croesawu Linda Gittins fel cyfeilydd i'r tenor Edryd Williams, hithau'n adnabyddus fel ffynhonnell cymaint o ganeuon cofiadwy yn hanes
Cwmni Theatr Maldwyn. Yn sgîl y faled agosatoch When She Loved Me allan o Toy Story 2, daeth perfformiad gwefreiddiol o Sycharth yn y Gwaed (o'r sioe Y Mab Darogan a glywyd o'r newydd yn ddiweddar), lle defnyddiodd Edryd ei grefft theatrig (ystumiau, mynegiant wynebol yn ogystal â lleisiol) i greu darlun o Owain Glyndŵr ei hun. Daeth y cyngerdd i ben gyda chlasur arall o repertoire Cwmni Maldwyn allan o'i sioe Pum Diwrnod o Ryddid am y Siartwyr, Ar Noson Fel Hyn. Gyda rhai aelodau wedi cymryd rhan yn y cynhyrchiad gwreiddiol, roedd hyder a dwyster y côr am godi'r tô, perfformiad yr un mor gryf â 'Chaersalem Lân' (o I Lombardi gan Verdi) a agorodd y noson – modd addas iawn i gloi dilyniant boddhaol iawn o gampweithiau lleisiol.
(Daw'r llun o gyngerdd arall...)
There was tenderness as well as power in the choir's range of dynamics, not least in Mansel Thomas's delicate Cennin Aur(based on Herrick's 'To Daffodils') and the gentle ending of Cherubini's Veni Iesu. Soloist members of the choir added further class. Baritone Tomos Heddwyn (so successful recently in the under 25s at the National Eisteddfod) gave vibrant renderings of Meirion Williams's Y Cymro and Ti, Arglwydd Abraham from Elijah; tenor Alwyn Evans held a beautiful line in Franck's Panis Angelicus; and conductor Iwan Wyn Parry, his vocal resources undiminished, gave maximum urgency to Dafydd Iwan's cry of protest Hawl i Fyw, 'The right to live'. The choir's indefatigable Huw Davies accompanied each of these impeccably.
Tenor Edryd Williams was the fourth soloist, and it was an especial pleasure to welcome as his accompanist Linda Gittins, the musical genius behind so many Cwmni Theatr Maldwyn hit shows. Beginning with the affecting ballad from Toy Story 2 When She Loved Me, the duo moved on to Sycharth yn y Gwaed from the recently revived Y Mab Darogan, in which Edryd used gesture & expression as well as vocal power to conjure up Owain Glyndwr himself. The concert ended with another CTM classic from their 1988 show about the Chartists, Pum Diwrnod o Ryddid 'Five Days of Freedom'. With some choir members veterans of the original production, Côr Bro Meirion's performance of Ar Noson Fel Hyn 'On a night such as this' was as thrilling as their opening number from Verdi's I Lombardi, and rounded off a highly rewarding sequence of choral and solo singing.
(Pic is from another concert...)
Diolch i Gôr Bro Meirion am roi dechrau mor gyffrous i dymor 2023-24 y Clwb yng Ngholeg Meirion-Dwyfor ar nos Wener 6ed Hydref, gyda rhaglen a ddangosodd ystod
eang o nodweddion. Syniad da oedd rhannu'r eitemau o dan bedwar pennawd, 'Y Pedwar C', sef: Cymru, Crefydd, Cartref, Cerddoriaeth Gwerin. Daeth y set cyntaf i ben gyda dehongliad nerthol o Gwinllan a roddwyd, gosodiad Caradog Williams (cyfansoddwr a hyfforddwr lleisiol yng Nghaerdydd) o eiriau atseiniol Saunders Lewis. Cyfeirir ganddynt wrth gwrs at Gymru a'i hetifeddiaeth, ond teimlwyd drwy gydol y noson fel cyfan eu bod nhw'n berthnasol hefyd i etifeddiaeth gerddorol, mewn cyflwyniad gan gôr a ffurfiwyd yn sgîl Eisteddfod Genedlaethol y Bala yn 2009 ac sy'n dal i fynd yn gryf, yng nghyd-destun clwb cerdd sydd â'i olwg ar ei 40fed tymor yn 2024-25. Mewn cyfnod heriol, mae'n hetifeddiaeth ddiwylliannol yn mynd yn fwyfwy gwerthfawr.
Cafwyd tynerwch yn ogystal â nerth yn ystod deinamig y côr, yn arbennig er enghraifft yng ngosodiad cain Mansel Thomas o gerdd hyfryd Robert Herrick 'To Daffodils', Cennin Aur, ac yn niweddglo tawel Veni Iesu o waith Cherubini. Dyna chi ansawdd hefyd yn yr unawdau a gyfrannwyd gan aelodau'r côr. Diolch i'r baritôn ifanc Tomos Heddwyn o Drawsfynydd, mor lwyddiannus yn ddiweddar yn yr Eisteddfod Genedlaethol ym Moduan), am gyflwyno Y Cymro (Meirion Williams) a Ti, Arglwydd Abraham (o Elijah) mewn modd mor ystyrlon. Telynegol a phur oedd llais tenor Alwyn Evans wrth roi Panis Angelicus gan César Franck. Nid oes lleihad yn adnoddau lleisiol arweinydd y côr Iwan Wyn Parry, y cafwyd ganddo angerdd ac ymroddiad wrth iddo uniaethu'n llwyr â chri gwrthdystiad Dafydd Iwan Hawl i Fyw. Ym mhob un o'r darnau uchod cefnogwyd y cantorion yn ddiffael ac yn gywir gan gyfeilydd y côr Huw Davies.
Pleser arbennig oedd cael croesawu Linda Gittins fel cyfeilydd i'r tenor Edryd Williams, hithau'n adnabyddus fel ffynhonnell cymaint o ganeuon cofiadwy yn hanes
Cwmni Theatr Maldwyn. Yn sgîl y faled agosatoch When She Loved Me allan o Toy Story 2, daeth perfformiad gwefreiddiol o Sycharth yn y Gwaed (o'r sioe Y Mab Darogan a glywyd o'r newydd yn ddiweddar), lle defnyddiodd Edryd ei grefft theatrig (ystumiau, mynegiant wynebol yn ogystal â lleisiol) i greu darlun o Owain Glyndŵr ei hun. Daeth y cyngerdd i ben gyda chlasur arall o repertoire Cwmni Maldwyn allan o'i sioe Pum Diwrnod o Ryddid am y Siartwyr, Ar Noson Fel Hyn. Gyda rhai aelodau wedi cymryd rhan yn y cynhyrchiad gwreiddiol, roedd hyder a dwyster y côr am godi'r tô, perfformiad yr un mor gryf â 'Chaersalem Lân' (o I Lombardi gan Verdi) a agorodd y noson – modd addas iawn i gloi dilyniant boddhaol iawn o gampweithiau lleisiol.
(Daw'r llun o gyngerdd arall...)
All present were very glad it had proved possible for violinist Mathilde Milwidsky and pianist Joseph Havlat to reschedule their concert in Coleg Meirion-Dwyfor from 3rd March to Friday 22nd September. This was a performance of Wigmore Hall standard (indeed Joseph was due to be performing at that illustrious venue two days later). Opening with Vaughan Williams's The Lark Ascending, the duo at once left the audience in no doubt that they were in for a treat. The rich tone of Mathilde's Lorenzo Ventapane (1795) violin helped the tuneful bird soar, and balance between soloist & piano was always finely judged. Solo items for violin (a Telemann fantasia) and piano (movements from Dohnányi's Ruralia Hungarica) showcased each performer's individual prowess and musicianship. Bloch's Baal Shem: Three Pictures of Hasidic Life and Ysaÿe's Sonata No. 3 ‘Ballade’ traversed stranger but always vivid territory; the 'home straight', a glorious rendering of César Franck's much-loved Sonata in A major, brought to a close an uplifting and memorable recital. Many thanks to the Countess of Munster Musical Trust for its sponsorship.
Gwerthfawrogwyd yn fawr y ffaith bod dyddiad wedi'i sicrhau i ail-drefnu datganiad Mathilde Milwidsky (ffidl) a Joseph Havlat (piano), a ohiriwyd o fis Mawrth oherwydd afiechyd. Yng Ngholeg Meirion-Dwyfor ar nos Wener 22ain Medi, cafwyd gan y ddau berfformiad yn deilwng o safleoedd gorau Prydain megis Neuadd Wigmore yn Llundain (lle oedd Joseph am ymddangos dau ddiwrnod yn ddiweddarach). O nodau cynta'r darn agoriadol, The Lark Ascending gan Ralph Vaughan Williams, synhwyrodd pawb yr oedd gwledd o'u blaen. Yn nwylo Mathilde, ei hofferyn arbennig (Lorenzo Ventapane 1795) a roddodd adain i'r aderyn soniarus i esgyn yn rhwydd i'r ffurfafen; roedd cydbwysedd ffidl a phiano'n berffaith o hyd. Eitemau unawd gan y ddau – ffantasia gan Telemann ar gyfer ffidl, symudiadau allan o Ruralia Hungarica gan Dohnányi ar gyfer piano – a ddangosodd sgiliau technegol a chrefft gerddorol pob un o'r ddau. Teithiodd y pâr wedyn drwy dirluniau rhyfedd ond bywiog gyda Baal Shem: Three Pictures of Hasidic Life gan Bloch a Sonata Rh. 3 gan Ysaÿe. Cyrhaeddodd y rhaglen arbennig hon ddiweddglo gogoneddus gyda chyflwyniad trawiadol o Sonata yn A mwyaf gan César Franck, darn sy'n aros gyda rheswm ymhlith y rhai mwyaf poblogaidd o'r math. Diolch i'r ddeuawd ddawnus hon am gyflawni'r trefniadau a rhoi profiad cofiadwy iawn. Diolch hefyd i Ymddiriedolaeth Iarlles Munster am ei nawdd.
Gwerthfawrogwyd yn fawr y ffaith bod dyddiad wedi'i sicrhau i ail-drefnu datganiad Mathilde Milwidsky (ffidl) a Joseph Havlat (piano), a ohiriwyd o fis Mawrth oherwydd afiechyd. Yng Ngholeg Meirion-Dwyfor ar nos Wener 22ain Medi, cafwyd gan y ddau berfformiad yn deilwng o safleoedd gorau Prydain megis Neuadd Wigmore yn Llundain (lle oedd Joseph am ymddangos dau ddiwrnod yn ddiweddarach). O nodau cynta'r darn agoriadol, The Lark Ascending gan Ralph Vaughan Williams, synhwyrodd pawb yr oedd gwledd o'u blaen. Yn nwylo Mathilde, ei hofferyn arbennig (Lorenzo Ventapane 1795) a roddodd adain i'r aderyn soniarus i esgyn yn rhwydd i'r ffurfafen; roedd cydbwysedd ffidl a phiano'n berffaith o hyd. Eitemau unawd gan y ddau – ffantasia gan Telemann ar gyfer ffidl, symudiadau allan o Ruralia Hungarica gan Dohnányi ar gyfer piano – a ddangosodd sgiliau technegol a chrefft gerddorol pob un o'r ddau. Teithiodd y pâr wedyn drwy dirluniau rhyfedd ond bywiog gyda Baal Shem: Three Pictures of Hasidic Life gan Bloch a Sonata Rh. 3 gan Ysaÿe. Cyrhaeddodd y rhaglen arbennig hon ddiweddglo gogoneddus gyda chyflwyniad trawiadol o Sonata yn A mwyaf gan César Franck, darn sy'n aros gyda rheswm ymhlith y rhai mwyaf poblogaidd o'r math. Diolch i'r ddeuawd ddawnus hon am gyflawni'r trefniadau a rhoi profiad cofiadwy iawn. Diolch hefyd i Ymddiriedolaeth Iarlles Munster am ei nawdd.
The 2022–23 season came to an uplifting end in St Mary's Church on Friday 31st March, in the company of the Rosie Hood Trio – Rosie Hood (guitar/vocals), Rosie Butler-Hall (fiddle) and Robyn Wallace (melodeon). [Almost to an end – the postponed 3rd March violin recital has been rescheduled for 22nd September.] The Trio entertained with a variety of traditional tales & tunes, as well as several of Rosie Hood's own devising. We heard of Eilmer who in about 1010 tried (in vain, needless to say) to fly from the spire of Malmesbury Abbey (there's now a nearby brewery called The Flying Monk!); of sailor William Taylor's sweetheart, who dressed as a man to join her beloved at sea only to find he'd betrayed her with another (you can guess the outcome...); and the sad story of Lord Lovel, who on dying of grief became a briar entwined with a rose growing from the grave of his Lady Nancy. (Happy endings were in short supply!) Rosie's lovely voice was ably supported by 'tother Rosie's beautiful improvised fiddle accompaniments, and Robyn's melodeon provided vigorous harmony and rhythmic energy aplenty.
In the afternoon the Trio gave a performance workshop at Ysgol Bro Idris for 80 or so pupils from Yrs 7 & 8, and the session provided a perfect end-of-term lift-off before the Easter holiday; the children seemed to relish it. The high point for them was perhaps Robyn's demonstration of clocsio/clog-dancing: they had lots of questions afterwards, especially when Robyn told them the clogs were 'homemade'...
Thanks to St Mary's and the school for their welcome, and to John S. Jones for sponsorship. The Trio (who'd come all the way from Sheffield) said they'd thoroughly enjoyed their trip, and they certainly gave a lot of pleasure in both workshop and concert. The new season (after the rescheduled violin recital on 22nd September) will open in Coleg Meirion-Dwyfor on Friday 6th October in the company of Côr Bro Meirion.
Cafwyd noson hwylus iawn ar 31ain Mawrth yn Eglwys Santes Fair yng nghwmni Triawd Rosie Hood, sef Rosie Hood (llais a gitâr), Rosie Butler-Hall (ffidl) a Robyn Wallace (melodeon). Clywyd rhaglen amrywiol o alawon traddodiadol, gyda rhai gwreiddiol hefyd. Trwy gyfrwng llais bendigedig Rosie Hood clywyd ymhlith eraill stori Eilmer, mynach o'r 11eg ganrif a geisiodd (yn ofer!) ehedfan o frig Abaty Malmesbury; hanes cariad y morwr William Taylor, a ymwisgodd ei hun yn forwr a'i dilynodd 'mond i ddarganfod ei fod o wedi bod yn ffals (dyfalwch y diwedd!); a chwedl drist Lord Lovel, sy'n tyfu (wedi marw o alar) i fod yn fiaren a chymhlethu ei hun â rhosyn sy'n tyfu o gorff ei gariad Lady Nancy. (Prin iawn oedd diweddau hapus!) Cyfrannodd cyfeiliant Rosie Butler-Hall ar y ffidl a Robyn Wallace ar y melodeon liwiau cyfoethog a rhithmau angerddol, yn ôl angen bob gân.
Yn y prynhawn cynhaliwyd gweithdy yn Ysgol Bro Idris ar gyfer rhyw 80 o ddisgyblion Bl. 7 ac 8, a mawr oedd diddordeb a mwynhad amlwg y plant ym mherfformiad y Triawd. Uchafbwynt y sesiwn efallai oedd arddangosfa fer o glocsio a gafwyd gan Robyn ("dwi heb wneud ers pum mlynedd" meddant, "ond mae'm traed yn cofio!"}; llu o gwestiynnau a ddilynnodd, yn arbennig pan dynnodd Robyn sylw at y ffaith eu bod nhw eu hunain wedi crefftio'r clocsiau.
Diolch i'r Eglwys ac i'r Ysgol am y croeso, ac i John S. Jones IFA am nawdd. Cyn gadael, datganodd y Triawd eu bod nhw wedi mwynhau eu hymweliad i Ddolgellau (wedi teithio'r holl ffordd o Sheffield) yn fawr. Edrychir ymlaen rwan at nos Wener 22ain Medi ('nôl yn y Coleg), a chyflwyniad (wedi'i ohirio o 3ydd Mawrth) gan Mathilde Milwidsky (ffidl) a Joseph Havlat (piano). Agorir wedyn dymor 2023-24 ar nos Wener 6ed Hydref yng Ngholeg Meirion-Dwyfor, yng nghwmni Côr Bro Meirion.
In the afternoon the Trio gave a performance workshop at Ysgol Bro Idris for 80 or so pupils from Yrs 7 & 8, and the session provided a perfect end-of-term lift-off before the Easter holiday; the children seemed to relish it. The high point for them was perhaps Robyn's demonstration of clocsio/clog-dancing: they had lots of questions afterwards, especially when Robyn told them the clogs were 'homemade'...
Thanks to St Mary's and the school for their welcome, and to John S. Jones for sponsorship. The Trio (who'd come all the way from Sheffield) said they'd thoroughly enjoyed their trip, and they certainly gave a lot of pleasure in both workshop and concert. The new season (after the rescheduled violin recital on 22nd September) will open in Coleg Meirion-Dwyfor on Friday 6th October in the company of Côr Bro Meirion.
Cafwyd noson hwylus iawn ar 31ain Mawrth yn Eglwys Santes Fair yng nghwmni Triawd Rosie Hood, sef Rosie Hood (llais a gitâr), Rosie Butler-Hall (ffidl) a Robyn Wallace (melodeon). Clywyd rhaglen amrywiol o alawon traddodiadol, gyda rhai gwreiddiol hefyd. Trwy gyfrwng llais bendigedig Rosie Hood clywyd ymhlith eraill stori Eilmer, mynach o'r 11eg ganrif a geisiodd (yn ofer!) ehedfan o frig Abaty Malmesbury; hanes cariad y morwr William Taylor, a ymwisgodd ei hun yn forwr a'i dilynodd 'mond i ddarganfod ei fod o wedi bod yn ffals (dyfalwch y diwedd!); a chwedl drist Lord Lovel, sy'n tyfu (wedi marw o alar) i fod yn fiaren a chymhlethu ei hun â rhosyn sy'n tyfu o gorff ei gariad Lady Nancy. (Prin iawn oedd diweddau hapus!) Cyfrannodd cyfeiliant Rosie Butler-Hall ar y ffidl a Robyn Wallace ar y melodeon liwiau cyfoethog a rhithmau angerddol, yn ôl angen bob gân.
Yn y prynhawn cynhaliwyd gweithdy yn Ysgol Bro Idris ar gyfer rhyw 80 o ddisgyblion Bl. 7 ac 8, a mawr oedd diddordeb a mwynhad amlwg y plant ym mherfformiad y Triawd. Uchafbwynt y sesiwn efallai oedd arddangosfa fer o glocsio a gafwyd gan Robyn ("dwi heb wneud ers pum mlynedd" meddant, "ond mae'm traed yn cofio!"}; llu o gwestiynnau a ddilynnodd, yn arbennig pan dynnodd Robyn sylw at y ffaith eu bod nhw eu hunain wedi crefftio'r clocsiau.
Diolch i'r Eglwys ac i'r Ysgol am y croeso, ac i John S. Jones IFA am nawdd. Cyn gadael, datganodd y Triawd eu bod nhw wedi mwynhau eu hymweliad i Ddolgellau (wedi teithio'r holl ffordd o Sheffield) yn fawr. Edrychir ymlaen rwan at nos Wener 22ain Medi ('nôl yn y Coleg), a chyflwyniad (wedi'i ohirio o 3ydd Mawrth) gan Mathilde Milwidsky (ffidl) a Joseph Havlat (piano). Agorir wedyn dymor 2023-24 ar nos Wener 6ed Hydref yng Ngholeg Meirion-Dwyfor, yng nghwmni Côr Bro Meirion.
According to contemporaries Dvořák's personality and his works were interchangeable, in which case he must have been a very congenial person to know. Few who heard his E flat String Quintet Op.97 in Coleg Meirion-Dwyfor on Friday 3rd February would doubt this: the ravishing performance given by Manchester's Victoria Quartet (with Catherine Yates the added viola), their rich string sounds exploiting to the full the composer's generous stream of memorable tunes and driving rhythms, had the audience leave in very high spirits indeed.
The concert's first half made perfect preparation for this. It is said that Mozart composed his C major String Quintet K515 of 1787 not for a patron, but for his own enjoyment; here too high spirits predominate. Instruments converse freely with each other, and in the final movement the five have been compared to the 'happily chattering cast of a comic opera'. Earlier on there are moments of dreamy romanticism anticipating Schubert. Leader Benedict Holland provided all the Mozartian sparkle required, and Kimi Makini's viola had a distinctive tone that added character to her part in the conversations. Cellist Jennifer Langridge gave finely judged support at all times.
Back in 2004 pianist Iain Farrington appeared in Dolgellau at an early stage of his career, which has since gone from strength to strength not just as pianist but also as composer & arranger. The first half of this programme ended with Iain's arrangement of Six Fragments for String Quartet by Elgar, a fifteen-minute set (which looks ahead to the great Quartet of 1918) premiered by the Victoria Quartet last June. Colours glowed, and the set was an excellent bridge to the Dvořák.
All five instruments are given moments of prominence in the Dvořák quintet, not least the second violin played here with vim and warmth by David Greed. His tone matched beautifully that of the two violas, who get more of the tune (Dvořák himself played viola) than in much other chamber music! Along with the 'New World' Symphony and the 'American' Quartet Op.96, the E flat Quintet is suffused with the Czech composer's hiraeth/yearning for his native Bohemia (perhaps also echoes of Iriquois tunes he heard), a nostalgic mix that moved its first audience deeply in New York, January 1894. The imaginative intensity of this team's performance in Dolgellau, February 2023 had an effect no less profound.
Yn ôl ei ffrindiau a chyfoedion, nid oedd gwahaniaeth rhwng personoliaeth Dvořák a'i gerddorddoriaeth; os felly, dylsai wedi bod yn bleser ei adnabod o. Mae'n hawdd credu hyn ar sail ei Bumawd Llinynnol yn E-fflat fwyaf Op.97, a gafodd ddehongliad cofiadwy yng Ngholeg Meirion-Dwyfor ar nos Wener 3ydd Chwefror gan Bedwarawd Victoria o Fanceinion gyda Catherine Yates yr ail fiola: trwy eu seiniau cyfoethog cyflawnwyd i'r eithaf llif hael Dvořák o alawon bachiog a rhithmau egnïol, dan greu hwyliau da iawn yn y gynulleidfa erbyn diwedd y noson.
Adeilwyd yn berffaith at hyn gan hanner cyntaf y rhaglen. Dywedir bod Mozart wedi cyfansoddi ei Bumawd Llinynnol yn C fwyaf nid ar gyfer noddwr, ond er mwyn ei fwynhad personol. Boed hyn yn wir neu beidio, dyma ddarn arall sy'n creu hwyliau da. Mae'r offerynnau'n sgyrsio'n rhwydd â'i gilydd, ac yn y symudiad olaf mae'r pump yn clebran yn siriol (yng ngeiriau un sylwebydd) 'fel cymeriadau opera gomig'. Yn yr andante ceir momentau o ramantiaeth freuddwydiol sy'n rhagweld Schubert. Cyfrannodd Benedict Holland, arweinydd y pumawd, yr holl sglein pefriol sydd ei angen, ac ychwanegodd fiola Kimi Makini liwiau nodweddiadol i'r sgwrs. Sylfaen gadarn a gafwyd bob amser gan soddgrwth Jennifer Langridge.
Yn 2004 ymddangosodd y pianydd Iain Farrington yn Nolgellau ar adeg gynnar ei yrfa, ac ers hynny mae o wedi mynd o nerth i nerth nid yn unig fel pianydd ond hefyd fel cyfansoddwr a threfnydd. Daeth hanner cyntaf y rhaglen i ben gyda threfniant gan Iain o Chwech Dernyn ar gyfer Pedwarawd Llinynnol gan Elgar, set o ryw chwarter awr (sy'n edrych ymlaen at ei Pedwarawd mawr o 1918) a berfformiwyd gan Bedwarawd Victoria am y tro cyntaf ym Mehefin 2022. Tywynnodd lliwiau'r darn yn effeithiol, wrth bontio'n addas at Bumawd Dvořák, uchafbwynt y cyngerdd.
Yn y pumawd godidog hwn daw pob offeryn i'r amlwg yn ei thro, gan gynnwys yr ail ffidl a ddigleiriodd yn gynnes yn nwylo crefftus David Greed. Cydweddodd ansawdd ei sain yn hyfryd â'r ddwy fiola, sy'n cael cyfran deilwng o'r alawon am unwaith! (Roedd Dvořák ei hun yn fiolydd.) Fel yn ei Symffoni 'O'r Byd Newydd' a Phedwarawd 'Americanaidd' Op.96 teimlir yn y Pumawd E fflat hiraeth fawr y cyfansoddwr o Fohemia am ei famwlad, yn ogystal efallai ag atseiniaid o'r alawon Iriquois a glywodd yn ystod ei ymweliad – cymysgedd emosiynol a gyffrodd yn ddwfn y gynulleidfa gyntaf yn Efrog Newydd, Ionawr 1894. Nid llai dwfn oedd ei effaith yn Nolgellau, Chwefror 2023, dioch i ddwyster dychmygol y cerddorion arbennig hyn.
The concert's first half made perfect preparation for this. It is said that Mozart composed his C major String Quintet K515 of 1787 not for a patron, but for his own enjoyment; here too high spirits predominate. Instruments converse freely with each other, and in the final movement the five have been compared to the 'happily chattering cast of a comic opera'. Earlier on there are moments of dreamy romanticism anticipating Schubert. Leader Benedict Holland provided all the Mozartian sparkle required, and Kimi Makini's viola had a distinctive tone that added character to her part in the conversations. Cellist Jennifer Langridge gave finely judged support at all times.
Back in 2004 pianist Iain Farrington appeared in Dolgellau at an early stage of his career, which has since gone from strength to strength not just as pianist but also as composer & arranger. The first half of this programme ended with Iain's arrangement of Six Fragments for String Quartet by Elgar, a fifteen-minute set (which looks ahead to the great Quartet of 1918) premiered by the Victoria Quartet last June. Colours glowed, and the set was an excellent bridge to the Dvořák.
All five instruments are given moments of prominence in the Dvořák quintet, not least the second violin played here with vim and warmth by David Greed. His tone matched beautifully that of the two violas, who get more of the tune (Dvořák himself played viola) than in much other chamber music! Along with the 'New World' Symphony and the 'American' Quartet Op.96, the E flat Quintet is suffused with the Czech composer's hiraeth/yearning for his native Bohemia (perhaps also echoes of Iriquois tunes he heard), a nostalgic mix that moved its first audience deeply in New York, January 1894. The imaginative intensity of this team's performance in Dolgellau, February 2023 had an effect no less profound.
Yn ôl ei ffrindiau a chyfoedion, nid oedd gwahaniaeth rhwng personoliaeth Dvořák a'i gerddorddoriaeth; os felly, dylsai wedi bod yn bleser ei adnabod o. Mae'n hawdd credu hyn ar sail ei Bumawd Llinynnol yn E-fflat fwyaf Op.97, a gafodd ddehongliad cofiadwy yng Ngholeg Meirion-Dwyfor ar nos Wener 3ydd Chwefror gan Bedwarawd Victoria o Fanceinion gyda Catherine Yates yr ail fiola: trwy eu seiniau cyfoethog cyflawnwyd i'r eithaf llif hael Dvořák o alawon bachiog a rhithmau egnïol, dan greu hwyliau da iawn yn y gynulleidfa erbyn diwedd y noson.
Adeilwyd yn berffaith at hyn gan hanner cyntaf y rhaglen. Dywedir bod Mozart wedi cyfansoddi ei Bumawd Llinynnol yn C fwyaf nid ar gyfer noddwr, ond er mwyn ei fwynhad personol. Boed hyn yn wir neu beidio, dyma ddarn arall sy'n creu hwyliau da. Mae'r offerynnau'n sgyrsio'n rhwydd â'i gilydd, ac yn y symudiad olaf mae'r pump yn clebran yn siriol (yng ngeiriau un sylwebydd) 'fel cymeriadau opera gomig'. Yn yr andante ceir momentau o ramantiaeth freuddwydiol sy'n rhagweld Schubert. Cyfrannodd Benedict Holland, arweinydd y pumawd, yr holl sglein pefriol sydd ei angen, ac ychwanegodd fiola Kimi Makini liwiau nodweddiadol i'r sgwrs. Sylfaen gadarn a gafwyd bob amser gan soddgrwth Jennifer Langridge.
Yn 2004 ymddangosodd y pianydd Iain Farrington yn Nolgellau ar adeg gynnar ei yrfa, ac ers hynny mae o wedi mynd o nerth i nerth nid yn unig fel pianydd ond hefyd fel cyfansoddwr a threfnydd. Daeth hanner cyntaf y rhaglen i ben gyda threfniant gan Iain o Chwech Dernyn ar gyfer Pedwarawd Llinynnol gan Elgar, set o ryw chwarter awr (sy'n edrych ymlaen at ei Pedwarawd mawr o 1918) a berfformiwyd gan Bedwarawd Victoria am y tro cyntaf ym Mehefin 2022. Tywynnodd lliwiau'r darn yn effeithiol, wrth bontio'n addas at Bumawd Dvořák, uchafbwynt y cyngerdd.
Yn y pumawd godidog hwn daw pob offeryn i'r amlwg yn ei thro, gan gynnwys yr ail ffidl a ddigleiriodd yn gynnes yn nwylo crefftus David Greed. Cydweddodd ansawdd ei sain yn hyfryd â'r ddwy fiola, sy'n cael cyfran deilwng o'r alawon am unwaith! (Roedd Dvořák ei hun yn fiolydd.) Fel yn ei Symffoni 'O'r Byd Newydd' a Phedwarawd 'Americanaidd' Op.96 teimlir yn y Pumawd E fflat hiraeth fawr y cyfansoddwr o Fohemia am ei famwlad, yn ogystal efallai ag atseiniaid o'r alawon Iriquois a glywodd yn ystod ei ymweliad – cymysgedd emosiynol a gyffrodd yn ddwfn y gynulleidfa gyntaf yn Efrog Newydd, Ionawr 1894. Nid llai dwfn oedd ei effaith yn Nolgellau, Chwefror 2023, dioch i ddwyster dychmygol y cerddorion arbennig hyn.
One way of ensuring quality is to book award-winning young artists, and an excellent source of these over the years has been the ones selected annually and sponsored by the 'PDGYA' (Philip & Dorothy Green Young Artists) scheme run by Making Music. This season's choice proved no exception, delivering a first-class recital presented in Coleg Meirion-Dwyfor on Friday 13th January by clarinettist James Gilbert with his accompanist Julian Chan. Correction: 'collaborative pianist' is now the PC term for this rôle, and it was certainly appropriate in this case as the two musicians had excellent rapport and flowed in & out of each other's music-making with ease and confidence.
The centrepiece of the recital was Brahms's lyrical Sonata in Eb Major Op.120 No.2. It's always good to be reminded of the uplifting story behind this piece. In 1890, aged 57, Brahms declared that he was done with composing, possibly even with living. Soon after however he heard (and formed a friendship with) clarinettist Richard Mühlfeld, who inspired from him four more great chamber works – the Clarinet Quintet, Trio, and Sonatas Op.120 Nos.1 & 2. James & Julian did the Eb Sonata full justice, matching Brahms's subtle phrasing with some beautifully graded nuances of dynamic. It's hard to imagine the world without this piece (and its companions); hearing it played as musically as this made one all the more thankful for it.
Some well-planned links shaped the rest of the programme. First up came Three Romances Op.22 ('lush & poignant' in the words of one critic) by Clara Schumann, whose long friendship with Brahms is another memorable episode in music history. And first up in the second half was Charles Stanford's 1911 Sonata for Clarinet & Piano Op.129, a work deeply influenced by Brahms but distinctive especially in its slow movement, a 'caoine' (pronounced 'keen') or Irish lament. To give his partner a 'lip-break' Julian contributed a vivid solo item in each half, four skazki or folktales by Medtner in the first, and in the second David Branson's Runic Tale of 1943. The latter's sharp-edged harmonies were just what was needed by way of contrast, and led perfectly into Joseph Horovitz's Sonatina of 1981 – an ebullient, jazz-inflected work that closed out the evening in high spirits, to warm acclaim.
Un ffordd o sicrhau ansawdd yw gwahodd enillwyr gwobrau, ac un ffynhonnell ddibynadwy o'r rhain ers tro yw cynllun Making Music sy'n dewis artistiaid ifanc o dan nawdd Ymddiriedolaeth Philip a Dorothy Green. Unwaith eto eleni cafwyd datganiad ardderchog (yng Ngholeg Meirion-Dwyfor ar 13eg Ionawr) gan enillydd gwobr 'PDGYA', sef y clarinetydd James Gilbert gyda'i gyfeilydd Julian Chan – er nid 'cyfeilydd' yw'r term derbyniol erbyn hyn, ond 'pianydd cydweithrediadol'! Felly y bu, gyda dealltwriaeth gadarn rhwng y ddau gerddor a chydweithredu greddfol rhyngddynt drwy'r amser.
Canolbwynt y datganiad oedd Sonata yn Eb Mwyaf Op.120 Rh.2, campwaith telynegol Brahms. Mae'n dda cael dwyn i gof unwaith eto'r stori ddyrchafol tu ôl i'r darn. Ym 1890 dywedodd Brahms, 57 oed, ei fod am roi ffidl yn y tô ynglyn â chyfansoddi, hyd yn oed â byw. Er hynny, yn fuan wedyn clywodd y clarinetydd Richard Mühlfeld, a daeth yn ffrindiau gydag ef. Fel canlyniad ysbrydolwyd ganddo ei bedwar darn olaf o gerddoriaeth siambr, campweithiau i gyd: y Pumawd Clarinet, y Triawd Clarinet, a'r ddwy Sonata Op.120 Rh.1 a 2. Cafwyd gan James a Julian ddehongliad teilwng iawn o'r ail sonata, dan greu lliwiau cain a oedd yn gweddi i'r dim frawddegau mirain y cyfansoddwr. Mae'n anodd dychmygu byd heb gerddoriaeth o'r math; diolch i'r ddau am roi bywyd unwaith eto i'r sonata hyfryd hon.
Cynllunwyd y rhaglen yn ddeallus, gyda dolennau ystyrlon ynddi. Yn gyntaf daeth Tair Rhamant Op.22 ('hael a theimladwy', yng ngeiriau un beirniad) o waith Clara Schumann: mae cyfeillgarwch dwfn rhwng gwraig weddw Robert Schumann a Brahms yn stori gofiadwy arall yn hanes cerdd. I agor yr ail hanner clywyd sonata o 1911 gan Charles Stanford, darn lle amlygir dylanwad Brahms ond gyda sawl elfen nodweddiadol, yn arbennig yn yr ail symudiad a enwir 'caoine' ('kîn'), sef galarnad Gwyddelig. Er mwyn rhoi seibiant i wefusau ei bartner cyfrannodd Julian unawd piano ym mhob hanner, pedair skazki (chwedlau) bywiog yn yr un cyntaf, ac yn yr ail 'Runic Tale' (1943) gan David Branson. Cyferbyniodd y darn hwn i'r dim gyda'r darnau blaenorol diolch i'w harmonïau cromatig a miniog, wrth arwain yn naturiol i eitem olaf y rhaglen, Sonatina o 1981 gan Joseph Horovitz: effeithiau jazz sy'n lliwio gwaith afieithus, pefriol, a greodd ddiweddglo perffaith i'r noson. Dangosodd wedyn gymeradwyaeth frwd fod y perfformiad graenus hwn wedi plesio i'r eithaf.
The centrepiece of the recital was Brahms's lyrical Sonata in Eb Major Op.120 No.2. It's always good to be reminded of the uplifting story behind this piece. In 1890, aged 57, Brahms declared that he was done with composing, possibly even with living. Soon after however he heard (and formed a friendship with) clarinettist Richard Mühlfeld, who inspired from him four more great chamber works – the Clarinet Quintet, Trio, and Sonatas Op.120 Nos.1 & 2. James & Julian did the Eb Sonata full justice, matching Brahms's subtle phrasing with some beautifully graded nuances of dynamic. It's hard to imagine the world without this piece (and its companions); hearing it played as musically as this made one all the more thankful for it.
Some well-planned links shaped the rest of the programme. First up came Three Romances Op.22 ('lush & poignant' in the words of one critic) by Clara Schumann, whose long friendship with Brahms is another memorable episode in music history. And first up in the second half was Charles Stanford's 1911 Sonata for Clarinet & Piano Op.129, a work deeply influenced by Brahms but distinctive especially in its slow movement, a 'caoine' (pronounced 'keen') or Irish lament. To give his partner a 'lip-break' Julian contributed a vivid solo item in each half, four skazki or folktales by Medtner in the first, and in the second David Branson's Runic Tale of 1943. The latter's sharp-edged harmonies were just what was needed by way of contrast, and led perfectly into Joseph Horovitz's Sonatina of 1981 – an ebullient, jazz-inflected work that closed out the evening in high spirits, to warm acclaim.
Un ffordd o sicrhau ansawdd yw gwahodd enillwyr gwobrau, ac un ffynhonnell ddibynadwy o'r rhain ers tro yw cynllun Making Music sy'n dewis artistiaid ifanc o dan nawdd Ymddiriedolaeth Philip a Dorothy Green. Unwaith eto eleni cafwyd datganiad ardderchog (yng Ngholeg Meirion-Dwyfor ar 13eg Ionawr) gan enillydd gwobr 'PDGYA', sef y clarinetydd James Gilbert gyda'i gyfeilydd Julian Chan – er nid 'cyfeilydd' yw'r term derbyniol erbyn hyn, ond 'pianydd cydweithrediadol'! Felly y bu, gyda dealltwriaeth gadarn rhwng y ddau gerddor a chydweithredu greddfol rhyngddynt drwy'r amser.
Canolbwynt y datganiad oedd Sonata yn Eb Mwyaf Op.120 Rh.2, campwaith telynegol Brahms. Mae'n dda cael dwyn i gof unwaith eto'r stori ddyrchafol tu ôl i'r darn. Ym 1890 dywedodd Brahms, 57 oed, ei fod am roi ffidl yn y tô ynglyn â chyfansoddi, hyd yn oed â byw. Er hynny, yn fuan wedyn clywodd y clarinetydd Richard Mühlfeld, a daeth yn ffrindiau gydag ef. Fel canlyniad ysbrydolwyd ganddo ei bedwar darn olaf o gerddoriaeth siambr, campweithiau i gyd: y Pumawd Clarinet, y Triawd Clarinet, a'r ddwy Sonata Op.120 Rh.1 a 2. Cafwyd gan James a Julian ddehongliad teilwng iawn o'r ail sonata, dan greu lliwiau cain a oedd yn gweddi i'r dim frawddegau mirain y cyfansoddwr. Mae'n anodd dychmygu byd heb gerddoriaeth o'r math; diolch i'r ddau am roi bywyd unwaith eto i'r sonata hyfryd hon.
Cynllunwyd y rhaglen yn ddeallus, gyda dolennau ystyrlon ynddi. Yn gyntaf daeth Tair Rhamant Op.22 ('hael a theimladwy', yng ngeiriau un beirniad) o waith Clara Schumann: mae cyfeillgarwch dwfn rhwng gwraig weddw Robert Schumann a Brahms yn stori gofiadwy arall yn hanes cerdd. I agor yr ail hanner clywyd sonata o 1911 gan Charles Stanford, darn lle amlygir dylanwad Brahms ond gyda sawl elfen nodweddiadol, yn arbennig yn yr ail symudiad a enwir 'caoine' ('kîn'), sef galarnad Gwyddelig. Er mwyn rhoi seibiant i wefusau ei bartner cyfrannodd Julian unawd piano ym mhob hanner, pedair skazki (chwedlau) bywiog yn yr un cyntaf, ac yn yr ail 'Runic Tale' (1943) gan David Branson. Cyferbyniodd y darn hwn i'r dim gyda'r darnau blaenorol diolch i'w harmonïau cromatig a miniog, wrth arwain yn naturiol i eitem olaf y rhaglen, Sonatina o 1981 gan Joseph Horovitz: effeithiau jazz sy'n lliwio gwaith afieithus, pefriol, a greodd ddiweddglo perffaith i'r noson. Dangosodd wedyn gymeradwyaeth frwd fod y perfformiad graenus hwn wedi plesio i'r eithaf.
When forty or so turn out for a concert on a freezing cold night, you know they really really want to hear the music! This was certainly the case at St Mary's Church on Friday 9th December, and their reward was a delightful recital by the Hefin Duo: Charlotte Thomas (flute) & Bethan Griffiths (harp). These two instruments blend together beautifully, especially when played as well as this; and a well-chosen programme of varied pieces showed the combination at its best across works by Bach, Mozart, Rossini, Ibert & Nielsen, as well as arrangements of Welsh folksongs and some contemporary pieces. As one audience member put it – 'lots of yummy melodies in easily digestible portions'. Presentation was excellent, and there was a general feeling the duo should be more widely heard. The church's warm acoustic also played its part in a satisying evening that brought the Club's 2023 to a successful conclusion.
For the second concert of 2022-23, on Friday 11th November in Coleg Meirion-Dwyfor, mezzo Ann Atkinson together with pianist Iwan Owen (both tutors at the William Mathias Centre in North Wales) brought along three young singers in a substantial and varied programme: sopranos Branwen Medi Jones & Georgia Williams, and tenor Owen Barton Davies. Their relative youth made for a somewhat different event to those of recent years featuring professionals at the start of their careers, but any lack of experience in presentation was amply made up for by the freshness and vitality of the performances, which the audience warmed to greatly.
The tutors set a high standard: Iwan with a sparkling Chopin Waltz as opener, and impeccable accompaniments throughout; Ann with expressive lieder (two Brahms songs), seductive opera (Carmen's L'amour), effective Mathias arrangements of two Welsh folksongs, and comedy in Cole Porter's Tale of the Oyster. Branwen & Georgia had a short piano solo each; these apart, the young singers each had six solo pieces (a full programme indeed). Branwen shone distinctively in her cerdd dant item (Cân Melangell) and Welsh folksong (Saith o'm brodyr i), with the confident animation that grows out of competing in eisteddfodau. Georgia's purity of tone was consistent across three genres, classical, Welsh traditional, and songs from the shows. Owen scored highly for his strong personal commitment (as well as exciting vocalism) in Neapolitan favourites O Sole Mio & Funiculì, Funiculà, and 'showstoppers' Stars (Les Mis) & Never Enough (The Greatest Showman). In duet, Georgia & Owen brought the evening to a very satisfying end with Robat Arwyn's beautiful Benedictus.
Ar gyfer ail gyngerdd 2022-23, ar nos Wener 11 Tachwedd yng Ngholeg Meirion-Dwyfor, daeth atom y mezzo Ann Atkinson ynghyd â'r pianydd Iwan Owen (y ddau yn diwtoriaid yng Nghanolfan William Mathias yng Ngogledd Cymru) a thri o gantorion ifanc: Branwen Medi Jones & Georgia Williams (soprano) ac Owen Barton Davies (tenor). Dyna dipyn o gyferbyniad â'r cyngherddau lleisiol diweddar, lle mae cerddorion proffesiynol ar ddechrau eu gyrfaoedd wedi ymddangos; os y cafwyd fel canlyniad unrhyw ddiffyg o ran sglein yn y cyflwyno, gwnaeth iawn am hyn asbri'r perfformiadau fel y cynhesodd eu cynulleidfa atynt yn fawr
Gosodwyd gan y tiwtoriaid safon uchel: agorodd Iwan y rhaglen gyda wals Chopin befriol, a chyfeiliodd o drwy'r amser yn gaboledig ac ymatebol. Cyfrannodd Ann ganeuon celf mynegol (ddwy gan Brahms), opera ddeniadol (aria Carmen L'amour), trefniadau crefftus gan William Mathias o ddwy gân werin, a chomedi (Tale of the Oyster gan Cole Porter). Clywyd gan Branwen a Georgia unawd piano byr yr un; yn lleisiol, cafwyd chwech eitem gan bob un o'r rhai ifanc (rhaglen sylweddol yn wir). Disgleiriodd Branwen yn nodweddiadol yn ei darn cerdd dant (Cân Melangell) a'i chân werin (Saith o'm brodyr i), profiad helaeth o gystadlu mewn eisteddfodau yn amlwg yn ei bywiogrwydd hyderus. Ni betrusodd purdeb tôn Georgia ar draws ei dewis o ganeuon clasurol, rhai traddodiadol Cymraeg, a rhai o'r sioeau. Mwynhawyd yn arbennig gan Owen ei ymroddiad cryf personol (a lleisio cyffrous) yn y ffefrynnau Naplaidd O Sole Mio a Funiculì, Funiculà, yn ogystal â Stars a Never Enough o'r sioeau Les Mis a The Greatest Showman. Daeth y noson i ben yn foddhaol iawn gyda deuawd gan Georgia ac Owen, y Benedictus hardd gan Robat Arwyn.
The tutors set a high standard: Iwan with a sparkling Chopin Waltz as opener, and impeccable accompaniments throughout; Ann with expressive lieder (two Brahms songs), seductive opera (Carmen's L'amour), effective Mathias arrangements of two Welsh folksongs, and comedy in Cole Porter's Tale of the Oyster. Branwen & Georgia had a short piano solo each; these apart, the young singers each had six solo pieces (a full programme indeed). Branwen shone distinctively in her cerdd dant item (Cân Melangell) and Welsh folksong (Saith o'm brodyr i), with the confident animation that grows out of competing in eisteddfodau. Georgia's purity of tone was consistent across three genres, classical, Welsh traditional, and songs from the shows. Owen scored highly for his strong personal commitment (as well as exciting vocalism) in Neapolitan favourites O Sole Mio & Funiculì, Funiculà, and 'showstoppers' Stars (Les Mis) & Never Enough (The Greatest Showman). In duet, Georgia & Owen brought the evening to a very satisfying end with Robat Arwyn's beautiful Benedictus.
Ar gyfer ail gyngerdd 2022-23, ar nos Wener 11 Tachwedd yng Ngholeg Meirion-Dwyfor, daeth atom y mezzo Ann Atkinson ynghyd â'r pianydd Iwan Owen (y ddau yn diwtoriaid yng Nghanolfan William Mathias yng Ngogledd Cymru) a thri o gantorion ifanc: Branwen Medi Jones & Georgia Williams (soprano) ac Owen Barton Davies (tenor). Dyna dipyn o gyferbyniad â'r cyngherddau lleisiol diweddar, lle mae cerddorion proffesiynol ar ddechrau eu gyrfaoedd wedi ymddangos; os y cafwyd fel canlyniad unrhyw ddiffyg o ran sglein yn y cyflwyno, gwnaeth iawn am hyn asbri'r perfformiadau fel y cynhesodd eu cynulleidfa atynt yn fawr
Gosodwyd gan y tiwtoriaid safon uchel: agorodd Iwan y rhaglen gyda wals Chopin befriol, a chyfeiliodd o drwy'r amser yn gaboledig ac ymatebol. Cyfrannodd Ann ganeuon celf mynegol (ddwy gan Brahms), opera ddeniadol (aria Carmen L'amour), trefniadau crefftus gan William Mathias o ddwy gân werin, a chomedi (Tale of the Oyster gan Cole Porter). Clywyd gan Branwen a Georgia unawd piano byr yr un; yn lleisiol, cafwyd chwech eitem gan bob un o'r rhai ifanc (rhaglen sylweddol yn wir). Disgleiriodd Branwen yn nodweddiadol yn ei darn cerdd dant (Cân Melangell) a'i chân werin (Saith o'm brodyr i), profiad helaeth o gystadlu mewn eisteddfodau yn amlwg yn ei bywiogrwydd hyderus. Ni betrusodd purdeb tôn Georgia ar draws ei dewis o ganeuon clasurol, rhai traddodiadol Cymraeg, a rhai o'r sioeau. Mwynhawyd yn arbennig gan Owen ei ymroddiad cryf personol (a lleisio cyffrous) yn y ffefrynnau Naplaidd O Sole Mio a Funiculì, Funiculà, yn ogystal â Stars a Never Enough o'r sioeau Les Mis a The Greatest Showman. Daeth y noson i ben yn foddhaol iawn gyda deuawd gan Georgia ac Owen, y Benedictus hardd gan Robat Arwyn.
To describe an audience leaving a concert as 'shell-shocked' sounds like a negative, but in the case of 25-year-old Ariel Lanyi's piano recital in Coleg Meirion-Dwyfor on Friday 14th October, doing so reflects the full impact of his powerful rendering of Beethoven's Hammerklavier sonata – a performance seasoned stars would have been proud of. The piece itself remains astonishing, its climax sounding avant-garde 200 years on from the time of composition. Here there was passion and delicacy, precision of detail combined with overall control, crowning a deeply satisfying recital that got a new season off to the best possible start.
The first half gave thoughtfully graded preparation for the drama of the second. In Bach's Book 1 Prelude & Fugue No.4 in C sharp minor, the Prelude's meditative quality immediately drew listeners in; the Fugue's five voices were clearly projected, and incisive use of the bass gave a hint of what lay in store. Schubert's first two Moments Musicaux were as sonorous and relaxed as one could have wished. Schumann's delightful Scenes from Childhood evoked vivid pictures, the scampering footsteps of Hasche-mann ('Catch me if you can') and spooky Fürchtenmachen ('Frightening') contrasting effectively with the portrayal of a child falling asleep, and the lyrical beauty of the famous Träumerei. Nothing interposed between the music and the listener's imaginative response to it.
For all the extremity of the Hammerklavier's final movement, zany trills and all, the sonata's greatest challenge is perhaps its slow movement, one of the longest Beethoven ever wrote. Its emotional range of sorrow and consolation is immense; the technical demands of the cyclical structure (all performed from memory!) are no less so. Many many hours of preparation are needed to achieve such a high degree of fluency and musical insight, and one sensed there was gratitude for such input, to listeners' great enichment. Thanks are due to the Countess of Munster Musical Trust for helping to make this memorable event possible.
Mae'n swnio'n negyddol efallai ddweud bod cynulleidfa yn edrych yn 'siel-syfrdan' wrth adael cyngerdd, ond yn achos datganiad ar y piano gan Ariel Lanyi yng Ngholeg Coleg Meirion-Dwyfor ar nos Wener 14eg Hydref, adlewyrcha disgrifiad o'r math pa mor bwerus oedd cyflwyniad Ariel o sonata Hammerklavier gan Beethoven – perfformiad a fuasai seren brofiadol yn falch ohono (ac yntau dim ond 25 oed). Mae'r sonata ei hun yn dal yn rhyfeddol 200 mlynedd ar ôl iddi gael ei chyfansoddi, ei uchafbwynt yn avant-garde o hyd i'n clustiau. Clywyd yn nehongliad Ariel angerdd a thynerwch, cywirdeb fanwl ond hefyd gafael feistrolgar ar y cyfan – dyma ddatganiad a blesiodd yn fawr, wrth roi hwb delfrydol i agoriad y tymor newydd.
Adeiladwyd yn grefftus dros hanner cyntaf y rhaglen tuag at ddrama'r ail hanner. Ym Mhreliwd a Ffiwg Rh.4 yn llonnod C leiaf gan Bach, ansawdd myfyriol y Preliwd a dynnodd y gwrandawyr i mewn yn syth; cyflewyd yn eglur pum llais y ffiwg, ac awgrymwyd y ddrama i ddod nes ymlaen gan ddefnydd treiddiol o'r nodau bas. Areulder persain a gafwyd yn Moments Musicaux 1 a 2 o waith Schubert. Galwyd ar luniau bywiog yng Ngolygfeydd Plentyndod gan Schumann, gyda chyferbyniad effeithiol rhwng (er enghraifft) camau carlamus y plant yn eu gêm Hasche-mann a naws delynegol y Träumerei adnabyddus. Ni dorrodd dim byd ar draws ymateb ddychmygol y gwrandawyr i'r delweddau a grewyd.
Serch eithafrwydd symudiad olaf y sonata Hammerklavier (gan gynnwys ei driliau gwallgof!), her fwyaf y darn efallai yw ei symudiad araf, un o'r hiraf erioed a ddyfeisiodd Beethoven. Enfawr yw'r ystod emosiynol o alar i gysur; yr un mor heriol yw gofynion technegol ei adeiladwaith cylchol. (Sylwer bod y rhaglen i gyd wedi'i chyflwyno ar gof!) Dim ond trwy oriau ac oriau o waith paratoi y cyrhaeddir rhwyddineb a dealltwriaeth gerddorol o'r math; amlygwyd gwerthfawrogiad y gynulleidfa am hyn, a'r pleser mewnol a gafwyd o'r herwydd. Diolch i Ymddiriedolaeth Cerdd Iarlles Munster am hwyluso noson mor gofiadwy.
The first half gave thoughtfully graded preparation for the drama of the second. In Bach's Book 1 Prelude & Fugue No.4 in C sharp minor, the Prelude's meditative quality immediately drew listeners in; the Fugue's five voices were clearly projected, and incisive use of the bass gave a hint of what lay in store. Schubert's first two Moments Musicaux were as sonorous and relaxed as one could have wished. Schumann's delightful Scenes from Childhood evoked vivid pictures, the scampering footsteps of Hasche-mann ('Catch me if you can') and spooky Fürchtenmachen ('Frightening') contrasting effectively with the portrayal of a child falling asleep, and the lyrical beauty of the famous Träumerei. Nothing interposed between the music and the listener's imaginative response to it.
For all the extremity of the Hammerklavier's final movement, zany trills and all, the sonata's greatest challenge is perhaps its slow movement, one of the longest Beethoven ever wrote. Its emotional range of sorrow and consolation is immense; the technical demands of the cyclical structure (all performed from memory!) are no less so. Many many hours of preparation are needed to achieve such a high degree of fluency and musical insight, and one sensed there was gratitude for such input, to listeners' great enichment. Thanks are due to the Countess of Munster Musical Trust for helping to make this memorable event possible.
Mae'n swnio'n negyddol efallai ddweud bod cynulleidfa yn edrych yn 'siel-syfrdan' wrth adael cyngerdd, ond yn achos datganiad ar y piano gan Ariel Lanyi yng Ngholeg Coleg Meirion-Dwyfor ar nos Wener 14eg Hydref, adlewyrcha disgrifiad o'r math pa mor bwerus oedd cyflwyniad Ariel o sonata Hammerklavier gan Beethoven – perfformiad a fuasai seren brofiadol yn falch ohono (ac yntau dim ond 25 oed). Mae'r sonata ei hun yn dal yn rhyfeddol 200 mlynedd ar ôl iddi gael ei chyfansoddi, ei uchafbwynt yn avant-garde o hyd i'n clustiau. Clywyd yn nehongliad Ariel angerdd a thynerwch, cywirdeb fanwl ond hefyd gafael feistrolgar ar y cyfan – dyma ddatganiad a blesiodd yn fawr, wrth roi hwb delfrydol i agoriad y tymor newydd.
Adeiladwyd yn grefftus dros hanner cyntaf y rhaglen tuag at ddrama'r ail hanner. Ym Mhreliwd a Ffiwg Rh.4 yn llonnod C leiaf gan Bach, ansawdd myfyriol y Preliwd a dynnodd y gwrandawyr i mewn yn syth; cyflewyd yn eglur pum llais y ffiwg, ac awgrymwyd y ddrama i ddod nes ymlaen gan ddefnydd treiddiol o'r nodau bas. Areulder persain a gafwyd yn Moments Musicaux 1 a 2 o waith Schubert. Galwyd ar luniau bywiog yng Ngolygfeydd Plentyndod gan Schumann, gyda chyferbyniad effeithiol rhwng (er enghraifft) camau carlamus y plant yn eu gêm Hasche-mann a naws delynegol y Träumerei adnabyddus. Ni dorrodd dim byd ar draws ymateb ddychmygol y gwrandawyr i'r delweddau a grewyd.
Serch eithafrwydd symudiad olaf y sonata Hammerklavier (gan gynnwys ei driliau gwallgof!), her fwyaf y darn efallai yw ei symudiad araf, un o'r hiraf erioed a ddyfeisiodd Beethoven. Enfawr yw'r ystod emosiynol o alar i gysur; yr un mor heriol yw gofynion technegol ei adeiladwaith cylchol. (Sylwer bod y rhaglen i gyd wedi'i chyflwyno ar gof!) Dim ond trwy oriau ac oriau o waith paratoi y cyrhaeddir rhwyddineb a dealltwriaeth gerddorol o'r math; amlygwyd gwerthfawrogiad y gynulleidfa am hyn, a'r pleser mewnol a gafwyd o'r herwydd. Diolch i Ymddiriedolaeth Cerdd Iarlles Munster am hwyluso noson mor gofiadwy.
"Well, that was something else." So ran one comment on the recital given by the Alkyona String Quartet in Coleg Meirion-Dwyfor on Friday 10th June, at the end of which there was a stunned silence. Someone else commented on the quality of silence throughout, with not a cough to be heard from beginning to end. This may seem a strange way to begin a report on a music concert but is actually praise of a high order, such was the total absorption of the audience in these young players' renderings of three great works. Close your eyes, and you could have have been listening to a quartet of long-standing reputation.
Haydn's Quartet Op.54 No.2 in C is one of a dozen written between 1783 & 1789 for violinist Johann Tost, as is apparent from some of the acrobatic passages required of the first violin; these were handled impeccably by Emma Purslow. All of the piece's surprises and varied colourings were vividly realised. In contrast Mendelssohn's Quartet Op.80 in F minor, written after the death of his beloved sister and just two months before his own, is a work of anguish in all its four movements, emotionally draining to play as Emma said in introducing it. Harsh dissonances and edgy syncopations were given their full weight; moments of tenderness and warmth, no less so. A moving portrayal whose intensity made a deep impression.
Fellow violinist Marike Kruup took first desk in Ravel's inspired 1903 Quartet in F, and led with equal distinction. The work's buoyant and ethereal qualities made an ideal contrast with the F minor Mendelssohn's darkness, and produced some ravishing string-playing. Violist Claire Newton made the most of her melodic opportunities, and Jobine Siekman's C18 cello added richness to the texture throughout. Pizzicato playing in the second movement was electric. The ascent of all four instruments to their highest registers at the peaceful close hovered on, transcendent.
So ends a challenging season, with membership and attendance numbers inevitably down on account of the pandemic, yet quality as high as ever and the warmth of appreciation undiminished. We look forward to opening the 2022-23 season on Friday 14th October with a piano recital by Ariel Lanyi, 2021 3rd Prizewinner in the prestigious Leeds International Piano Competition.
"Wel, dyna rywbeth arall!' Fel hyn ymatebodd un gwrandawr i berfformiad Pedwarawd Llinynnol Alkyona yng Ngholeg Meirion-Dwyfor ar 10fed Mehefin, perfformiad a ddaeth i ben mewn distawrwydd syfrdan. Sylwodd un arall ar ansawdd y tawelwch drwy'r amser, heb 'run peswch o'r dechrau hyd y diwedd. Ffordd ryfedd efallai o agor adroddiad ar ddigwyddiad cerddorol, ond mae'n dynodi clod uchel – wrth gyflwyno tri o gampweithiau'r repertoire, llwyddodd y chwaraewyr ifanc hyn i gyfareddu eu cynulleidfa'n llwyr. Llygaid wedi cau, buasai wedi bod yn hawdd credu mai pedwarawd o enw hirsefydlog oedd i'w glywed.
Rhwng 1783 a 1789 cyfansoddodd Joseph Haydn ddwsin o bedwarawdau ar gyfer y fiolinydd dawnus Johann Tost, ffaith a adlewyrchir yn y darnau acrobatig sy'n addurno ei Bedwarawd Op.54 No.2 yn C; derbyniodd Emma Purslow her technegol y darnau hyn yn gaboledig iawn. Gwireddwyd i'r eithaf lliwiau amrywiol a chywreindeb rythmig y pedwarawd gwreiddiol hwn. Fel gwrthgyferbyniad pur, mae pob un o symudiadau Pedwarawd Op.80 in F leiaf gan Mendelssohn yn tarddu o alar dwfn y cyfansoddwr yn sgîl marwolaeth ei annwyl chwaer Fanny (dim ond dau fis cyn iddo yntau farw) – gwaith trwm i'w berfformio o safbwynt emosiynol, fel eglurodd Emma yn ei chyflwyniad llafar. Cyfleuwyd yn fyw yr holl anghytgordiau creision a thrawsaceniadau miniog, yn ogystal â momentau tyner a chynnes. Dyma ddehongliad teimladwy o ddwyster ac ymroddiad neilltuol.
Cyfnewydiodd Emma â'i chyfaill Marike Kruup ar gyfer y Pedwarawd ysbrydoledig yn F o waith Maurice Ravel, ac arweiniodd Marike o'r ddesg gyntaf yr un mor awdurdodol ag Emma. Lleddfwyd tywyllwch y Mendelssohn gan ysgafnder ac awyroldeb y Ravel, lle mwynhawyd seiniau llinynnol hudolus. Ar y fiola achubodd Claire Newton ar bob cyfle i ganu allan yn delynegol, a chrewyd gan Jobine Siekman ar ei soddgrwth o'r 18fed Ganrif sylfaen gadarn i'r cyfan. Cafwyd yn yr ail symudiad pizzicato trydanol. Ar ddiwedd y symudiad olaf, pan esgynnodd pob un o'r pedair offeryn i'w nodau uchaf, parhaodd y sain gyda naws ragorol.
Fel hyn daeth tymor heriol i ben: oherwydd y pandemig mae niferoedd i lawr o ran aelodaeth a phresenoldeb, sefyllfa amhosib ei hosgoi. Er hynny bu ansawdd y perfformiadau mor uchel ag erioed,
a'r gwerthfawrogiad 'run mor frwd. Edrychir ymlaen at agor tymor 2022-23 yn y Coleg ar nos Wener 14eg Hydref gyda datganiad ar y piano gan Ariel Lanyi, a gipiodd ym Medi 2021 y 3edd Wobr (allan o 64 o ymgeiswyr!) yng Nghystadleuaeth Biano Ryngwladol Leeds.
Haydn's Quartet Op.54 No.2 in C is one of a dozen written between 1783 & 1789 for violinist Johann Tost, as is apparent from some of the acrobatic passages required of the first violin; these were handled impeccably by Emma Purslow. All of the piece's surprises and varied colourings were vividly realised. In contrast Mendelssohn's Quartet Op.80 in F minor, written after the death of his beloved sister and just two months before his own, is a work of anguish in all its four movements, emotionally draining to play as Emma said in introducing it. Harsh dissonances and edgy syncopations were given their full weight; moments of tenderness and warmth, no less so. A moving portrayal whose intensity made a deep impression.
Fellow violinist Marike Kruup took first desk in Ravel's inspired 1903 Quartet in F, and led with equal distinction. The work's buoyant and ethereal qualities made an ideal contrast with the F minor Mendelssohn's darkness, and produced some ravishing string-playing. Violist Claire Newton made the most of her melodic opportunities, and Jobine Siekman's C18 cello added richness to the texture throughout. Pizzicato playing in the second movement was electric. The ascent of all four instruments to their highest registers at the peaceful close hovered on, transcendent.
So ends a challenging season, with membership and attendance numbers inevitably down on account of the pandemic, yet quality as high as ever and the warmth of appreciation undiminished. We look forward to opening the 2022-23 season on Friday 14th October with a piano recital by Ariel Lanyi, 2021 3rd Prizewinner in the prestigious Leeds International Piano Competition.
"Wel, dyna rywbeth arall!' Fel hyn ymatebodd un gwrandawr i berfformiad Pedwarawd Llinynnol Alkyona yng Ngholeg Meirion-Dwyfor ar 10fed Mehefin, perfformiad a ddaeth i ben mewn distawrwydd syfrdan. Sylwodd un arall ar ansawdd y tawelwch drwy'r amser, heb 'run peswch o'r dechrau hyd y diwedd. Ffordd ryfedd efallai o agor adroddiad ar ddigwyddiad cerddorol, ond mae'n dynodi clod uchel – wrth gyflwyno tri o gampweithiau'r repertoire, llwyddodd y chwaraewyr ifanc hyn i gyfareddu eu cynulleidfa'n llwyr. Llygaid wedi cau, buasai wedi bod yn hawdd credu mai pedwarawd o enw hirsefydlog oedd i'w glywed.
Rhwng 1783 a 1789 cyfansoddodd Joseph Haydn ddwsin o bedwarawdau ar gyfer y fiolinydd dawnus Johann Tost, ffaith a adlewyrchir yn y darnau acrobatig sy'n addurno ei Bedwarawd Op.54 No.2 yn C; derbyniodd Emma Purslow her technegol y darnau hyn yn gaboledig iawn. Gwireddwyd i'r eithaf lliwiau amrywiol a chywreindeb rythmig y pedwarawd gwreiddiol hwn. Fel gwrthgyferbyniad pur, mae pob un o symudiadau Pedwarawd Op.80 in F leiaf gan Mendelssohn yn tarddu o alar dwfn y cyfansoddwr yn sgîl marwolaeth ei annwyl chwaer Fanny (dim ond dau fis cyn iddo yntau farw) – gwaith trwm i'w berfformio o safbwynt emosiynol, fel eglurodd Emma yn ei chyflwyniad llafar. Cyfleuwyd yn fyw yr holl anghytgordiau creision a thrawsaceniadau miniog, yn ogystal â momentau tyner a chynnes. Dyma ddehongliad teimladwy o ddwyster ac ymroddiad neilltuol.
Cyfnewydiodd Emma â'i chyfaill Marike Kruup ar gyfer y Pedwarawd ysbrydoledig yn F o waith Maurice Ravel, ac arweiniodd Marike o'r ddesg gyntaf yr un mor awdurdodol ag Emma. Lleddfwyd tywyllwch y Mendelssohn gan ysgafnder ac awyroldeb y Ravel, lle mwynhawyd seiniau llinynnol hudolus. Ar y fiola achubodd Claire Newton ar bob cyfle i ganu allan yn delynegol, a chrewyd gan Jobine Siekman ar ei soddgrwth o'r 18fed Ganrif sylfaen gadarn i'r cyfan. Cafwyd yn yr ail symudiad pizzicato trydanol. Ar ddiwedd y symudiad olaf, pan esgynnodd pob un o'r pedair offeryn i'w nodau uchaf, parhaodd y sain gyda naws ragorol.
Fel hyn daeth tymor heriol i ben: oherwydd y pandemig mae niferoedd i lawr o ran aelodaeth a phresenoldeb, sefyllfa amhosib ei hosgoi. Er hynny bu ansawdd y perfformiadau mor uchel ag erioed,
a'r gwerthfawrogiad 'run mor frwd. Edrychir ymlaen at agor tymor 2022-23 yn y Coleg ar nos Wener 14eg Hydref gyda datganiad ar y piano gan Ariel Lanyi, a gipiodd ym Medi 2021 y 3edd Wobr (allan o 64 o ymgeiswyr!) yng Nghystadleuaeth Biano Ryngwladol Leeds.
There was an extra-warm welcome for baritone Tom Niesser and pianist Gamal Khamis in Coleg Meirion-Dwyfor on Friday 20th May, given that this was the first concert to be held in the Coleg since March 2020! The recital would have been warmly received in any context, such was its quality. Tom's voice is powerful but also richly toned, and the two made an excellent duo. Gamal opened the programme with two vivid (and technically demanding) Debussy solos, after which the six songs of Clara Schumann's Op 13 showed Clara to be her husband Robert's composing equal when she had the chance; Tom's German heritage (on his father's side) gave him ease and authority in conveying the texts. This applied no less in the Mahler set of four from his Songs of a Wayfarer, immaculately performed by both musicians. Between the sets of lieder came Meirion Williams' Adlewych, comprising six of his lesser known songs (which deserve greater currency); they were delivered with such commitment and understanding that each one in the set elicited rapturous applause. The poignancy of Mahler was offset by a rousing encore, Cân yr arad goch, bringing the event to an exhilarating close.
A good turn-out came to St Mary's on Friday 1st April to enjoy a special evening in the company of the London Klezmer Quartet, experts in the remarkable tradition of Jewish music from Central & Eastern Europe. Considering the European history of the Jews in the last century and a half, it's no surprise that such music should be permeated by sadness; the miracle is just how much joy it contains, even in minor keys. Songs of yearning came side by side with ebullient, energetic dances such as Nifty's Freylekhs, which opened the evening's programme.
Leader Susi Evans, a founder member of the Quartet back in 2009, has been described by Songlines magazine as 'one of the best klezmer clarinettists of our day', and few would argue on hearing the rich variety of sonorities she produced, all created with dazzling technical skill. Newcomer Flora Curzon was no less outstanding on the violin, and there were stunning moments (among many in the course of the evening) when these two instruments came together in breakneck unison. Underpinning the uppermost melodies was the unerring support of Josh Middleton's piano accordion and the double bass of Indra Buraczewska, who was also the group's main vocalist (though all made vocal contributions); Indra shared something of her family's history, including their flight as refugees from Latvia to Australia where she grew up. Her own composition, the waltz Dunika, brought the recital to a close on a note of poignant hiraeth, the Welsh word for 'longing' (approximately) seeming strangely apt for this music's ethos. Against the background of grim news from Ukraine, each piece gained in intensity; and the whole experience felt cathartic. 'That did us all a power of good,' was one comment the next day.
Thanks to the Reverend Tim Webb and churchwarden Iola Evans for a warm welcome. We look forward next to hearing Porthmadog baritone Tom Niesser with his accompanist JongSun Woo at 7.30pm on Friday 6th May in Coleg Meirion-Dwyfor. (In these changing times, check for confirmation on this site beforehand.)
Cafwyd noson arbennig ar nos Wener 1af Ebrill yn Eglwys Santes Fair yng nghwmni Pedwarawd Clesmer Llundain (London Klezmer Quartet, neu 'LKQ'), arbenigwyr yn y gerddoriaeth Iddewig-Almaenig (Yiddish) o Ddwyrain Ewrop. Wrth ystyried hanes yr Iddewon yn ystod y canrif a hanner diwethaf, nid syndod yw bod yna gryn dipyn o dristwch ar sail y gerddoriaeth honno; y gwyrth yw, pa gymaint o orfoledd sydd ynddi hefyd, hyd yn oed yn y cyweiriau lleddf. Clywyd alawon hiraethus tu hwnt wrth ochr dawnsfeydd bywiog, egnïol megis Nifty's Freylekhs, a agorodd y rhaglen.
Clarinetydd o fri yw Susi Evans, aelod sefydlu'r pedwarawd 'nôl yn 2009, a thrwy gydol y noson disgleiriodd llywiau nodweddiadol ei hofferyn a champ ei chrefft o ran techneg. Yr un mor eithriadol oedd cyfraniad aelod newydd o'r grŵp, sef Flora Curzon ar y ffidl; crewyd gan ddeuawdau achlysurol rhwng y ddwy fomentau gwefreiddiol ymhlith sawl moment cofiadwy. Sylfaen gadarn i'r sain a gafwyd gan acordion piano Josh Middleton a bâs dwbl Indra Buraczewska, prif unawdydd llais yr ensemble (lle cafodd pawb gyfle i gyfrannu'n lleisiol); traethodd Indra rywfaint o hanes ei theulu, ffoaduron o Latfia i Awstralia lle magwyd hi. Hiraeth bur a theimlwyd yn y wals Dunika ar ddiwedd y noson, darn a gyfansoddodd Indra ei hun. Yn erbyn cefndir y digwyddiadau erchyll sy'n llenwi'r newyddion o gyfeiriad Wcrain, tyfodd eitemau o'r math mewn dwyster; ar y llaw arall, gwerthfawrogwyd i'r eithaf y cyfle i fwynhau cerddoriaeth mor optimistaidd, 'er gwaethaf pawb a phopeth'.
Diolch i'r Eglwys am y croeso. Edrychwn ymlaen at glywed y baritôn Tom Niesser o Borthmadog, gyda'i chyfeilydd JongSun Woo, yng Ngholeg Meirion-Dwyfor am 7.30yh ar nos Wener 6ed Mai (ewch i'r safle yma yn agosach i'r amser am gadarnhad).
Leader Susi Evans, a founder member of the Quartet back in 2009, has been described by Songlines magazine as 'one of the best klezmer clarinettists of our day', and few would argue on hearing the rich variety of sonorities she produced, all created with dazzling technical skill. Newcomer Flora Curzon was no less outstanding on the violin, and there were stunning moments (among many in the course of the evening) when these two instruments came together in breakneck unison. Underpinning the uppermost melodies was the unerring support of Josh Middleton's piano accordion and the double bass of Indra Buraczewska, who was also the group's main vocalist (though all made vocal contributions); Indra shared something of her family's history, including their flight as refugees from Latvia to Australia where she grew up. Her own composition, the waltz Dunika, brought the recital to a close on a note of poignant hiraeth, the Welsh word for 'longing' (approximately) seeming strangely apt for this music's ethos. Against the background of grim news from Ukraine, each piece gained in intensity; and the whole experience felt cathartic. 'That did us all a power of good,' was one comment the next day.
Thanks to the Reverend Tim Webb and churchwarden Iola Evans for a warm welcome. We look forward next to hearing Porthmadog baritone Tom Niesser with his accompanist JongSun Woo at 7.30pm on Friday 6th May in Coleg Meirion-Dwyfor. (In these changing times, check for confirmation on this site beforehand.)
Cafwyd noson arbennig ar nos Wener 1af Ebrill yn Eglwys Santes Fair yng nghwmni Pedwarawd Clesmer Llundain (London Klezmer Quartet, neu 'LKQ'), arbenigwyr yn y gerddoriaeth Iddewig-Almaenig (Yiddish) o Ddwyrain Ewrop. Wrth ystyried hanes yr Iddewon yn ystod y canrif a hanner diwethaf, nid syndod yw bod yna gryn dipyn o dristwch ar sail y gerddoriaeth honno; y gwyrth yw, pa gymaint o orfoledd sydd ynddi hefyd, hyd yn oed yn y cyweiriau lleddf. Clywyd alawon hiraethus tu hwnt wrth ochr dawnsfeydd bywiog, egnïol megis Nifty's Freylekhs, a agorodd y rhaglen.
Clarinetydd o fri yw Susi Evans, aelod sefydlu'r pedwarawd 'nôl yn 2009, a thrwy gydol y noson disgleiriodd llywiau nodweddiadol ei hofferyn a champ ei chrefft o ran techneg. Yr un mor eithriadol oedd cyfraniad aelod newydd o'r grŵp, sef Flora Curzon ar y ffidl; crewyd gan ddeuawdau achlysurol rhwng y ddwy fomentau gwefreiddiol ymhlith sawl moment cofiadwy. Sylfaen gadarn i'r sain a gafwyd gan acordion piano Josh Middleton a bâs dwbl Indra Buraczewska, prif unawdydd llais yr ensemble (lle cafodd pawb gyfle i gyfrannu'n lleisiol); traethodd Indra rywfaint o hanes ei theulu, ffoaduron o Latfia i Awstralia lle magwyd hi. Hiraeth bur a theimlwyd yn y wals Dunika ar ddiwedd y noson, darn a gyfansoddodd Indra ei hun. Yn erbyn cefndir y digwyddiadau erchyll sy'n llenwi'r newyddion o gyfeiriad Wcrain, tyfodd eitemau o'r math mewn dwyster; ar y llaw arall, gwerthfawrogwyd i'r eithaf y cyfle i fwynhau cerddoriaeth mor optimistaidd, 'er gwaethaf pawb a phopeth'.
Diolch i'r Eglwys am y croeso. Edrychwn ymlaen at glywed y baritôn Tom Niesser o Borthmadog, gyda'i chyfeilydd JongSun Woo, yng Ngholeg Meirion-Dwyfor am 7.30yh ar nos Wener 6ed Mai (ewch i'r safle yma yn agosach i'r amser am gadarnhad).
There was cause for celebration when, on Friday 26th November in St Mary's Church, the Club was able to present its first live, on-site concert for 20 months! The musicians who performed last season's five streamed concerts were also of course very much alive, but however good online playing may be, nothing can rival the intimacy of having performers present in person. Flautist Sirius Chau (a 2020 Making Music Young Concert Artist Winner) actually played a trick here – Debussy's haunting Syrinx resounded without its originator being in sight, a lovely opening effect. Sirius then emerged from his hiding-place in the chancel to join Irena Radić by the piano for the rest of the programme.
This was very varied and covered a wide range of styles, from Mozart & Bach to Poulenc and the recent Zoom Tubeby Ian Clarke for solo flute, microphonics and all. Irena inserted two piano solos into the mix, Medtner's Fairy Tales Op.26 Nos 1 & 2 and Rachmaninov's Preludes Op.23 Nos 6 & 2, ideal for contrast and in which she drew fine sounds from the church's 'baby grand' Broadwood. Borne's Carmen Fantasie Brillante made a perfect ending to the first half, and Poulenc's crisp and vivid Sonata an equally suitable conclusion. This was immensely stylish (and technically assured) music-making throughout, from a duo who matched each other's sounds well and in turn showed flair as soloists. The acoustic was warm, and those who ventured out on a windy night felt well rewarded.
All Covid protocols were observed, and the event felt safe. Many thanks to the Rev. Tim Webb and warden Iola Evans for their welcome, as well as to Making Music for sponsorship. The next concert, Covid conditions permitting, will be a piano recital by Ariel Lanyi (who took 3rd prize at the recent Leeds International Piano Competition) in Coleg Meirion-Dwyfor at 7.30pm on Friday 14th January 2022. [Go beforehand to dolgellaumusicclub.org.uk or phone 01341 450224 for confirmation.]
Bu cryn achos dathlu ar nos Wener 26ain Tachwedd yn Eglwys Santes Fair, ar achlysur cyngerdd byw cyntaf y Clwb, yn y man a'r lle, ers 20 mis! 'Yn fyw' hefyd wrth gwrs oedd y cerddorion a gyfranodd i ni bump cyngerdd wedi'u ffrydio yn ystod tymor 2020-21, ond er cystal yw perfformiad digidol, ni all gymharu â pherfformiad yn y man a'r lle o safbwynt agosatrwydd a phrofiad acwstig. Parthed 'presenoldeb', agorodd y ffliwtydd Sirius Chau (Enillydd Making Music Cerddor Cyngerdd Ifanc 2020) ei gyflwyniad yn graff wrth 'ddiflannu' tra oedd Syrinx gan Debussy yn atseinio drwy'r eglwys, effaith hyfryd; ymddangosodd wedyn o'i le cudd i ymuno yng nghanol y gangell ag Irena Radić wrth y piano, am weddill eu rhaglen.
Cafwyd ganddynt amrywiaeth eang o arddulloedd, yn ymestyn o Mozart a Bach i Poulenc a Zoom Tube (unawd ffliwt cyfoes) gan Ian Clarke lle glywyd dyfeisiau meicroffonig a thriciau eraill. Chwareodd Irena hithau ddau unawd, wrth roi i mewn Fairy Tales Op.26 Rh.1 a 2 gan Medtner a Phreliwdiau Op.23 Rh. 6 a 2 gan Rachmaninov, dewisiadau da o ran cyferbyniad a chyfle i dynnu'r gorau allan o biano cyngerdd bach Broadwood yr eglwys. Daeth yr hanner cyntaf i ben ar nodyn uchel gyda Carmen Fantasie Brillante o waith François Borne. Yr un mor addas i gloi'r noson oedd Sonata boblogaidd Poulenc, darn bywiog a chynnil. Dyma ddatganiad caboledig a hyderus (o ran dehongliad athechneg) gan y ddau, cerddorion benigamp fel unawdwyr ond mwy na hyn, yn ymatebol a sensitif i'w gilydd fel deuawd. Gwerthfawrogwyd yr acwstig cynnes, a theimlodd pawb eu bod nhw wedi cael gwobr deilwng a boddhaol am fentro allan ar noson wyntog ac annifyr.
Parchwyd pob mesur Cofid, a digwyddiad saff a gafwyd fel canlyniad. Diolch i'r Parch. Tim Webb a warden yr eglwys Iola Evans am eu croeso. Gobeithir cynnal y cyngerdd nesaf, sef datganiad piano, yng Ngholeg Meirion-Dwyfor am 7.30yh ar nos Wener 14eg Ionawr 2022 os bydd y sefyllfa Cofid yn caniatáu. Yr unawdydd fydd Ariel Lanyi, a gipiodd y 3ydd wobr yng Nghystadleuaeth Biano Ryngwladol Leed yn ddiweddar. [Ewch ymlaenllaw i dolgellaumusicclub.org.uk neu ffoniwch 01341 450224 am gadarnhad.]
This was very varied and covered a wide range of styles, from Mozart & Bach to Poulenc and the recent Zoom Tubeby Ian Clarke for solo flute, microphonics and all. Irena inserted two piano solos into the mix, Medtner's Fairy Tales Op.26 Nos 1 & 2 and Rachmaninov's Preludes Op.23 Nos 6 & 2, ideal for contrast and in which she drew fine sounds from the church's 'baby grand' Broadwood. Borne's Carmen Fantasie Brillante made a perfect ending to the first half, and Poulenc's crisp and vivid Sonata an equally suitable conclusion. This was immensely stylish (and technically assured) music-making throughout, from a duo who matched each other's sounds well and in turn showed flair as soloists. The acoustic was warm, and those who ventured out on a windy night felt well rewarded.
All Covid protocols were observed, and the event felt safe. Many thanks to the Rev. Tim Webb and warden Iola Evans for their welcome, as well as to Making Music for sponsorship. The next concert, Covid conditions permitting, will be a piano recital by Ariel Lanyi (who took 3rd prize at the recent Leeds International Piano Competition) in Coleg Meirion-Dwyfor at 7.30pm on Friday 14th January 2022. [Go beforehand to dolgellaumusicclub.org.uk or phone 01341 450224 for confirmation.]
Bu cryn achos dathlu ar nos Wener 26ain Tachwedd yn Eglwys Santes Fair, ar achlysur cyngerdd byw cyntaf y Clwb, yn y man a'r lle, ers 20 mis! 'Yn fyw' hefyd wrth gwrs oedd y cerddorion a gyfranodd i ni bump cyngerdd wedi'u ffrydio yn ystod tymor 2020-21, ond er cystal yw perfformiad digidol, ni all gymharu â pherfformiad yn y man a'r lle o safbwynt agosatrwydd a phrofiad acwstig. Parthed 'presenoldeb', agorodd y ffliwtydd Sirius Chau (Enillydd Making Music Cerddor Cyngerdd Ifanc 2020) ei gyflwyniad yn graff wrth 'ddiflannu' tra oedd Syrinx gan Debussy yn atseinio drwy'r eglwys, effaith hyfryd; ymddangosodd wedyn o'i le cudd i ymuno yng nghanol y gangell ag Irena Radić wrth y piano, am weddill eu rhaglen.
Cafwyd ganddynt amrywiaeth eang o arddulloedd, yn ymestyn o Mozart a Bach i Poulenc a Zoom Tube (unawd ffliwt cyfoes) gan Ian Clarke lle glywyd dyfeisiau meicroffonig a thriciau eraill. Chwareodd Irena hithau ddau unawd, wrth roi i mewn Fairy Tales Op.26 Rh.1 a 2 gan Medtner a Phreliwdiau Op.23 Rh. 6 a 2 gan Rachmaninov, dewisiadau da o ran cyferbyniad a chyfle i dynnu'r gorau allan o biano cyngerdd bach Broadwood yr eglwys. Daeth yr hanner cyntaf i ben ar nodyn uchel gyda Carmen Fantasie Brillante o waith François Borne. Yr un mor addas i gloi'r noson oedd Sonata boblogaidd Poulenc, darn bywiog a chynnil. Dyma ddatganiad caboledig a hyderus (o ran dehongliad athechneg) gan y ddau, cerddorion benigamp fel unawdwyr ond mwy na hyn, yn ymatebol a sensitif i'w gilydd fel deuawd. Gwerthfawrogwyd yr acwstig cynnes, a theimlodd pawb eu bod nhw wedi cael gwobr deilwng a boddhaol am fentro allan ar noson wyntog ac annifyr.
Parchwyd pob mesur Cofid, a digwyddiad saff a gafwyd fel canlyniad. Diolch i'r Parch. Tim Webb a warden yr eglwys Iola Evans am eu croeso. Gobeithir cynnal y cyngerdd nesaf, sef datganiad piano, yng Ngholeg Meirion-Dwyfor am 7.30yh ar nos Wener 14eg Ionawr 2022 os bydd y sefyllfa Cofid yn caniatáu. Yr unawdydd fydd Ariel Lanyi, a gipiodd y 3ydd wobr yng Nghystadleuaeth Biano Ryngwladol Leed yn ddiweddar. [Ewch ymlaenllaw i dolgellaumusicclub.org.uk neu ffoniwch 01341 450224 am gadarnhad.]
Lara Melda (piano) 8.1.21
(a streamed recording from the Purcell School of Music)
Club member Tresca Winteringham writes:
" An interesting recital of Slavic music with Chopin & Rachmaninov. This school of art music, especially the Russian, has caught up with the music of Central Europe in only two centuries, before this being suppressed for historical reasons and mainly represented by folk music, elements of which, however, find their way into music of this school giving it a certain character.
In some ways it struck me that the Rachmaninov prelude was where Lara seemed most relaxed and at home.
It was in all quite a taxing recital, beginning with two early musing and dreamy Chopin nocturnes , followed by two Rachmaninov Etudes Tableau of more alert character and finally a single op23 prelude. These short pieces heralded the piece de resistance, Chopin's final sonata, a four movement work in B minor written in 1844, it is suggested, as a response to criticism of his second ' Funeral March' sonata of five years earlier. Regarded as one of his most technically & musically difficult compositions, Lara chose to bring out the lighter, lyrical side of the work befitting the burgeoning and creative optimism she found in the work. It was as though she was welcoming the spring. Her technical ability made light of difficulties and her performance carried conviction ending with a sense of completion in the rollicking finale introduced by octave chords as if curtains were being drawn apart for the final scene. Her musical message was fittingly delivered with masterly control. It has been suggested that music is a language which expresses more than words. I would be interested to hear her play this musically complex sonata again in ten years time to hear what else she might discover in it."
(a streamed recording from the Purcell School of Music)
Club member Tresca Winteringham writes:
" An interesting recital of Slavic music with Chopin & Rachmaninov. This school of art music, especially the Russian, has caught up with the music of Central Europe in only two centuries, before this being suppressed for historical reasons and mainly represented by folk music, elements of which, however, find their way into music of this school giving it a certain character.
In some ways it struck me that the Rachmaninov prelude was where Lara seemed most relaxed and at home.
It was in all quite a taxing recital, beginning with two early musing and dreamy Chopin nocturnes , followed by two Rachmaninov Etudes Tableau of more alert character and finally a single op23 prelude. These short pieces heralded the piece de resistance, Chopin's final sonata, a four movement work in B minor written in 1844, it is suggested, as a response to criticism of his second ' Funeral March' sonata of five years earlier. Regarded as one of his most technically & musically difficult compositions, Lara chose to bring out the lighter, lyrical side of the work befitting the burgeoning and creative optimism she found in the work. It was as though she was welcoming the spring. Her technical ability made light of difficulties and her performance carried conviction ending with a sense of completion in the rollicking finale introduced by octave chords as if curtains were being drawn apart for the final scene. Her musical message was fittingly delivered with masterly control. It has been suggested that music is a language which expresses more than words. I would be interested to hear her play this musically complex sonata again in ten years time to hear what else she might discover in it."
Amy Roberts (obô/oboe), Gamal Khamis (piano) 20.11.20
Adapting to these strange times, the Club launched the Premiere of its first 'streamed' concert at 7.30pm on Friday 20th November in the form of a recital for oboe and piano given by Amy Roberts and Gamal Khamis. Recorded in London from Gamal's music room, the 'show' was neatly packaged (theatre curtain at the start & close, titles for each piece & movement etc), and the musicians introduced each item to camera. Even the best presentation cannot, of course, altogether make up for the loss of a live visit and audience 'buzz' and applause.
On the bright side however, the recording remains available for viewing by anyone at any time (just go to youtube.com and search for Dolgellau Music Club), and if enjoyed can be watched again! It's hard not to enjoy such colourful repertoire, played by two young musicians at the top of their game. To suit traditional tastes: Telemann's delightful Sonata in A minor with its four dance movements, and Chopin's exquisite Ballade no.3. Less familiar: a vivid sonata by Dutilleux ending (to quote Amy) 'with a joyful waterfall of notes', and the virtuosic study for oboe alone by Silvestrini 'Le Ballet Espagnol', illustrating Manet's bright painting of that name (which one can conjure up on the computer while listening). To close: the tuneful and much-loved sonata by Saint-Säens (written, amazingly, in his 86th and final year), and a beautiful short 'Melody' by Welsh composer Morgan Nicholas.
As a Philip & Dorothy Green Young Artist Award winner, Amy Roberts is supported by Making Music who sponsored the event. They have also been extremely helpful in easing the transition to livestreaming.
I gydfynd â'r cyfnod rhyfedd sydd gyda ni, lansiodd y Clwb ei 'ffrydiad' cyntaf am 7.30 yn frydlon nos Wener 20fed Tachwedd, sef datganiad obô a phiano gan Amy Roberts a Gamal Khamis. Recordiwyd y sesiwn ganddynt yn ystafell gerdd Gamal (serch y cyfnod clo yn Llundain) ychydig dyddiau ymlaen llaw, wrth gyrraedd safon proffesiynol iawn: gwelir llen theatrig ddisglair cyn cychwyn, labelir pob darn a symudiad gyda theitlau, ac anelir cyflwyniadau llafar at y camera gan y ddau fel tasa cynulleidfa go iawn o'u blaen nhw. Mewn realiti dim ond gofod 'seiber' sydd yna wrth gwrs, ac mae'n amhosib i'r cyflwyniad gorau hyd yn oed wneud iawn am ddifyg bwrlwm ymweliad byw, a chymeradwyaeth gwrandawyr cig a gwaed.
Wrth edrych fodd bynnag ar yr ochr olau, mae yna agweddau positif yn y sefyllfa: yn bennaf oll, y ffaith bod y recordiad hwn yn dal ar gael ar i wê i'w fwynhau gan unrhywun ar unrhyw adeg, fel cyfan neu'n rhannol, mwy nac unwaith os y dymunir. (Ewch at youtube.com a chwiliwch am Clwb Cerdd Dolgellau.) Yn wir mae'n anodd peidio â mwynhau darpariaeth mor liwgar, wedi'i chyflwyno gan ddau gerddor ifanc mor frwdfrydig a dawnus. I blesio'r rhai mwy traddodiadol eu dant: darn hyfryd o waith Telemann i agor, ei Sonata yn A leiaf, gyda phedwar symudiad dawns; a Ballade Rh. 3 gan Chopin, unawd piano tyner a hiraethus. Llai cyfarwydd: sonata fywiog o waith Henri Dutilleux sy'n gorffen (i ddyfynnu Amy) 'mewn rhaiadr o nodau gorfoleddus', ac astudiaeth benigamp Gilles Silvestrini ar gyfer unawd obô 'Le Ballet Espagnol', sy'n darlunio campwaith llachar Edouard Manet a elwir i fyny'n hawdd o'r wê wrth wrando. Ac i gloi: sonata boblogaidd a phersain Camille Saint-Säens (a gyfansoddwyd ganddo yn ei flwyddyn olaf yn 86 oed!), a 'Melody', darn byr a thelynegol gan Morgan Nicholas er cof am ei ferch, a oedd hithau wedi bod yn oböydd addawol.
Fel enillydd Gwobr Celfyddyd Ifanc Philip a Dorothy Green 2019, cefnogir Amy Roberts gan Making Music sydd yn ogystal wedi noddi'r datganiad arbennig hwn. Diolch i Making Music hefyd am ei gymorth doeth wrth i ni fentro i mewn i fyd ffrydio byw.
Adapting to these strange times, the Club launched the Premiere of its first 'streamed' concert at 7.30pm on Friday 20th November in the form of a recital for oboe and piano given by Amy Roberts and Gamal Khamis. Recorded in London from Gamal's music room, the 'show' was neatly packaged (theatre curtain at the start & close, titles for each piece & movement etc), and the musicians introduced each item to camera. Even the best presentation cannot, of course, altogether make up for the loss of a live visit and audience 'buzz' and applause.
On the bright side however, the recording remains available for viewing by anyone at any time (just go to youtube.com and search for Dolgellau Music Club), and if enjoyed can be watched again! It's hard not to enjoy such colourful repertoire, played by two young musicians at the top of their game. To suit traditional tastes: Telemann's delightful Sonata in A minor with its four dance movements, and Chopin's exquisite Ballade no.3. Less familiar: a vivid sonata by Dutilleux ending (to quote Amy) 'with a joyful waterfall of notes', and the virtuosic study for oboe alone by Silvestrini 'Le Ballet Espagnol', illustrating Manet's bright painting of that name (which one can conjure up on the computer while listening). To close: the tuneful and much-loved sonata by Saint-Säens (written, amazingly, in his 86th and final year), and a beautiful short 'Melody' by Welsh composer Morgan Nicholas.
As a Philip & Dorothy Green Young Artist Award winner, Amy Roberts is supported by Making Music who sponsored the event. They have also been extremely helpful in easing the transition to livestreaming.
I gydfynd â'r cyfnod rhyfedd sydd gyda ni, lansiodd y Clwb ei 'ffrydiad' cyntaf am 7.30 yn frydlon nos Wener 20fed Tachwedd, sef datganiad obô a phiano gan Amy Roberts a Gamal Khamis. Recordiwyd y sesiwn ganddynt yn ystafell gerdd Gamal (serch y cyfnod clo yn Llundain) ychydig dyddiau ymlaen llaw, wrth gyrraedd safon proffesiynol iawn: gwelir llen theatrig ddisglair cyn cychwyn, labelir pob darn a symudiad gyda theitlau, ac anelir cyflwyniadau llafar at y camera gan y ddau fel tasa cynulleidfa go iawn o'u blaen nhw. Mewn realiti dim ond gofod 'seiber' sydd yna wrth gwrs, ac mae'n amhosib i'r cyflwyniad gorau hyd yn oed wneud iawn am ddifyg bwrlwm ymweliad byw, a chymeradwyaeth gwrandawyr cig a gwaed.
Wrth edrych fodd bynnag ar yr ochr olau, mae yna agweddau positif yn y sefyllfa: yn bennaf oll, y ffaith bod y recordiad hwn yn dal ar gael ar i wê i'w fwynhau gan unrhywun ar unrhyw adeg, fel cyfan neu'n rhannol, mwy nac unwaith os y dymunir. (Ewch at youtube.com a chwiliwch am Clwb Cerdd Dolgellau.) Yn wir mae'n anodd peidio â mwynhau darpariaeth mor liwgar, wedi'i chyflwyno gan ddau gerddor ifanc mor frwdfrydig a dawnus. I blesio'r rhai mwy traddodiadol eu dant: darn hyfryd o waith Telemann i agor, ei Sonata yn A leiaf, gyda phedwar symudiad dawns; a Ballade Rh. 3 gan Chopin, unawd piano tyner a hiraethus. Llai cyfarwydd: sonata fywiog o waith Henri Dutilleux sy'n gorffen (i ddyfynnu Amy) 'mewn rhaiadr o nodau gorfoleddus', ac astudiaeth benigamp Gilles Silvestrini ar gyfer unawd obô 'Le Ballet Espagnol', sy'n darlunio campwaith llachar Edouard Manet a elwir i fyny'n hawdd o'r wê wrth wrando. Ac i gloi: sonata boblogaidd a phersain Camille Saint-Säens (a gyfansoddwyd ganddo yn ei flwyddyn olaf yn 86 oed!), a 'Melody', darn byr a thelynegol gan Morgan Nicholas er cof am ei ferch, a oedd hithau wedi bod yn oböydd addawol.
Fel enillydd Gwobr Celfyddyd Ifanc Philip a Dorothy Green 2019, cefnogir Amy Roberts gan Making Music sydd yn ogystal wedi noddi'r datganiad arbennig hwn. Diolch i Making Music hefyd am ei gymorth doeth wrth i ni fentro i mewn i fyd ffrydio byw.
Siân Dicker (soprano), Krystal Tunnicliffe (piano) 16.10.20
As previously announced, the first concert in the 2020/21 series came as a livestream from the Oxford Lieder Festival at 5.30pm on Friday 16th October (and viewable afterwards till 1st November). Young Artist Platform winners Siân Dicker (soprano) and Krystal Tunnicliffe (piano) presented a delightful hour-long programme themed around animals, with poems (very well read) interspersing the song-sets. Beginning with Beethoven's witty setting of Goethe's 'Song of the Flea' from Faust the sequence ranged via swans, nightingales, bees, storks, foxes, turkeys, cats & dogs to Cole Porter's evergreen 'Tale of the Oyster', in numbers by Brahms, Wolf, Fanny Mendelssohn, Warlock, Barber and Rodney Bennett. Delivery from both performers was impeccable, and full of lively expression. Considering the 'digital concert hall' venue contained only cameras and microphones with no live audience present to feed off, this was all the more impressive. The musicians expressed their gratitude to the Festival for support at this difficult time; it is to be hoped these talented artists will continue to find outlets for their gifts and hard-won skills.
Cyflwynwyd cyngerdd cyntaf 2020-21 fel profiad 'ffrydio byw' o Wyl Lieder Rydychen ar nos Wener 16eg Hydref (ac ar gael ar-lein wedyn tan 1af Tachwedd).
Thema datganiad Siân Dicker (soprano) a Krystal Tunnicliffe (piano), enillwyr Gwobr Celfyddyddion Ifanc 2020 yr Wyl, oedd anifeiliaid, a milodfa go iawn a ddarluniwyd ganddynt - elyrch, eosiaid. storciaid, gwenyn, turcïod, chwain a phryfed, heb sôn am gathod a chwn! Darllennwyd (yn dda iawn) ambell i gerdd rhwng y setiau caneuon. O ran cyfnod, teithiwyd o Gân y Chwannen (Goethe/Beethoven) heibio eitemau gan Brahms, Wolf, Fanny Mendelssohn, Warlock, Barber a Rodney Bennett, hyd at 'Tale of the Oyster' gan Cole Porter, diweddglo hwylus i unrhyw raglen ("For I've had a taste of society, And society has had a taste of me"). Techneg caboledig a mynegiant bywiog a sensitif gan y ddwy trwy gydol y sioe (cyrhaeddiad i'w ganmol hyd yn oed yn fwy wrth gofio nad oedd neb yn gwrando arnynt yn fyw). Llongyfarchiadau i'r Wyl fentrus hon am roi cyfle (a chyflog) i gerddorion dawnus ifanc yng nghyd-destun y sefyllfa heriol sy'n eu gwynebu o ran gyrfa; a diolch iddi hefyd am gefnogi clwb cerdd cefn gwlad mewn modd mor greadigol.
As previously announced, the first concert in the 2020/21 series came as a livestream from the Oxford Lieder Festival at 5.30pm on Friday 16th October (and viewable afterwards till 1st November). Young Artist Platform winners Siân Dicker (soprano) and Krystal Tunnicliffe (piano) presented a delightful hour-long programme themed around animals, with poems (very well read) interspersing the song-sets. Beginning with Beethoven's witty setting of Goethe's 'Song of the Flea' from Faust the sequence ranged via swans, nightingales, bees, storks, foxes, turkeys, cats & dogs to Cole Porter's evergreen 'Tale of the Oyster', in numbers by Brahms, Wolf, Fanny Mendelssohn, Warlock, Barber and Rodney Bennett. Delivery from both performers was impeccable, and full of lively expression. Considering the 'digital concert hall' venue contained only cameras and microphones with no live audience present to feed off, this was all the more impressive. The musicians expressed their gratitude to the Festival for support at this difficult time; it is to be hoped these talented artists will continue to find outlets for their gifts and hard-won skills.
Cyflwynwyd cyngerdd cyntaf 2020-21 fel profiad 'ffrydio byw' o Wyl Lieder Rydychen ar nos Wener 16eg Hydref (ac ar gael ar-lein wedyn tan 1af Tachwedd).
Thema datganiad Siân Dicker (soprano) a Krystal Tunnicliffe (piano), enillwyr Gwobr Celfyddyddion Ifanc 2020 yr Wyl, oedd anifeiliaid, a milodfa go iawn a ddarluniwyd ganddynt - elyrch, eosiaid. storciaid, gwenyn, turcïod, chwain a phryfed, heb sôn am gathod a chwn! Darllennwyd (yn dda iawn) ambell i gerdd rhwng y setiau caneuon. O ran cyfnod, teithiwyd o Gân y Chwannen (Goethe/Beethoven) heibio eitemau gan Brahms, Wolf, Fanny Mendelssohn, Warlock, Barber a Rodney Bennett, hyd at 'Tale of the Oyster' gan Cole Porter, diweddglo hwylus i unrhyw raglen ("For I've had a taste of society, And society has had a taste of me"). Techneg caboledig a mynegiant bywiog a sensitif gan y ddwy trwy gydol y sioe (cyrhaeddiad i'w ganmol hyd yn oed yn fwy wrth gofio nad oedd neb yn gwrando arnynt yn fyw). Llongyfarchiadau i'r Wyl fentrus hon am roi cyfle (a chyflog) i gerddorion dawnus ifanc yng nghyd-destun y sefyllfa heriol sy'n eu gwynebu o ran gyrfa; a diolch iddi hefyd am gefnogi clwb cerdd cefn gwlad mewn modd mor greadigol.
Pleyel Ensemble 6.3.20
One can only feel grateful to composers whose music we continue to enjoy, yet who often had to overcome enormous hardship in order to create it. In 1824 the 27-year-old Schubert was broke and dependent on loans from friends, suffering from anaemia, and depressed because his works (especially his operas) were not being performed; four years later he would be dead. Yet against this background, and thanks to a commission from an aristocratic amateur clarinettist, he produced one of the most joyous pieces of music ever written, his Octet in F D.803.
On Friday 6th March, in Coleg Meirion-Dwyfor, a Dolgellau audience was able to hear the work performed most wonderfully by members of the Pleyel Ensemble. In six movements and at an hour long, it presents a challenge even to the most seasoned players. The Pleyels were equal to the task both in their close rapport as an ensemble (here comprising string quartet + double bass, clarinet, bassoon & French horn), and in their individual moments as & when Schubert allocates a solo melody to specific instruments. In his short introduction bassoonist Laurence Perkins pointed up the symphonic nature of the piece, and this was certainly apparent in the brooding tremolo passage at the start of the last movement, briefly reprised before the end. This apart there are few shadows, as one exuberant melody after another lifts the spirits. Hearty 'bravos' at the end showed how much listeners appreciated this exhilarating and accomplished performance.
Another sunny piece took up the first half, one also commissioned by a clarinettist - Mozart's sublime Clarinet Quintet in A K.581. Mozart had first heard the clarinet in London in 1764 aged 8, when the instrument was only just beginning to come into its own as an alternative to the oboe. Immediately attracted to it, he was inspired twenty-five years later by the playing of Anton Stadler, who became a friend. The resulting quintet has (like the later Clarinet Concerto) been a repertoire favourite ever since. In this performance the Pleyels' string quartet (led by Benedict Holland) were joined by clarinettist Janet Hilton (who has recorded the piece with the Lindsays); her ethereal tone seemed to float independently of any physical source. Supported by exquisite string playing the sound transported listeners to that world of lyrical perfection unique to Mozart, apparently simple yet requiring the utmost skill to realise.
These two pieces combined, and interpreted by this first-rate ensemble, provided a most uplifting evening. 'It made one feel glad to be alive', came one comment. With the world's troubles filling the news, one could not but agree.
Ensemble Pleyel 6.3.20
Ymhlith cyfansoddwyr ein hoff gerddoriaeth, mae cymaint sydd wedi gorfod dioddef tra'n creu. Ym 1824 roedd Schubert, yn 27 oed, heb bres ac yn dibynnu ar fenthyciadau gan ffrindiau, yn wael gydag anemia, ac yn isel ei ysbryd oherwydd diffyg perfformiadau o'i fiwsig (yn arbennig ei operâu); tu mewn pedair blynedd y byddai'n farw. Serch hyn oll, a diolch i gomisiwn gan bendefig a oedd yn glarinetydd amatur, cafwyd ganddo un o'r darnau mwyaf gorfoleddus a gyfansoddwyd erioed, sef ei Wythawd yn F D.803.
Ar nos Wener 6ed Mawrth, yng Ngholeg Meirion-Dwyfor, clywodd cynulleidfa Dolgellau berfformiad gwych o'r Wythawd hwn gan aelodau Ensemble Pleyel. Ar draws chwech symudiad, ac awr gyfan, mae'r darn yn heriol iawn hyd yn oed i offerynnwyr y mwyaf profiadol. Llwyddodd aelodau'r ensemble crefftus hwn (pedwarawd llinynnol gyda bâs dwbl, clarinet, baswn a chorn Ffrengig) i gyflawni eu tasg diolch i'r gyd-ddealltwriaeth agos rhyngddynt, ac i allu unigolion y grwp i feistrioli'r unawdau bach mae Schubert yn rhannu rhwng yr offerynnau gwahanol. Yn ei gyflwyniad byr tynnodd y baswnydd Laurence Perkins sylw at natur symffonig y darn, nodwedd a ddaeth i'r amlwg yn y rhan dywyll tremolo sy'n agor y symudiad olaf, ac yn ail-ymddangos tua'i ddiwedd. Fel arall mae cysgodion yn brin, tra daw un alaw afieithus ar ôl y llall i godi'ch calon. Croesawyd diweddglo'r darn a'r noson gyda sawl bravo, a adlewyrchodd pa gymaint yr oedd y gwrandawyr wedi gwerthfawrogi'r perfformiad caboledig ac egnïol hwn.
Darn siriol arall a lenwodd y rhan gyntaf, darn a gomisiynwyd hefyd gan glarinetydd - pumawd arddunol Mozart, sef ei Bumawd Clarinet yn A K.581. Clywodd Mozart y clarinet am y tro cyntaf yn Llundain ym 1764, yn 8 oed, pan oedd yr offeryn yn dechrau ennill ei dir ochr yn ochr â'r obô. Tynnwyd Mozart ato'n syth; chwarter canrif yn ddiweddarach ysbrydolwyd ef wrth wrando â'r clarinetydd Anton Stadler, a ddaeth yn ffrind. Fel canlyniad cyfansoddodd Mozart y pumawd hwn, sydd wedi aros byth er hynny (yr un modd â'i Gonsierto ar gyfer Clarinet) ymhlith y darnau clasurol mwyaf poblogaidd. Yn y perfformiad hwn ymunodd y clarinetydd Janet Hilton â phedwarawd llinynnol y Pleyels (blaenwr, Benedict Holland) - unawdydd profiadol iawn yw Janet, sydd wedi recordio'r darn gyda Phedwarawd Lindsay. Hofrannodd tôn awyrol ei hofferyn fel tasa fo heb unrhyw sylfaen corfforol. Gyda chwarae godidog y pedwarawd, aeth y seiniau i gyd â'u gwrandawyr i mewn i fyd arbennig Mozart, byd o berffeithrwydd telynegol - effaith syml o tu allan ond sy'n gofyn am fedrusrwydd offerynnol o'r mwyaf.
Noson ddyrchafol a gafwyd felly, diolch i gerddoriaeth mor ardderchog a dehongliadau mor deilwng. 'Mae'n werth cael bod yn fyw i glywed hyn', sylwodd un. Yng nghyd-destun y byd cythryblus a lenwai'r newyddion, bu'n anodd anghytuno.
One can only feel grateful to composers whose music we continue to enjoy, yet who often had to overcome enormous hardship in order to create it. In 1824 the 27-year-old Schubert was broke and dependent on loans from friends, suffering from anaemia, and depressed because his works (especially his operas) were not being performed; four years later he would be dead. Yet against this background, and thanks to a commission from an aristocratic amateur clarinettist, he produced one of the most joyous pieces of music ever written, his Octet in F D.803.
On Friday 6th March, in Coleg Meirion-Dwyfor, a Dolgellau audience was able to hear the work performed most wonderfully by members of the Pleyel Ensemble. In six movements and at an hour long, it presents a challenge even to the most seasoned players. The Pleyels were equal to the task both in their close rapport as an ensemble (here comprising string quartet + double bass, clarinet, bassoon & French horn), and in their individual moments as & when Schubert allocates a solo melody to specific instruments. In his short introduction bassoonist Laurence Perkins pointed up the symphonic nature of the piece, and this was certainly apparent in the brooding tremolo passage at the start of the last movement, briefly reprised before the end. This apart there are few shadows, as one exuberant melody after another lifts the spirits. Hearty 'bravos' at the end showed how much listeners appreciated this exhilarating and accomplished performance.
Another sunny piece took up the first half, one also commissioned by a clarinettist - Mozart's sublime Clarinet Quintet in A K.581. Mozart had first heard the clarinet in London in 1764 aged 8, when the instrument was only just beginning to come into its own as an alternative to the oboe. Immediately attracted to it, he was inspired twenty-five years later by the playing of Anton Stadler, who became a friend. The resulting quintet has (like the later Clarinet Concerto) been a repertoire favourite ever since. In this performance the Pleyels' string quartet (led by Benedict Holland) were joined by clarinettist Janet Hilton (who has recorded the piece with the Lindsays); her ethereal tone seemed to float independently of any physical source. Supported by exquisite string playing the sound transported listeners to that world of lyrical perfection unique to Mozart, apparently simple yet requiring the utmost skill to realise.
These two pieces combined, and interpreted by this first-rate ensemble, provided a most uplifting evening. 'It made one feel glad to be alive', came one comment. With the world's troubles filling the news, one could not but agree.
Ensemble Pleyel 6.3.20
Ymhlith cyfansoddwyr ein hoff gerddoriaeth, mae cymaint sydd wedi gorfod dioddef tra'n creu. Ym 1824 roedd Schubert, yn 27 oed, heb bres ac yn dibynnu ar fenthyciadau gan ffrindiau, yn wael gydag anemia, ac yn isel ei ysbryd oherwydd diffyg perfformiadau o'i fiwsig (yn arbennig ei operâu); tu mewn pedair blynedd y byddai'n farw. Serch hyn oll, a diolch i gomisiwn gan bendefig a oedd yn glarinetydd amatur, cafwyd ganddo un o'r darnau mwyaf gorfoleddus a gyfansoddwyd erioed, sef ei Wythawd yn F D.803.
Ar nos Wener 6ed Mawrth, yng Ngholeg Meirion-Dwyfor, clywodd cynulleidfa Dolgellau berfformiad gwych o'r Wythawd hwn gan aelodau Ensemble Pleyel. Ar draws chwech symudiad, ac awr gyfan, mae'r darn yn heriol iawn hyd yn oed i offerynnwyr y mwyaf profiadol. Llwyddodd aelodau'r ensemble crefftus hwn (pedwarawd llinynnol gyda bâs dwbl, clarinet, baswn a chorn Ffrengig) i gyflawni eu tasg diolch i'r gyd-ddealltwriaeth agos rhyngddynt, ac i allu unigolion y grwp i feistrioli'r unawdau bach mae Schubert yn rhannu rhwng yr offerynnau gwahanol. Yn ei gyflwyniad byr tynnodd y baswnydd Laurence Perkins sylw at natur symffonig y darn, nodwedd a ddaeth i'r amlwg yn y rhan dywyll tremolo sy'n agor y symudiad olaf, ac yn ail-ymddangos tua'i ddiwedd. Fel arall mae cysgodion yn brin, tra daw un alaw afieithus ar ôl y llall i godi'ch calon. Croesawyd diweddglo'r darn a'r noson gyda sawl bravo, a adlewyrchodd pa gymaint yr oedd y gwrandawyr wedi gwerthfawrogi'r perfformiad caboledig ac egnïol hwn.
Darn siriol arall a lenwodd y rhan gyntaf, darn a gomisiynwyd hefyd gan glarinetydd - pumawd arddunol Mozart, sef ei Bumawd Clarinet yn A K.581. Clywodd Mozart y clarinet am y tro cyntaf yn Llundain ym 1764, yn 8 oed, pan oedd yr offeryn yn dechrau ennill ei dir ochr yn ochr â'r obô. Tynnwyd Mozart ato'n syth; chwarter canrif yn ddiweddarach ysbrydolwyd ef wrth wrando â'r clarinetydd Anton Stadler, a ddaeth yn ffrind. Fel canlyniad cyfansoddodd Mozart y pumawd hwn, sydd wedi aros byth er hynny (yr un modd â'i Gonsierto ar gyfer Clarinet) ymhlith y darnau clasurol mwyaf poblogaidd. Yn y perfformiad hwn ymunodd y clarinetydd Janet Hilton â phedwarawd llinynnol y Pleyels (blaenwr, Benedict Holland) - unawdydd profiadol iawn yw Janet, sydd wedi recordio'r darn gyda Phedwarawd Lindsay. Hofrannodd tôn awyrol ei hofferyn fel tasa fo heb unrhyw sylfaen corfforol. Gyda chwarae godidog y pedwarawd, aeth y seiniau i gyd â'u gwrandawyr i mewn i fyd arbennig Mozart, byd o berffeithrwydd telynegol - effaith syml o tu allan ond sy'n gofyn am fedrusrwydd offerynnol o'r mwyaf.
Noson ddyrchafol a gafwyd felly, diolch i gerddoriaeth mor ardderchog a dehongliadau mor deilwng. 'Mae'n werth cael bod yn fyw i glywed hyn', sylwodd un. Yng nghyd-destun y byd cythryblus a lenwai'r newyddion, bu'n anodd anghytuno.
Mary Hofman (ffidl/violin), Richard Ormrod (piano) 7.2.20
By coincidence two violin-piano events came to Dolgellau on consecutive evenings, contrasting ones - and both excellent. On Thursday 6th February jazz duo Chris Garrick and Dave Gordon inaugurated the soon-to-open Sandspout Bookstore in Arran Road, the audience tapping their feet spellbound amidst the shelves. On Friday 7th February, husband-and-wife duo Mary Hofman & Richard Ormrod returned to Coleg Meirion-Dwyfor to complete their cycle of Beethoven violin sonatas as part of the 'Beethoven in Wales' project initiated by Rhyl Music Club in the 2018-19 season.
Jazz has been described as 'the sound of surprise'. Much the same could in fact be said of the music of Beethoven, who after all began his career as a brilliant keyboard improviser. 250 years on from the year of his birth, even well-known and 'scripted' pieces such as the violin sonatas continue to amaze with their maverick and unpredictable creative flow. This could certainly be felt in the course of the Hofman-Ormrod duo's presentation of Sonatas No.4 in A minor Op.23 (1801), No. 10 (and last) in G major Op.96 (1812) and, to conclude the evening, the mighty No.9 in A minor Op.47 (1803), the 'Kreutzer'. As Richard explained, this last proved far too difficult for its dedicatee the French virtuoso Rudolphe Kreutzer, and was in fact given its first performance (reading the score over Beethoven's shoulder!) by one George Bridgetower. Both Mary Hofman and Richard Ormrod proved fully equal to the technical challenges of all three sonatas, giving riveting performances that did full justice to the wealth of melodic, harmonic and rhythmic invention in each one.
Classical programmes that include a modern piece usually make the modern one seem strange or even shocking. In this instance however, the commissioned piece by Welsh-born composer Hilary Tann (now resident in Upstate New York), 'First Light', gave respite from Beethoven's fireworks. Described as 'A Meditation on Beethoven Op.96', and taking its title from the trill motif at Op.96's opening that has given rise to the nickname 'The Cockcrow', the one-movement piece developed its ideas gently and in a most accessible way, creating (as its full title suggests) a contemplative space and enhancing the evening's programme in a way that fully validated its commission.
Rhyl Music Club, and numerous sponsors including the PRS Foundation's 'Women Make Music', are to be thanked for making this project possible, as of course are the Hofman-Ormrod duo for executing it so memorably.
Trwy gyd-ddigwyddiad, cafwyd yn Nolgellau ar nosweithiau olynol ddwy noson ffidl & phiano, y ddwy yn ardderchog ond yn wahanol iawn. Ar nos Iau 6ed Chwefror clywyd Chris Garrick a Dave Gordon yn chwarae jazz tu mewn siop lyfrau Sandspout (sydd ar fin agor) yn Ffordd Arran, y gynulleidfa gartrefol yn taro traed yn ysgafn ymhlith y llyfrau. Ar nos Wener 7fed, dychwelodd y pâr priod Mary Hofman a Richard Ormrod i Goleg Meirion-Dwyfor i gyflawni eu cyfres o sonatâu ffidl a phiano Beethoven. Bu'r perfformiad yn rhan o'r cynllun 'Beethoven yng Nghymru' a lansiwyd gan Glwb Cerdd Rhyl yn nhymor 2018-19.
Disgrifir jazz weithiau fel 'swn syndod'. I raddau helaeth mae'r un disgrifiad yn wir am Beethoven, a gychwynodd ei yrfa wedi'r cwbl fel unawdydd disglair wrth chwarae'r piano ar y pryd. 250 o flynyddoedd ar ôl iddo gael ei eni, mae darnau adnabyddus megis ei sonatâu ar gyfer ffidl a phiano yn dal i synnu, mor annisgwyl ac unigryw yw'r llif creadigol sy'n rhedeg trwyddynt. Teimlwyd hyn heb os yn ystod perfformiad Mary Hofman a Richard Ormrod o Sonatâu Rh.4 yn A leiaf Op.23 (1801), Rh.10 (yr olaf) in G mwyaf Op.96 (1812) ac, i gloi'r noson, Rh.9 yn A leiaf Op.47 (1803) a elwir 'Kreutzer', campwaith ar unrhyw gyfrif. Fel yr eglurodd Richard, bu'r 'Kreutzer' yn rhy anodd o lawer i Rudolphe Kreutzer ei hun, y Ffrancwr penigamp a gyflwynwyd iddo'r sonata yn y lle cyntaf. Dyn o enw George Bridgetower a roddodd y perfformiad cyntaf, gan ddarllen y sgôr dros ysgwydd Beethoven wrth y piano! Meistriolwyd gant y cant gan Mary a Richard yr her technegol sydd o flaen unrhyw dehonglydd o'r dair sonata hyn, a chafwyd ganddynt berfformiadau rhyfeddol a gyfleodd i'r dim yr holl gyfoeth melodig, harmonig a rhythmig sydd ym mhob un.
Lle mae rhaglen glasurol yn cynnwys darn modern, fel arfer ymddengys yr eitem fodern yn estron neu'n ysgytwol hyd yn oed i glustiau'r gwrandawyr. Yn yr achos hwn fodd bynnag, cafwyd gan y darn comisiwn, First Light', o waith HilaryTann (yn enedigol o Gymru ond sy'n byw bellach yn yr Unol Daleithiau), seibiant o dân gwyllt Beethoven. Teitl llawn y darn yw 'Myfyrdod ar Op.96 Beethoven', disgrifiad sy'n tarddu o'r crychlais agoriadol o ble daeth y llysenw 'Plygain' ('Cockcrow') am y symudiad cyntaf. Datblygwyd gan yr unig symudiad syniadau tyner a blesiodd yn syth, wrth greu cyferbyniad llonydd a oedd yn fantais sylweddol i'r rhaglen fel cyfan.
Diolch i Glwb Cerdd Rhyl, ac i'r noddwyr niferus gan gynnwys 'Women Make Music'
a ariennir gan Sefydliad 'PRS', am alluogi'r prosiect gwerthfwr hwn, ac wrth gwrs i Mary Hofman a Rchard Ormrod am ei wireddu mewn modd mor grefftus a chofiadwy.
By coincidence two violin-piano events came to Dolgellau on consecutive evenings, contrasting ones - and both excellent. On Thursday 6th February jazz duo Chris Garrick and Dave Gordon inaugurated the soon-to-open Sandspout Bookstore in Arran Road, the audience tapping their feet spellbound amidst the shelves. On Friday 7th February, husband-and-wife duo Mary Hofman & Richard Ormrod returned to Coleg Meirion-Dwyfor to complete their cycle of Beethoven violin sonatas as part of the 'Beethoven in Wales' project initiated by Rhyl Music Club in the 2018-19 season.
Jazz has been described as 'the sound of surprise'. Much the same could in fact be said of the music of Beethoven, who after all began his career as a brilliant keyboard improviser. 250 years on from the year of his birth, even well-known and 'scripted' pieces such as the violin sonatas continue to amaze with their maverick and unpredictable creative flow. This could certainly be felt in the course of the Hofman-Ormrod duo's presentation of Sonatas No.4 in A minor Op.23 (1801), No. 10 (and last) in G major Op.96 (1812) and, to conclude the evening, the mighty No.9 in A minor Op.47 (1803), the 'Kreutzer'. As Richard explained, this last proved far too difficult for its dedicatee the French virtuoso Rudolphe Kreutzer, and was in fact given its first performance (reading the score over Beethoven's shoulder!) by one George Bridgetower. Both Mary Hofman and Richard Ormrod proved fully equal to the technical challenges of all three sonatas, giving riveting performances that did full justice to the wealth of melodic, harmonic and rhythmic invention in each one.
Classical programmes that include a modern piece usually make the modern one seem strange or even shocking. In this instance however, the commissioned piece by Welsh-born composer Hilary Tann (now resident in Upstate New York), 'First Light', gave respite from Beethoven's fireworks. Described as 'A Meditation on Beethoven Op.96', and taking its title from the trill motif at Op.96's opening that has given rise to the nickname 'The Cockcrow', the one-movement piece developed its ideas gently and in a most accessible way, creating (as its full title suggests) a contemplative space and enhancing the evening's programme in a way that fully validated its commission.
Rhyl Music Club, and numerous sponsors including the PRS Foundation's 'Women Make Music', are to be thanked for making this project possible, as of course are the Hofman-Ormrod duo for executing it so memorably.
Trwy gyd-ddigwyddiad, cafwyd yn Nolgellau ar nosweithiau olynol ddwy noson ffidl & phiano, y ddwy yn ardderchog ond yn wahanol iawn. Ar nos Iau 6ed Chwefror clywyd Chris Garrick a Dave Gordon yn chwarae jazz tu mewn siop lyfrau Sandspout (sydd ar fin agor) yn Ffordd Arran, y gynulleidfa gartrefol yn taro traed yn ysgafn ymhlith y llyfrau. Ar nos Wener 7fed, dychwelodd y pâr priod Mary Hofman a Richard Ormrod i Goleg Meirion-Dwyfor i gyflawni eu cyfres o sonatâu ffidl a phiano Beethoven. Bu'r perfformiad yn rhan o'r cynllun 'Beethoven yng Nghymru' a lansiwyd gan Glwb Cerdd Rhyl yn nhymor 2018-19.
Disgrifir jazz weithiau fel 'swn syndod'. I raddau helaeth mae'r un disgrifiad yn wir am Beethoven, a gychwynodd ei yrfa wedi'r cwbl fel unawdydd disglair wrth chwarae'r piano ar y pryd. 250 o flynyddoedd ar ôl iddo gael ei eni, mae darnau adnabyddus megis ei sonatâu ar gyfer ffidl a phiano yn dal i synnu, mor annisgwyl ac unigryw yw'r llif creadigol sy'n rhedeg trwyddynt. Teimlwyd hyn heb os yn ystod perfformiad Mary Hofman a Richard Ormrod o Sonatâu Rh.4 yn A leiaf Op.23 (1801), Rh.10 (yr olaf) in G mwyaf Op.96 (1812) ac, i gloi'r noson, Rh.9 yn A leiaf Op.47 (1803) a elwir 'Kreutzer', campwaith ar unrhyw gyfrif. Fel yr eglurodd Richard, bu'r 'Kreutzer' yn rhy anodd o lawer i Rudolphe Kreutzer ei hun, y Ffrancwr penigamp a gyflwynwyd iddo'r sonata yn y lle cyntaf. Dyn o enw George Bridgetower a roddodd y perfformiad cyntaf, gan ddarllen y sgôr dros ysgwydd Beethoven wrth y piano! Meistriolwyd gant y cant gan Mary a Richard yr her technegol sydd o flaen unrhyw dehonglydd o'r dair sonata hyn, a chafwyd ganddynt berfformiadau rhyfeddol a gyfleodd i'r dim yr holl gyfoeth melodig, harmonig a rhythmig sydd ym mhob un.
Lle mae rhaglen glasurol yn cynnwys darn modern, fel arfer ymddengys yr eitem fodern yn estron neu'n ysgytwol hyd yn oed i glustiau'r gwrandawyr. Yn yr achos hwn fodd bynnag, cafwyd gan y darn comisiwn, First Light', o waith HilaryTann (yn enedigol o Gymru ond sy'n byw bellach yn yr Unol Daleithiau), seibiant o dân gwyllt Beethoven. Teitl llawn y darn yw 'Myfyrdod ar Op.96 Beethoven', disgrifiad sy'n tarddu o'r crychlais agoriadol o ble daeth y llysenw 'Plygain' ('Cockcrow') am y symudiad cyntaf. Datblygwyd gan yr unig symudiad syniadau tyner a blesiodd yn syth, wrth greu cyferbyniad llonydd a oedd yn fantais sylweddol i'r rhaglen fel cyfan.
Diolch i Glwb Cerdd Rhyl, ac i'r noddwyr niferus gan gynnwys 'Women Make Music'
a ariennir gan Sefydliad 'PRS', am alluogi'r prosiect gwerthfwr hwn, ac wrth gwrs i Mary Hofman a Rchard Ormrod am ei wireddu mewn modd mor grefftus a chofiadwy.
Ugnius Pauliukonis (piano), 10.1.20
Described as 'one of the leading pianists of Lithuania's new generation', Ugnius Pauliukonis - who graduated with distinction from Manchester's RNCM in 2018 - gave full credence to that tag in his recital of 10th January in Coleg Meirion-Dwyfor. Nor was it a surprise to learn that he has been performing since the age of seven, such was his confidence and fluency.
Opening with a Haydn sonata in E flat major (a favourite of his current teacher Andrew Wilde, himself in the past a formidable recitalist at this venue), Ugnius established from the outset his delicacy of touch and clear grasp of musical structure; the piece's concluding Presto stole in with a sense of inevitability, as if the music was by now playing itself. Fire and water were highlighted as key themes, most explicitly in Debussy's 'Feux d'Artifice' (from 1913, evoking fireworks over Paris) and Reflets sans l'Eau (1905, light glimmering on the water's surface), the impressionistic effects all beautifully achieved. The remainder of the programme was devoted to Chopin.
Despite his virtuosity Chopin is well known for having avoided large venues, preferring instead to give small recitals in private salons. Across a range of genres and pieces - a ballade, two études, two nocturnes, a scherzo, two mazurkas, and the so-called 'heroic' polonaise - Ugnius Pauliukonis drew in his listeners to such an extent that it was not hard to imagine oneself present at one of Chopin's original recitals, or perhaps eavesdropping as he improvised in the ground-floor room at George Sand's Nohant chateau south of Paris. Here in 1842 the wonderful Ballade No. 4 in F minor was created, Ugnius' first Chopin piece: its nostalgic themes engaged from the very first phrase. Each genre was fully characterised, not least in the poetry of the two nocturnes. Bravura conclusions (in the Ballade or the Etude Op. 10 No 12) delivered amply in terms of drama and flair The concluding Heroice Polonaise Op. 53 did so in abundance, at which the audience responded accordingly and showed its great satisfaction overall.
Yn ôl ei gyhoeddusrwydd mae Ugnius Pauliukonis "ymhlith pianyddion ifanc mwyaf blaenllaw Lithwania". Ar sail tystiolaeth ei ddatganiad yng Ngholeg Meirion-Dwyfor ar 10fed Ionawr nid gorddweud yw hyn, na syndod ychwaith cael dysgu ei fod o wedi cychwyn ar y piano yn saith oed, mor rhwydd oedd ei gyffyrddiad ar yr offeryn. Fe ddaeth Ugnius i Brydain yn 2010, a graddiodd gyda chlod o Goleg Cerdd Brenhinhol y Gogledd yn 2018. Ar hyn o bryd mae o'n ddisgybl i Andrew Wilde, ei hun yn unawdydd o fri yng Nghlwb Cerdd Dolgellau yn y gorffennol.
O frawddegau cyntaf ei ddarn agoriadol, Sonata yn E lleddf mwyaf gan Haydn, teimlwyd tynerwch arddull offerynnol Ugnius a'i afael cadarn ar strwythyrau cerddorol; llithrodd y Presto sy'n cloi'r sonata i mewn yn hollol naturiol, fel petai'r gerddoriaeth yn chwarae ei hun. Cyflwynwyd tân a d^wr gan Ugnius fel prif themau, yn arbennig yn 'Feux d'Artifice' (1913) lle mae Debussy yn galw ar arddangosfa tân gwyllt uwch Paris, a Reflets sans l'Eau (1905, gyda goleuadau'n pefrio ar wyneb y dyfroedd), lle crëwyd i'r dim yr effeithiau argraffiadol sydd yn y sgôr. Ymroddwyd gweddill y rhaglen i waith Chopin.
Serch ei sgiliau penigamp ar y piano, nid oedd Chopin yn rhy hoff o berfformio mewn canolfannau mawr; llawer gwell ganddo oedd cyflwyno datganiadau bach mewn salonau preifat. Ar draws ystod eang o ffurfiau gwahanol - clywyd ganddo balâd, dau étude, dau noctwrn, un scherzo, dau maswrca a'r polonaise 'arwrol' - tynnodd Ugnius ei wrandawyr i mewn i'r fath raddfa nad oedd yn anodd dychmygu'ch hun yn bresennol yn un o'r salonau cartrefol hynny, neu'n clustfeinio tra oedd Chopin yn datganu ar y pryd yn yr ystafell lawr isel a ddarparwyd iddo gan George Sand yn ei phlasty yn Nohant, nid nepell o Baris.
Yn Nohant, ym 1842, y cyfansoddwyd un o'i ddarnau hyfrytaf a mwyaf enwog, sef ei Ballade Rh.4 yn F leiaf, a'r cyntaf i'w ddewis gan Ugnius yn ei ddilyniant o eitemau gan Chopin: o'r alaw agoriadol i'r diwedd, cyfleuwyd i'r dim y naws unigryw o dristwch hiraethus. Adeiladwyd yn llwyddiannus liwiau nodweddiadol pob genre, er enghraifft ym marddoniaeth huawdl y ddau noctwrn Op. 62. Drama a hwyliau da a mwynhawyd mewn sawl diweddglo gorchestol (yn y Ballade neu Etude Op. 10 No 12). Dyna beth y cafwyd, yn ogystal ag angerdd Chopin am ei famwlad, yn y Polonaise Arwrol Op. 53 a ddaeth a'r rhaglen i ben. Ymatebodd y gynulleidfa'n frwd, a dangoswyd yn nerth y gymeradwyaeth pa gymaint yr oedd y datganiad fel cyfan wedi plesio.
Described as 'one of the leading pianists of Lithuania's new generation', Ugnius Pauliukonis - who graduated with distinction from Manchester's RNCM in 2018 - gave full credence to that tag in his recital of 10th January in Coleg Meirion-Dwyfor. Nor was it a surprise to learn that he has been performing since the age of seven, such was his confidence and fluency.
Opening with a Haydn sonata in E flat major (a favourite of his current teacher Andrew Wilde, himself in the past a formidable recitalist at this venue), Ugnius established from the outset his delicacy of touch and clear grasp of musical structure; the piece's concluding Presto stole in with a sense of inevitability, as if the music was by now playing itself. Fire and water were highlighted as key themes, most explicitly in Debussy's 'Feux d'Artifice' (from 1913, evoking fireworks over Paris) and Reflets sans l'Eau (1905, light glimmering on the water's surface), the impressionistic effects all beautifully achieved. The remainder of the programme was devoted to Chopin.
Despite his virtuosity Chopin is well known for having avoided large venues, preferring instead to give small recitals in private salons. Across a range of genres and pieces - a ballade, two études, two nocturnes, a scherzo, two mazurkas, and the so-called 'heroic' polonaise - Ugnius Pauliukonis drew in his listeners to such an extent that it was not hard to imagine oneself present at one of Chopin's original recitals, or perhaps eavesdropping as he improvised in the ground-floor room at George Sand's Nohant chateau south of Paris. Here in 1842 the wonderful Ballade No. 4 in F minor was created, Ugnius' first Chopin piece: its nostalgic themes engaged from the very first phrase. Each genre was fully characterised, not least in the poetry of the two nocturnes. Bravura conclusions (in the Ballade or the Etude Op. 10 No 12) delivered amply in terms of drama and flair The concluding Heroice Polonaise Op. 53 did so in abundance, at which the audience responded accordingly and showed its great satisfaction overall.
Yn ôl ei gyhoeddusrwydd mae Ugnius Pauliukonis "ymhlith pianyddion ifanc mwyaf blaenllaw Lithwania". Ar sail tystiolaeth ei ddatganiad yng Ngholeg Meirion-Dwyfor ar 10fed Ionawr nid gorddweud yw hyn, na syndod ychwaith cael dysgu ei fod o wedi cychwyn ar y piano yn saith oed, mor rhwydd oedd ei gyffyrddiad ar yr offeryn. Fe ddaeth Ugnius i Brydain yn 2010, a graddiodd gyda chlod o Goleg Cerdd Brenhinhol y Gogledd yn 2018. Ar hyn o bryd mae o'n ddisgybl i Andrew Wilde, ei hun yn unawdydd o fri yng Nghlwb Cerdd Dolgellau yn y gorffennol.
O frawddegau cyntaf ei ddarn agoriadol, Sonata yn E lleddf mwyaf gan Haydn, teimlwyd tynerwch arddull offerynnol Ugnius a'i afael cadarn ar strwythyrau cerddorol; llithrodd y Presto sy'n cloi'r sonata i mewn yn hollol naturiol, fel petai'r gerddoriaeth yn chwarae ei hun. Cyflwynwyd tân a d^wr gan Ugnius fel prif themau, yn arbennig yn 'Feux d'Artifice' (1913) lle mae Debussy yn galw ar arddangosfa tân gwyllt uwch Paris, a Reflets sans l'Eau (1905, gyda goleuadau'n pefrio ar wyneb y dyfroedd), lle crëwyd i'r dim yr effeithiau argraffiadol sydd yn y sgôr. Ymroddwyd gweddill y rhaglen i waith Chopin.
Serch ei sgiliau penigamp ar y piano, nid oedd Chopin yn rhy hoff o berfformio mewn canolfannau mawr; llawer gwell ganddo oedd cyflwyno datganiadau bach mewn salonau preifat. Ar draws ystod eang o ffurfiau gwahanol - clywyd ganddo balâd, dau étude, dau noctwrn, un scherzo, dau maswrca a'r polonaise 'arwrol' - tynnodd Ugnius ei wrandawyr i mewn i'r fath raddfa nad oedd yn anodd dychmygu'ch hun yn bresennol yn un o'r salonau cartrefol hynny, neu'n clustfeinio tra oedd Chopin yn datganu ar y pryd yn yr ystafell lawr isel a ddarparwyd iddo gan George Sand yn ei phlasty yn Nohant, nid nepell o Baris.
Yn Nohant, ym 1842, y cyfansoddwyd un o'i ddarnau hyfrytaf a mwyaf enwog, sef ei Ballade Rh.4 yn F leiaf, a'r cyntaf i'w ddewis gan Ugnius yn ei ddilyniant o eitemau gan Chopin: o'r alaw agoriadol i'r diwedd, cyfleuwyd i'r dim y naws unigryw o dristwch hiraethus. Adeiladwyd yn llwyddiannus liwiau nodweddiadol pob genre, er enghraifft ym marddoniaeth huawdl y ddau noctwrn Op. 62. Drama a hwyliau da a mwynhawyd mewn sawl diweddglo gorchestol (yn y Ballade neu Etude Op. 10 No 12). Dyna beth y cafwyd, yn ogystal ag angerdd Chopin am ei famwlad, yn y Polonaise Arwrol Op. 53 a ddaeth a'r rhaglen i ben. Ymatebodd y gynulleidfa'n frwd, a dangoswyd yn nerth y gymeradwyaeth pa gymaint yr oedd y datganiad fel cyfan wedi plesio.
Toby Hughes (double bass), Daniel King Smith (piano) 29.11.19
For anyone with misgivings at the prospect of a whole recital on the classical double bass, these were soon allayed by bassist Toby Hughes and pianist Daniel King Smith in Coleg Meirion-Dwyfor on Friday 30th November. The calibre of playing throughout from both instrumentalists, and the variety of music chosen, held their listeners spellbound.
First up was Aria et Rondo (1952) by French composer Alfred Desenclos, a lyrical piece making full use of the bass's expressive range, as did Elegy by Giovanni Bottesini, father of the double bass in concert. A more modern edge was provided by the Sonata in E minor by Vilmos Montag, a Hungarian composer who emigrated to Sweden following the 1956 uprising; here too however there was plenty of lyricism to soothe after dramatic outbursts.
In the interval Toby changed strings so as to be able to play Brahms's great E minor Cello Sonata No. 1 at pitch. ("People ask me why. It's because I want to!") Supported impeccably by his fine accompanist Toby gave a memorable performance of strength and eloquence, the added physicality of his instrument giving heightened warmth and resonance.
Once again the winning of a Philip & Dorothy Green Young Artist award (Making Music select six young talents each year) proved a surefire guarantee of quality. The awards give excellent opportunities to promising talents at the start of their careers, and a lot of pleasure to audiences such as ours.
Datganiad cyfan (gyda phiano) ar y bâs dwbl clasurol? Doedd neb yn hollol siwr a fuasen nhw'n mwynau'r ffasiwn beth, ond yn ffodus bu noson yng nghwmni Toby Hughes a'i gyfeilydd Daniel King Smith yn un bleserus iawn, diolch i sgiliau offerynnol y ddau gerddor. Ffactor arall oedd amrywiaeth ac ansawdd y rhaglen a ddewiswyd ganddynt.
I ddechrau cafwyd Aria et Rondo (1952) gan y Ffrancwr Alfred Desenclos, darn telynegol sy'n dangos i'r eithaf ystod mynegiannol y bâs. Yr un mor hardd oedd Elegy gan Giovanni Bottesini, 'tad' y bâs dwbl fel offeryn cyngerdd ers canol y 19eg Ganrif.
Min mwy modern a deimlwyd yn Sonata yn E leiaf o waith Vilmos Montag, cyfansoddwr Hwngaraidd a allfudodd i Sweden yn sgîl gwrthryfel 1956; serch yr elfennau miniog, yma hefyd bu digonedd o ysbeidiau telynegol i leddfu'r clust.
Yn ystod yr egwyl newidiodd Toby dannau'r bâs i gyd er mwyn iddo fedru chwarae, ar y traw gwreiddiol, un o gampweithiau Brahms - ei Sonata yn E leiaf ar gyfer Soddgrwth. ("Pam?", mae pobl yn gofyn - dyma be' dwi isio!) Ar sail cymorth caboledig a hynod gerddorol ei gyfeilydd, rhoddodd Toby berfformiad cofiadwy iawn, llawn nerth a lliwiau amrywiol: cyfrannodd maint ei offeryn lefel ychwanegol o gynhesrwydd atseiniol i'r cyfan.
Mae'r Clwb yn ddiolchgar i Making Music a'i gwobrau Celfyddyd Ifanc Philip a Dorothy Green (dyfernir chwech ohonynt bob blwyddyn) am noddi'r cyngerdd arbennig hwn. Unwaith eto, cadarnhawyd mai gwarant o ansawdd yw teilyngdod am un o'r gwobrau hyn - gwobrau sy'n rhoi hwb i gerddorion dawnus ar ddechrau eu gyrfa, a phleser mawr i gynulleidfaoedd fel yr un ni.
For anyone with misgivings at the prospect of a whole recital on the classical double bass, these were soon allayed by bassist Toby Hughes and pianist Daniel King Smith in Coleg Meirion-Dwyfor on Friday 30th November. The calibre of playing throughout from both instrumentalists, and the variety of music chosen, held their listeners spellbound.
First up was Aria et Rondo (1952) by French composer Alfred Desenclos, a lyrical piece making full use of the bass's expressive range, as did Elegy by Giovanni Bottesini, father of the double bass in concert. A more modern edge was provided by the Sonata in E minor by Vilmos Montag, a Hungarian composer who emigrated to Sweden following the 1956 uprising; here too however there was plenty of lyricism to soothe after dramatic outbursts.
In the interval Toby changed strings so as to be able to play Brahms's great E minor Cello Sonata No. 1 at pitch. ("People ask me why. It's because I want to!") Supported impeccably by his fine accompanist Toby gave a memorable performance of strength and eloquence, the added physicality of his instrument giving heightened warmth and resonance.
Once again the winning of a Philip & Dorothy Green Young Artist award (Making Music select six young talents each year) proved a surefire guarantee of quality. The awards give excellent opportunities to promising talents at the start of their careers, and a lot of pleasure to audiences such as ours.
Datganiad cyfan (gyda phiano) ar y bâs dwbl clasurol? Doedd neb yn hollol siwr a fuasen nhw'n mwynau'r ffasiwn beth, ond yn ffodus bu noson yng nghwmni Toby Hughes a'i gyfeilydd Daniel King Smith yn un bleserus iawn, diolch i sgiliau offerynnol y ddau gerddor. Ffactor arall oedd amrywiaeth ac ansawdd y rhaglen a ddewiswyd ganddynt.
I ddechrau cafwyd Aria et Rondo (1952) gan y Ffrancwr Alfred Desenclos, darn telynegol sy'n dangos i'r eithaf ystod mynegiannol y bâs. Yr un mor hardd oedd Elegy gan Giovanni Bottesini, 'tad' y bâs dwbl fel offeryn cyngerdd ers canol y 19eg Ganrif.
Min mwy modern a deimlwyd yn Sonata yn E leiaf o waith Vilmos Montag, cyfansoddwr Hwngaraidd a allfudodd i Sweden yn sgîl gwrthryfel 1956; serch yr elfennau miniog, yma hefyd bu digonedd o ysbeidiau telynegol i leddfu'r clust.
Yn ystod yr egwyl newidiodd Toby dannau'r bâs i gyd er mwyn iddo fedru chwarae, ar y traw gwreiddiol, un o gampweithiau Brahms - ei Sonata yn E leiaf ar gyfer Soddgrwth. ("Pam?", mae pobl yn gofyn - dyma be' dwi isio!) Ar sail cymorth caboledig a hynod gerddorol ei gyfeilydd, rhoddodd Toby berfformiad cofiadwy iawn, llawn nerth a lliwiau amrywiol: cyfrannodd maint ei offeryn lefel ychwanegol o gynhesrwydd atseiniol i'r cyfan.
Mae'r Clwb yn ddiolchgar i Making Music a'i gwobrau Celfyddyd Ifanc Philip a Dorothy Green (dyfernir chwech ohonynt bob blwyddyn) am noddi'r cyngerdd arbennig hwn. Unwaith eto, cadarnhawyd mai gwarant o ansawdd yw teilyngdod am un o'r gwobrau hyn - gwobrau sy'n rhoi hwb i gerddorion dawnus ar ddechrau eu gyrfa, a phleser mawr i gynulleidfaoedd fel yr un ni.
Aneira Evans (soprano), Robyn Lyn Evans (tenor), Eirian Owen (piano), 8.11.19
The second concert of the 2019-20 series was exhilarating. On the coldest autumn night so far (Friday 8th November, back in Coleg Meirion-Dwyfor), car windows all frosted by the end, Aneira Evans (soprano), Robyn Lyn Evans (tenor) and Eirian Owen (piano) gave a fine recital that delighted and heartened its listeners. Eirian at the piano was on top form, not only supporting the singers throughout with her usual sensitivity, but also showing a high degree of virtuosity when required. One example was in Rossini's patter song La Danza - Robyn confided that he rarely gets to perform it (which he does very well) because so few accompanists can cope. (The galloping accompaniment for Frank Bridge's Love went a-riding is another challenging case.) In addition Aneira paid tribute to the invaluable encouragement and vocal guidance Eirian has given her over the years. The benefits of this could be felt in all Aneira's contributions, just as they were at the 2018 National Eisteddfod in Cardiff where she won the Soprano Solo.
This was a generous and varied programme, ranging across several centuries and five languages - from Handel arias (Lascia ch'io pianga sung by Aneira, Waft her angels by Robyn) to Haydn Morris's Hei-ho (Aneira, splendid top notes) and Gareth Glyn's Llanrwst (Robyn, the closing pianissimo spot on). A good choice was made of some of the best-loved pieces from the operatic and art song traditions, each set affably and informatively presented by Robyn. Aneira showed her capacity for lyricism and emotion in Duparc's Chanson Triste, and lucid diction in conveying the magic of Tennyson's words and Quilter's setting ("...The firefly wakens, waken thou with me"). Robyn brought all his operatic experience to Beethoven's Adelaide, a number that can seem rather stolid but had subtle light & shade in this interpretation. Here were two secure and warm-toned voices, strong enough but always used in the composers' interests. (Men with but one exception, Morfudd Llwyn Owen - Aneira brought out all the tenderness in her Suo gân y Madonna.)
Where soprano and tenor are on the bill duets can be expected, and these duly arrived at the end of each half and did not disappoint - the Welsh favourite 'Hywel a Blodwen' first of all, and 'Love Unspoken' from Lehár's The Merry Widow at the close. An additional element undoubtedly came here from the fact that Aneira and Robyn are now man & wife, so the élan in Lehar's soaring music was felt in a very special way. So much so that an encore was insisted on, leaving the audience in high spirits as they ventured back into the cold night air.
Wel dyna gyngerdd i godi calon! Ar noson oeraf y hydref hyd yn hyn (nos Wener 8fed Tachwedd, yn ôl yng Ngholeg Meirion-Dwyfor), a ffenestri'r ceir yn rhew i gyd erbyn y diwedd, cafwyd gan Aneira Evans (soprano), Robyn Lyn Evans (tenor), ac Eirian Owen (piano) ddatganiad o'r safon uchaf a adawodd wên ar wynebau pawb ar eu ffordd allan. I gychwyn gyda'r cyfeilydd - bu Eirian (fel yr oedd i'w ddisgwyl) ar ben ei chrefft, nid yn unig wrth gefnogi'r cantorion drwyddi i gyd gyda'i sensitifrwydd arferol, ond hefyd wrth ddangos meistrolaeth ryfeddol o'i hofferyn lle bu angen. Yn wir, tynnodd Robyn Lyn sylw at y ffaith bod La Danza, cân barablu gan Rossini, tu hwnt i allu'r rhan fwyaf o gyfeilyddion yn ei brofiad ef! (Mae cyfeiliant carlamus Love went a-riding o waith Frank Bridge yn un heriol iawn hefyd.) Yn ogystal, pwysleisiodd Aneira ei dyled i Eirian am yr holl anogaeth a hyfforddiant lleisiol ers amser maith. Adlewrychwyd hyn ym mhob un o gyfraniadau Aneira (a enillodd yr Unawd Soprano yn y Genedlaethol y llynedd).
Rhaglen hael ac amrywiol iawn a ddarparwyd gan y tri, a deithiodd ar draws y canrifoedd ac hefyd ar draws pump o ieithoedd - o waith Handel (Lascia ch'io pianga gan Aneira, Waft her angels gan Robyn) hyd at Hei-ho Haydn Morris (Aneira, nodau top gogoneddus) a Llanrwst Gareth Glyn (Robyn, pianissimo swynol yn y diweddglo). Dewis da o ddarnau adnabyddus o blith rhai gorau'r traddodiadau opera a chân gelf, gyda chyflwyniadau gwybodus a chyfeillgar gan Robyn. Buasai'n bosibl cofnodi nodweddiadau i'w gwerthfawrogi ym mhob eitem. Dangosodd Aneira ei greddf delynegol ac emosiynol yn Chanson Triste o waith Duparc, a'i geirio tryloyw wrth gyfleu harddwch gosodiad Quilter o eiriau hudol Tennyson ("...The firefly wakens, waken thou with me"). Daeth Robyn â'i holl brofiad operatig i Adelaide o waith Beethoven, cân drom weithiau ond a gafodd gyffyrddiadau hyfryd yn y dehongliad hwn. Dau lais cyfoethog, cadarn, yn ddigon pwerus ond yn ufudd ym mhob achos i fwriadau'r cyfansoddwyr. (Dynion i gyd heblaw un, sef Morfudd Llwyn Owen - cyflwyniad tyner iawn gan Aneira o Suo gân y Madonna.)
Lle mae dau ar y llwyfan disgwylir wrth gwrs ambell i ddeuawd, ac ni siomwyd neb ar ddiwedd pob hanner - y ffefryn 'Hywel a Blodwen' yn gyntaf, a 'Love Unspoken' o The Merry Widow Lehár i gloi. Ychwanegwyd heb os ryw wefr arbennig gan y ffaith bod Aneira a Robyn yn bâr priod erbyn hyn - bu'r diffuantrwydd a'r gynhesrwydd i'w teimlo mewn modd arbennig, ffactor arall a gododd calonnau'r gwrandawyr wrth iddynt fentro allan i oerni'r nos.
The second concert of the 2019-20 series was exhilarating. On the coldest autumn night so far (Friday 8th November, back in Coleg Meirion-Dwyfor), car windows all frosted by the end, Aneira Evans (soprano), Robyn Lyn Evans (tenor) and Eirian Owen (piano) gave a fine recital that delighted and heartened its listeners. Eirian at the piano was on top form, not only supporting the singers throughout with her usual sensitivity, but also showing a high degree of virtuosity when required. One example was in Rossini's patter song La Danza - Robyn confided that he rarely gets to perform it (which he does very well) because so few accompanists can cope. (The galloping accompaniment for Frank Bridge's Love went a-riding is another challenging case.) In addition Aneira paid tribute to the invaluable encouragement and vocal guidance Eirian has given her over the years. The benefits of this could be felt in all Aneira's contributions, just as they were at the 2018 National Eisteddfod in Cardiff where she won the Soprano Solo.
This was a generous and varied programme, ranging across several centuries and five languages - from Handel arias (Lascia ch'io pianga sung by Aneira, Waft her angels by Robyn) to Haydn Morris's Hei-ho (Aneira, splendid top notes) and Gareth Glyn's Llanrwst (Robyn, the closing pianissimo spot on). A good choice was made of some of the best-loved pieces from the operatic and art song traditions, each set affably and informatively presented by Robyn. Aneira showed her capacity for lyricism and emotion in Duparc's Chanson Triste, and lucid diction in conveying the magic of Tennyson's words and Quilter's setting ("...The firefly wakens, waken thou with me"). Robyn brought all his operatic experience to Beethoven's Adelaide, a number that can seem rather stolid but had subtle light & shade in this interpretation. Here were two secure and warm-toned voices, strong enough but always used in the composers' interests. (Men with but one exception, Morfudd Llwyn Owen - Aneira brought out all the tenderness in her Suo gân y Madonna.)
Where soprano and tenor are on the bill duets can be expected, and these duly arrived at the end of each half and did not disappoint - the Welsh favourite 'Hywel a Blodwen' first of all, and 'Love Unspoken' from Lehár's The Merry Widow at the close. An additional element undoubtedly came here from the fact that Aneira and Robyn are now man & wife, so the élan in Lehar's soaring music was felt in a very special way. So much so that an encore was insisted on, leaving the audience in high spirits as they ventured back into the cold night air.
Wel dyna gyngerdd i godi calon! Ar noson oeraf y hydref hyd yn hyn (nos Wener 8fed Tachwedd, yn ôl yng Ngholeg Meirion-Dwyfor), a ffenestri'r ceir yn rhew i gyd erbyn y diwedd, cafwyd gan Aneira Evans (soprano), Robyn Lyn Evans (tenor), ac Eirian Owen (piano) ddatganiad o'r safon uchaf a adawodd wên ar wynebau pawb ar eu ffordd allan. I gychwyn gyda'r cyfeilydd - bu Eirian (fel yr oedd i'w ddisgwyl) ar ben ei chrefft, nid yn unig wrth gefnogi'r cantorion drwyddi i gyd gyda'i sensitifrwydd arferol, ond hefyd wrth ddangos meistrolaeth ryfeddol o'i hofferyn lle bu angen. Yn wir, tynnodd Robyn Lyn sylw at y ffaith bod La Danza, cân barablu gan Rossini, tu hwnt i allu'r rhan fwyaf o gyfeilyddion yn ei brofiad ef! (Mae cyfeiliant carlamus Love went a-riding o waith Frank Bridge yn un heriol iawn hefyd.) Yn ogystal, pwysleisiodd Aneira ei dyled i Eirian am yr holl anogaeth a hyfforddiant lleisiol ers amser maith. Adlewrychwyd hyn ym mhob un o gyfraniadau Aneira (a enillodd yr Unawd Soprano yn y Genedlaethol y llynedd).
Rhaglen hael ac amrywiol iawn a ddarparwyd gan y tri, a deithiodd ar draws y canrifoedd ac hefyd ar draws pump o ieithoedd - o waith Handel (Lascia ch'io pianga gan Aneira, Waft her angels gan Robyn) hyd at Hei-ho Haydn Morris (Aneira, nodau top gogoneddus) a Llanrwst Gareth Glyn (Robyn, pianissimo swynol yn y diweddglo). Dewis da o ddarnau adnabyddus o blith rhai gorau'r traddodiadau opera a chân gelf, gyda chyflwyniadau gwybodus a chyfeillgar gan Robyn. Buasai'n bosibl cofnodi nodweddiadau i'w gwerthfawrogi ym mhob eitem. Dangosodd Aneira ei greddf delynegol ac emosiynol yn Chanson Triste o waith Duparc, a'i geirio tryloyw wrth gyfleu harddwch gosodiad Quilter o eiriau hudol Tennyson ("...The firefly wakens, waken thou with me"). Daeth Robyn â'i holl brofiad operatig i Adelaide o waith Beethoven, cân drom weithiau ond a gafodd gyffyrddiadau hyfryd yn y dehongliad hwn. Dau lais cyfoethog, cadarn, yn ddigon pwerus ond yn ufudd ym mhob achos i fwriadau'r cyfansoddwyr. (Dynion i gyd heblaw un, sef Morfudd Llwyn Owen - cyflwyniad tyner iawn gan Aneira o Suo gân y Madonna.)
Lle mae dau ar y llwyfan disgwylir wrth gwrs ambell i ddeuawd, ac ni siomwyd neb ar ddiwedd pob hanner - y ffefryn 'Hywel a Blodwen' yn gyntaf, a 'Love Unspoken' o The Merry Widow Lehár i gloi. Ychwanegwyd heb os ryw wefr arbennig gan y ffaith bod Aneira a Robyn yn bâr priod erbyn hyn - bu'r diffuantrwydd a'r gynhesrwydd i'w teimlo mewn modd arbennig, ffactor arall a gododd calonnau'r gwrandawyr wrth iddynt fentro allan i oerni'r nos.
Côr Godre'r Aran, Ysgol Bro Idris, 11.10.19
[Yn y llun / In the picture: Trebor Lloyd Evans, Eirian Owen, Elis Jones, Erfyl Tomos Jones.}
One can all too easily take what is familiar for granted. Côr Godre'r Aran is undoubtedly one of the best male voice choirs in Wales, and it's worth restating that. Although the choir has its annual December concert in Bala (this year's will be on Saturday 14th), it was felt to be high time for an appearance in Dolgellau itself - a good decision, judging by the warm reception given in Ysgol Bro Idris on Friday 11th October.
The choir's great strengths are the depth and warmth of its core sound, wide dynamic range, clarity of diction, and attentiveness to every gesture of Eirian Owen's left hand as she directs from the piano. These attributes were all in evidence across a generous range of items in some five languages, each interpretation apt for the style in question and expressive in its own way.
A strong marker was laid down with the powerful hymn 'Bryn Myrrdin', well contrasted with the gentle 'Ave Maria' of Robat Arwyn that followed. (For several first-time hearers in the audience this opening was a 'wow factor' moment.) Committed renderings of other sacred pieces included Mozart's 'Ave Verum Corpus', Gounod's 'Cristus Salvator', Eric Jones's setting of Psalm 23 and the gospel song 'Great Day'. An undoubted highlight, sung in Russian, was Mikhail Mikhailovitch's ''Blagoslavi, dushe moia, Gospoda' (Bless the Lord, O my soul), where the choir's rich supply of basses created an utterly convincing texture.
No less impressive were the secular pieces, ranging from the intimacy of the folksong 'Paid â Dweud' to those 'warhorses' the Robbers' Chorus from Verdi's Ernani ('Beviam, beviam!')) and 'Prayer' from Wagner's Lohengrin. The moving 'Tell my father' from the musical The Civil War was beautifully enunciated, and had a spellbinding pianissimo ending.
Three soloists interspersed the choral items, two of them Blue Riband winners, baritones Trebor Lloyd Evans (2009) and Erfyl Tomos Jones (2018), who gave heroic voice to Verdi arias from Ernani and Macbeth respectively. In contrast the young lyric tenor Elis Jones brought all the required delicacy, as well as power when needed, to 'Llanrwst' and 'I believe'. Elis and Erfyl made the most of the patriotic fervour in their duet, Rhys Jones's 'Dal ein tir'.
The items were presented in his genial way by Penri Jones. This was a memorable evening and made a worthy opening for the 2019/20 season. There is now eager anticipation of the next concert in the series, back in Coleg Meirion-Dwyfor on Friday 8th November, in the company of Aneira Evans (soprano) and Robyn Lyn Evans (tenor) with Eirian once more at the piano.
Mae'n rhy hawdd weithiau gymryd pethau cyfarwydd yn ganiataol. Heb os mae Côr Godre'r Aran ymhlith y rhai gorau Cymru, ac mae'n werth ail-ddatgan hyn. Er bod ganddo gyngerdd flynyddol yn Y Bala (Sadwrn 14 Rhagfyr fydd yr un nesaf), teimlwyd ei bod hi'n hen bryd ei glywed eto yn Nolgellau ei hun. Dewis call, yng ngolau'r ymateb brwd a gafwyd i'w gyflwyniad yn Ysgol Bro Idris ar nos Wener 11eg Hydref.
Cryfderau'r côr yw dyfnder a chynhesrwydd ei sain, ystod eang o ddynameg, eglurdeb geirio, a'i ymatebolrwydd i'r arwydd lleiaf o law chwith Eirian Owen wrth iddi'i arwain o'r piano. Dangoswyd hyn oll ar draws amrywiaeth hael o eitemau mewn rhyw bump o ieithoedd, pob dehongliad yn addas ac yn fynegiannol o ran ei arddull. Agorwyd y rhaglen yn awdurdodol gyda nerth 'Bryn Myrddin' a thynerwch 'Ave Maria' o waith Robat Arwyn. Cafwyd diffuantrwydd defosiynol hefyd yn 'Ave Verum Corpus' Mozart, Salm 23 o waith Eric Jones, 'Cristus Salvator' Gounod a'r gân Negroaidd 'Great Day'. Ymhlith uchafbwyntiau'r noson, ger y diwedd, oedd Salm 103 (yn Rwsieg, ac yn ddi-gyfeiliant) o waith Mikhail Mikhailovich, 'Blagoslavi, dushe moia, Gospoda' - gwefreiddiol. Llygaid wedi'u cau, a chôr o St Petersburg oedd i'w glywed!
Yr un mor argyhoeddiadol oedd y cyflwyniadau seciwlar, yn amrywio o agosatrwydd 'Paid â Dweud' hyd at 'geffylau rhyfel' Cytgan y Lladron (o 'Ernani' gan Verdi, 'Beviam, beviam!') a 'Gweddi' allan o 'Lohengrin' gan Wagner. Uchafbwynt arall oedd 'Tell my father' o sioe gerdd 'The Civil War', neges i'w dad gan filwr o flaen brwydr: bu geirio unsain y côr yn berffaith, a'r diweddglo pianissimo yn effeithiol tu hwnt.
Gyda nifer o enillwyr y Rhuban Glas yn rhengoedd y côr, nid oes prinder o opsiynau parthed unawdwyr. Urddas arwrol o waith Verdi a gafwyd gan Erfyl Tomos Jones (enillydd 2018) gyda 'Pietà, rispetta amore' ('Macbeth') a Trebor Lloyd Evans (Bala, 2009) yn 'Infelice, il tuo fedel' ('Ernani' eto). Ansawdd hollol wahanol a chlywyd yn llais telynegol y tenor ifanc Elis Jones gyda 'Llanrwst' ac 'I believe'. Gogoneddus hefyd oedd y deuawd 'Dal ein Tir' (Rhys Jones) gan Elis ac Erfyl.
Cyflwynwyd hyn oll yn ei ffordd hynaws gan Penri Jones. Dyna noson i'w chofio, ac agoriad teilwng iawn, fel y cytunodd pawb, i dymor newydd y Clwb. Edrychir ymlaen rwan at ail gyngerdd y gyfres (yn ôl yn y Coleg) ar nos Wener 8fed Tachwedd yng nghwmni Aneira Evans (soprano), Robyn Lyn Evans (tenor), gyda Eirian unwaith eto wrth y piano.
The 2018-19 season came to a lively end in Coleg Meirion-Dwyfor on Friday 29th March with a fine recital from the Laefer Saxophone Quartet, who had earlier visited the Bro Idris primary site and delighted Key Stage 2 pupils with their 'demo' introductions to the saxophone family (soprano, alto, tenor & baritone). 'Listen with your imagination' was their clear message to the children - one that was easy to apply in the opening item of their evening concert, four 'Old Hungarian Dances' by Ferenc Farkas, in turns stately and energetic. Gabriel Pierné's variations on a 'ronde populaire' also gave listeners ready access to colourful dance images, as did Thierry Escaich's 'Tango Virtuoso'.
Several numbers were arrangements of well-known pieces for string quartet, for example Puccini's 'Crisantemi' and the first movement of Ravel's in Quartet in F; the fugue from Mendelssohn's 'Capriccio' Op. 81 brought the first half to a stunning close. Equally effective was the last piece of all, written directly for these instruments - the Finale of Glazunov's 1932 Saxophone Quartet Op. 109, a romantic piece with Russian roots. But before this came a still more remarkable number, 'Ciudades' by the still-living Guillermo Lago, a brilliant evocation of the ambience of four contrasting cities - Montevideo (sad tangos), Tokyo (bustle), Sarajevo (wounded by atrocities) and Addis Ababa (rhythmic excitement). The sound world of each section sprang directly from the unique power of the saxophone, or rather, of these four expressive instruments combined.
Led by Philip Attard on tenor the quartet seemed perfectly matched in terms of skill, ensemble and fluency of presentation. Their encore, a sonorous arrangement of 'Suo Gân', showed sensitivity to their audience, and won grateful enthusiasm for so rewarding a performance. Many thanks to the Countess of Munster Musical Trust for helping to make it possible.
Daeth tymor 2018-19 i ben mewn modd bywiog a chaboledig yng Ngholeg Meirion-Dwyfor ar nos Wener 29 Mawrth gyda datganiad gan Bedwarawd Sacsoffon Laefer. Yn gynharach ymwelodd y Pedwarawd â safle cynradd Ysgol Bro Idris, a mawr oedd mwynhad plant Cyfnod Allweddol 2 wrth wrando arnynt a'u cyflwyniad i aelodau 'teulu'r' sacsoffon - soprano, alto, tenor a baritôn. 'Gwrandewch gyda'ch dychymyg' oedd brif neges y cyflwyniad - cyngor hawdd ei ddilyn yn ystod eitem cyntaf cyngerdd y nos, sef 'Old Hungarian Dances' gan Ferenc Farkas (Intrada, Lassú, Lapockás Tánc, Ugrós), llawn urddas a cheinder. Delweddau lliwgar o ddawnsfeydd a gafwyd hefyd yn y 'ronde populaire' (ag amrywiaethau arni) o waith Gabriel Pierné, a 'Tango Virtuoso' gan Thierry Escaich.
Oherwydd ieuenctid y sacsoffon fel offeryn (a grëwyd gan Adolphe Sax yn oddeutu 1840), mae angen gwneud cryn dipyn o drefniadau er mwyn cyflawni rhaglen o ystod boddhaol. Plesiodd yn fawr trefniadau o ddarnau adnabyddus ar gyfer pedwarawd llinynnol megis 'Crisantemi' gan Puccini, a symudiad cyntaf Pedwarawd Ravel yn F fwyaf; clowyd yr hanner cyntaf yn llon gyda 'Capriccio' Op. 81 o waith Mendelssohn. Yr un mor effeithiol oedd darn olaf y noson, sef diweddglo Pedwarawd Op. 109 gan Alexander Glazunov (ar gyfer pedwar sacsoffon, nid trefniant), 'Finale' rhamantus gyda gwreiddiau Rwsiaidd. Ond cyn hynny, a mwy trawiadol eto, cyflwynwyd 'Ciudades' gan y cyfansoddwr cyfoes Guillermo Lago, campwaith sy'n galw ar naws pedair dinas gyferbyniadol - Montevideo (tangos trist), Tokyo (mwstwr), Sarajevo (dan glwyfau erchyllterau) ac Addis Ababa (cynnwrf rhythmig). Tardd y portreadau amrywiol hyn yn uniongyrchol o nodweddion unigryw'r sacsoffon - neu'n hytrach, o apêl mynegiannol y pedwar sacsoffon gwahanol gyda'i gilydd.
Wedi'i arwain gan Philip Attard ar y sacsoffon tenor, cyrhaeddodd y pedwarawd ensemble rhwydd gyda phob aelod yn gyfartal o ran techneg, sensitifrwydd a sgiliau cyfathrebu. Dewiswyd encore ymatebol iawn i natur y gynulleidfa, sef trefniant soniarus o 'Suo Gân', a werthfawrogwyd yn fawr - fel y perfformiad i gyd. Mae'r Clwb yn ddiolchgar iawn i Ymddiriedolaeth Cerdd Iarlles Munster am noddi'r achlysur cofiadwy hwn.
Several numbers were arrangements of well-known pieces for string quartet, for example Puccini's 'Crisantemi' and the first movement of Ravel's in Quartet in F; the fugue from Mendelssohn's 'Capriccio' Op. 81 brought the first half to a stunning close. Equally effective was the last piece of all, written directly for these instruments - the Finale of Glazunov's 1932 Saxophone Quartet Op. 109, a romantic piece with Russian roots. But before this came a still more remarkable number, 'Ciudades' by the still-living Guillermo Lago, a brilliant evocation of the ambience of four contrasting cities - Montevideo (sad tangos), Tokyo (bustle), Sarajevo (wounded by atrocities) and Addis Ababa (rhythmic excitement). The sound world of each section sprang directly from the unique power of the saxophone, or rather, of these four expressive instruments combined.
Led by Philip Attard on tenor the quartet seemed perfectly matched in terms of skill, ensemble and fluency of presentation. Their encore, a sonorous arrangement of 'Suo Gân', showed sensitivity to their audience, and won grateful enthusiasm for so rewarding a performance. Many thanks to the Countess of Munster Musical Trust for helping to make it possible.
Daeth tymor 2018-19 i ben mewn modd bywiog a chaboledig yng Ngholeg Meirion-Dwyfor ar nos Wener 29 Mawrth gyda datganiad gan Bedwarawd Sacsoffon Laefer. Yn gynharach ymwelodd y Pedwarawd â safle cynradd Ysgol Bro Idris, a mawr oedd mwynhad plant Cyfnod Allweddol 2 wrth wrando arnynt a'u cyflwyniad i aelodau 'teulu'r' sacsoffon - soprano, alto, tenor a baritôn. 'Gwrandewch gyda'ch dychymyg' oedd brif neges y cyflwyniad - cyngor hawdd ei ddilyn yn ystod eitem cyntaf cyngerdd y nos, sef 'Old Hungarian Dances' gan Ferenc Farkas (Intrada, Lassú, Lapockás Tánc, Ugrós), llawn urddas a cheinder. Delweddau lliwgar o ddawnsfeydd a gafwyd hefyd yn y 'ronde populaire' (ag amrywiaethau arni) o waith Gabriel Pierné, a 'Tango Virtuoso' gan Thierry Escaich.
Oherwydd ieuenctid y sacsoffon fel offeryn (a grëwyd gan Adolphe Sax yn oddeutu 1840), mae angen gwneud cryn dipyn o drefniadau er mwyn cyflawni rhaglen o ystod boddhaol. Plesiodd yn fawr trefniadau o ddarnau adnabyddus ar gyfer pedwarawd llinynnol megis 'Crisantemi' gan Puccini, a symudiad cyntaf Pedwarawd Ravel yn F fwyaf; clowyd yr hanner cyntaf yn llon gyda 'Capriccio' Op. 81 o waith Mendelssohn. Yr un mor effeithiol oedd darn olaf y noson, sef diweddglo Pedwarawd Op. 109 gan Alexander Glazunov (ar gyfer pedwar sacsoffon, nid trefniant), 'Finale' rhamantus gyda gwreiddiau Rwsiaidd. Ond cyn hynny, a mwy trawiadol eto, cyflwynwyd 'Ciudades' gan y cyfansoddwr cyfoes Guillermo Lago, campwaith sy'n galw ar naws pedair dinas gyferbyniadol - Montevideo (tangos trist), Tokyo (mwstwr), Sarajevo (dan glwyfau erchyllterau) ac Addis Ababa (cynnwrf rhythmig). Tardd y portreadau amrywiol hyn yn uniongyrchol o nodweddion unigryw'r sacsoffon - neu'n hytrach, o apêl mynegiannol y pedwar sacsoffon gwahanol gyda'i gilydd.
Wedi'i arwain gan Philip Attard ar y sacsoffon tenor, cyrhaeddodd y pedwarawd ensemble rhwydd gyda phob aelod yn gyfartal o ran techneg, sensitifrwydd a sgiliau cyfathrebu. Dewiswyd encore ymatebol iawn i natur y gynulleidfa, sef trefniant soniarus o 'Suo Gân', a werthfawrogwyd yn fawr - fel y perfformiad i gyd. Mae'r Clwb yn ddiolchgar iawn i Ymddiriedolaeth Cerdd Iarlles Munster am noddi'r achlysur cofiadwy hwn.
Publicity claims the Piatti String Quartet as 'among the best in Britain'. Hyperbole? Not on the evidence of their performance in Coleg Meirion-Dwyfor on Friday 22nd February. Clearly all four players were technically at the top of their game; but more than this, they were able to blend their sound in such a way as to become 'one person', expressing the music without hiatus. This is very satisfying for listeners.
Two other factors contributed to the sense of unanimity - the hall's excellent acoustic (commented on by the quartet), and the vintage quality of their instruments (all dating from between 1682 and 1776). These elements were especially to be appreciated in the intimate pianissimo passages.
The programme began with 'Three Idylls' by Frank Bridge, well known as teacher of Benjamin Britten but increasingly respected for his own skill in achieving subtle string sonorities. There followed Mendelssohn's Quartet in F minor Op.80, written in the wake of the composer's hearing of the death of his beloved sister Fanny; he himself would be dead but two months later. The intensity of this piece never lets up - even the scherzo, so often light-hearted by way of contrast, becomes an eerie danse macabre. The Piattis' committed performance conveyed the high emotional charge from start to finish.
To close, Beethoven's inspired and inspiring 2nd 'Razumovsky' Op.59 No.2. The distinctive nature of each of the four movements was vividly conjured: nervous tension in the allegro, the molto adagio's tranquil beauty (derived it is said from Beethoven's contempation of a starry night sky), rhythmic unpredictability in the scherzo, and the final presto's exhilarating drive and energy. Thus ended a memorable recital, as good as any of its kind in the Club's history.
'Mae Pedwarawd Llinynnol Piatti ymhlith y rhai gorau ym Mhrydain'. Gormodiaith? Nid ar sail eu perfformiad yng Ngholeg Meirion-Dwyfor ar nos Wener 22ain Chwefror. Beth sydd ei angen er mwyn cyfiawnhau'r ffasiwn ddisgrifiad? Pedwar cerddor gyda sgiliau offerynnol neilltuol, yn amlwg - ond mwy na hynny, pedwar unigolyn sy'n barod i gysoni eu sain er mwyn ymateb fel un i anghenion y gerddoriaeth. A dyma'n hollol beth y cafwyd.
Dau ffactor arall a gyfrannodd i lyfnder eu sain - acwstig ardderchog y neuadd (a glodforwyd ganddynt), ac ansawdd eu hofferynnau, a darddodd pob un o gyfnod rhwng 1682 a 1776. Gwerthfawrogwyd yr elfennau hyn yn arbennig mewn mannau pianissimo, agos atoch.
Agorwyd y noson gyda 'Three Idylls' gan Frank Bridge, sy'n adnabyddus fel athro Benjamin Britten ond yn haeddu sylw am ei ddawn ei hun wrth greu cymhlethiad llinynnol soniarus. Wedyn Pedwarawd Op. 80 yn F leiaf gan Mendelssohn, darn angerddol a thywyll a ddyfeisiwyd ganddo yn sgîl clywed am farwolaeth ei annwyl chwaer Fanny; bu farw'r cyfansoddwr yntau dim ond dau fis yn ddiweddarach. Nid yw'r dwyster yn lleihau am eiliad (hyd yn oed yn y scherzo, symudiad ysgafn fel arfer, ond sydd yma'n ddawns facâbr); cynhaliwyd yr emosiwn drwyddi yn y dehongliad ymrwymedig hwn.
Ac i gloi: campwaith Beethoven, sef ail bedwarawd 'Razumovsky' Op. 59 Rh.2. Cyflawnwyd i'r eithaf cymeriad nodweddiadol pob un o'r pedwar symudiad: nerfusrwydd a thensiwn yr allegro agoriadol, harddwch myfyriol y molto adagio (a ysbrydolwyd, dywedir, gan wybren serennog), ystwythder rhythmig y scherzo ac egni gwefreiddiol y presto terfynol. Dyna ddiweddglo teilwng i ddatganiad cofiadwy, sydd i'w ystyried ymhlith y gorau o'r math yn hanes y Clwb.
Two other factors contributed to the sense of unanimity - the hall's excellent acoustic (commented on by the quartet), and the vintage quality of their instruments (all dating from between 1682 and 1776). These elements were especially to be appreciated in the intimate pianissimo passages.
The programme began with 'Three Idylls' by Frank Bridge, well known as teacher of Benjamin Britten but increasingly respected for his own skill in achieving subtle string sonorities. There followed Mendelssohn's Quartet in F minor Op.80, written in the wake of the composer's hearing of the death of his beloved sister Fanny; he himself would be dead but two months later. The intensity of this piece never lets up - even the scherzo, so often light-hearted by way of contrast, becomes an eerie danse macabre. The Piattis' committed performance conveyed the high emotional charge from start to finish.
To close, Beethoven's inspired and inspiring 2nd 'Razumovsky' Op.59 No.2. The distinctive nature of each of the four movements was vividly conjured: nervous tension in the allegro, the molto adagio's tranquil beauty (derived it is said from Beethoven's contempation of a starry night sky), rhythmic unpredictability in the scherzo, and the final presto's exhilarating drive and energy. Thus ended a memorable recital, as good as any of its kind in the Club's history.
'Mae Pedwarawd Llinynnol Piatti ymhlith y rhai gorau ym Mhrydain'. Gormodiaith? Nid ar sail eu perfformiad yng Ngholeg Meirion-Dwyfor ar nos Wener 22ain Chwefror. Beth sydd ei angen er mwyn cyfiawnhau'r ffasiwn ddisgrifiad? Pedwar cerddor gyda sgiliau offerynnol neilltuol, yn amlwg - ond mwy na hynny, pedwar unigolyn sy'n barod i gysoni eu sain er mwyn ymateb fel un i anghenion y gerddoriaeth. A dyma'n hollol beth y cafwyd.
Dau ffactor arall a gyfrannodd i lyfnder eu sain - acwstig ardderchog y neuadd (a glodforwyd ganddynt), ac ansawdd eu hofferynnau, a darddodd pob un o gyfnod rhwng 1682 a 1776. Gwerthfawrogwyd yr elfennau hyn yn arbennig mewn mannau pianissimo, agos atoch.
Agorwyd y noson gyda 'Three Idylls' gan Frank Bridge, sy'n adnabyddus fel athro Benjamin Britten ond yn haeddu sylw am ei ddawn ei hun wrth greu cymhlethiad llinynnol soniarus. Wedyn Pedwarawd Op. 80 yn F leiaf gan Mendelssohn, darn angerddol a thywyll a ddyfeisiwyd ganddo yn sgîl clywed am farwolaeth ei annwyl chwaer Fanny; bu farw'r cyfansoddwr yntau dim ond dau fis yn ddiweddarach. Nid yw'r dwyster yn lleihau am eiliad (hyd yn oed yn y scherzo, symudiad ysgafn fel arfer, ond sydd yma'n ddawns facâbr); cynhaliwyd yr emosiwn drwyddi yn y dehongliad ymrwymedig hwn.
Ac i gloi: campwaith Beethoven, sef ail bedwarawd 'Razumovsky' Op. 59 Rh.2. Cyflawnwyd i'r eithaf cymeriad nodweddiadol pob un o'r pedwar symudiad: nerfusrwydd a thensiwn yr allegro agoriadol, harddwch myfyriol y molto adagio (a ysbrydolwyd, dywedir, gan wybren serennog), ystwythder rhythmig y scherzo ac egni gwefreiddiol y presto terfynol. Dyna ddiweddglo teilwng i ddatganiad cofiadwy, sydd i'w ystyried ymhlith y gorau o'r math yn hanes y Clwb.
Despite the icy conditions a good crowd turned out at Coleg Meirion-Dwyfor on Friday 1st February to hear the violin/piano duo of Mary Hofman and Richard Ormrod give the first of their three recitals featuring Beethoven's violin sonatas, this one comprising Op. 30 Nos 1, 2 & 3. They were rewarded with very impressive performances 'full of passion and grace', to quote an audience member. The programme was enhanced by inclusion of a commissioned piece, Until the Thread Breaks by young Welsh composer Sarah Lianne Lewis, a meditation on the poignancy of Beethoven's impending loss of hearing. Climbing higher and higher on the top E string, the violin at the work's conclusion evoked the strange sounds the composer might have been hearing internally, and made listeners appreciate all the more the beauty and joyous invention of the sonatas themselves.
Thanks to Rhyl Music Club for initiating this imaginative project. A further concert in the series can be heard in the Tabernacl, Machynlleth on Friday 15th February. The last will reach Dolgellau on 7th February 2020!
Serch y tywydd rhewllyd, fe ddaeth cynulleidfa sylweddol i'r Coleg nos Wener 1af Chwefror i wrando ar ddeuawd ffidil/piano Mary Hofman a Richard Ormrod wrth iddynt gyflwyno sonatâu Beethoven Op.30 Rh.1, 2 a 3. (Ar draws cyfres o dri datganiad ledled Cymru clywir ganddynt holl sonatâu Beethoven ar gyfer ffidil a phiano.) Ni siomwyd neb gan eu dehongliad, perfformiadau 'llawn angerdd a graslonrwydd' yng ngeiriau un o'u gwrandawyr. Ychwanegwyd at werth a diddordeb y noson gan ddarn comisiwn, Until the Thread Breaks o waith y Gymraes ifanc Sarah Lianne Lewis, cyfansoddiad empathig sy'n cyfleu ing Beethoven wrth iddofo golli ei glyw. Ar ddiweddglo'r darn fe ddringodd y ffidil yn araf deg at frig ei thant uchaf, esgyniad a galwodd ar synau anghyfforddus tu mewn i ben y cyfansoddwr adeg y sonatâu hyn (1801-2). Gwerthfawrogwyd hyd yn oed yn fwy, fel canlyniad, harddwch a dyfeisgarwch pob un o sonatâu Op. 30.
Diolch i Glwb Cerdd Rhyl am drefnu'r prosiect dychmygus hwn. Ceir cyfle i glywed rhaglen arall o'r gyfres yn y Tabernacl, Machynlleth nos Wener 15ed Chwefror. Clywir yr un olaf yn Nolgellau nos Wener 7fed Chwefror 2020!
Ar y gweill am 7.30yh nos Wener 22ain Chwefror yn y Coleg fel arfer - Pedwarawd Llinynnol Piatti, yn sgîl llwyddiant ei ymweliad diwethaf 'nôl ym Mawrth 2017. Cyfle arall i fwynhau campwaith Beethoven, sef ail bedwarawd 'Razumovsky' Op. 59 Rh.2.
Thanks to Rhyl Music Club for initiating this imaginative project. A further concert in the series can be heard in the Tabernacl, Machynlleth on Friday 15th February. The last will reach Dolgellau on 7th February 2020!
Serch y tywydd rhewllyd, fe ddaeth cynulleidfa sylweddol i'r Coleg nos Wener 1af Chwefror i wrando ar ddeuawd ffidil/piano Mary Hofman a Richard Ormrod wrth iddynt gyflwyno sonatâu Beethoven Op.30 Rh.1, 2 a 3. (Ar draws cyfres o dri datganiad ledled Cymru clywir ganddynt holl sonatâu Beethoven ar gyfer ffidil a phiano.) Ni siomwyd neb gan eu dehongliad, perfformiadau 'llawn angerdd a graslonrwydd' yng ngeiriau un o'u gwrandawyr. Ychwanegwyd at werth a diddordeb y noson gan ddarn comisiwn, Until the Thread Breaks o waith y Gymraes ifanc Sarah Lianne Lewis, cyfansoddiad empathig sy'n cyfleu ing Beethoven wrth iddofo golli ei glyw. Ar ddiweddglo'r darn fe ddringodd y ffidil yn araf deg at frig ei thant uchaf, esgyniad a galwodd ar synau anghyfforddus tu mewn i ben y cyfansoddwr adeg y sonatâu hyn (1801-2). Gwerthfawrogwyd hyd yn oed yn fwy, fel canlyniad, harddwch a dyfeisgarwch pob un o sonatâu Op. 30.
Diolch i Glwb Cerdd Rhyl am drefnu'r prosiect dychmygus hwn. Ceir cyfle i glywed rhaglen arall o'r gyfres yn y Tabernacl, Machynlleth nos Wener 15ed Chwefror. Clywir yr un olaf yn Nolgellau nos Wener 7fed Chwefror 2020!
Ar y gweill am 7.30yh nos Wener 22ain Chwefror yn y Coleg fel arfer - Pedwarawd Llinynnol Piatti, yn sgîl llwyddiant ei ymweliad diwethaf 'nôl ym Mawrth 2017. Cyfle arall i fwynhau campwaith Beethoven, sef ail bedwarawd 'Razumovsky' Op. 59 Rh.2.
Given that a single long piece lay ahead in the second half, it was a wise decision on the part of Richard Uttley in his recital in Coleg Meirion-Dwyfor on Friday 11th January to present shortish pieces and movements in the first half. Paris was the link between them. First up was Sonata K.310 in A minor by Mozart, one of only two he composed in the minor and written in July 1778, the month of his mother's death. The audience was immediately engaged by this powerful and affecting opening, Four of Chopin's Waltzes followed, each one fresh and distinctive - among them the famous 'Minute' Waltz ('minute' as in 'tiny', we were reminded, not 'to last a minute'!). Ravel's Sonatine closed the first half, each of its three short movements a gem - a sparkling one in the case of the final 'Animé', perfectly executed by this soloist. The technical and stylistic needs of each piece were met to the full, to the audience's great satisfaction.
It's hard to believe Brahms was only 20 when he wrote his Sonata No.3 in F minor Op.5; easier to believe that he then went on to create his two mighty piano concertos, considering the epic and orchestral nature of this sonata's opening and conclusion. The key to the work lies however in the 'andante' that follows the initial 'allegro maestoso', a romantic movement that illustrates (explicitly in the score) lines of poetry about twilight, moonlight and 'two hearts fused in love'. The soloist evoked a beautiful range of colours that showed off the Coleg's Bechstein at its best. This masterpiece of the repertoire was given a well-sustained and memorable rendering by Richard Uttley.
Gydag un darn mawr ar y gorwel yn ail hanner ei ddatganiad (yn y Coleg ar 11eg Ionawr), penderfyniad doeth oedd gan Richard Uttley gyflwyno darnau gweddol byr, hawdd eu derbyn yn yr hanner cyntaf. Paris oedd y ddolen rhyngddynt. Agorwyd y noson gyda Sonata K.310 yn A leiaf gan Mozart, a gyfansoddwyd yn sgîl marwolaeth ei fam - un o ddim ond dwy sonata sydd ganddo mewn cywair lleiaf. Dyna agoriad cryf, cadarn ac emosiynol a enillodd sylw'r gynulleidfa yn syth. Dilynodd pedair wals gan Chopin, pob un yn ffres a neilltuol - yn eu plith yr enwocaf oll a labelir 'Minute' (h.y. 'bychan', nid 'i barhau am funud', fel y cawsom ein hatgoffa!). Wedyn 'Sonatine' gan Ravel mewn tri symudiad byr, yr olaf yn pefrio'n arbennig - fel yr wnaeth i'r dim yn nwylo'r unawydd. Meistrolwyd ganddo anghenion pob un o'r eitemau hynny o ran techneg ac arddull, a didannwyd pawb i'r eithaf.
Anodd yw credu mai gwaith llanc 20 oed oedd Sonata Rh. 3 yn F leiaf gan Brahms; hawdd credu, ar y llaw arall, ei fod o wedi symud ymlaen wedyn i greu ei ddau goncerto mawreddog ar gyfer piano. wrth ystyried natur epig, gerddorfaol agoriad y sonata a'i diweddglo. Serch hynny, allwedd i'r gwaith yw'r andante sy'n dilyn yr 'allegro maestoso' agoriadol, symudiad rhamantus sy'n darlunio (yn allblyg yn y sgôr) linellau barddonol am gyfnos, lloergan a 'dwy galon fel un mewn serch'. Galwodd y pianydd ar ystod hyfryd o liwiau a ddangosodd ar ei gorau Bechstein y Coleg (offeryn sydd o fudd mawr i'r dref). Dyma gampwaith y repertoire a gafodd dehongliad teilwng a chofiadwy gan Richard Uttley.
A piano workshop was held next day, in which four participants benefited greatly from Richard's gifts as teacher as well as performer. Erin Aled contributed Brahms's Intermezzo in A minor, Osian Lewis Smith Oiseaux Tristes by Ravel, Jessica Jones Allegretto by Vanhal, and Alison Woodbridge Entr'acte from 'Rosemunde'. In each case Richard offered insightful, at times challenging advice, and all four rose to the challenge. Listeners too learnt much about how better to listen to and appreciate piano music. So ended a most successful visit from this unassuming but highly gifted musician.
Y trannoeth cynhaliwyd gweithdy piano, lle manteisiodd pedwar ar ddawn Richard fel athro yn ogystal ag unawdydd. Cyfrannodd Erin Aled Intermezzo yn A leiaf gan Brahms, Osian Lewis Smith Oiseaux Tristes gan Ravel, Jessica Jones Allegretto gan Vanhal, ac Alison Woodbridge Entr'acte o 'Rosemunde'. Ym mhob achos cafwyd gan Richard sylwadau treiddgar, heriol weithiau, ac ymatebodd i'r her bob un o'r offerynwyr yn wych. Dysgwyd llawer hefyd gan y gwrandawyr am sut i werthfawrogi cerddoriaeth biano'n well. Diolch i gerddor arbennig am ddatganiad a gweithdy llwyddiannus iawn.
It's hard to believe Brahms was only 20 when he wrote his Sonata No.3 in F minor Op.5; easier to believe that he then went on to create his two mighty piano concertos, considering the epic and orchestral nature of this sonata's opening and conclusion. The key to the work lies however in the 'andante' that follows the initial 'allegro maestoso', a romantic movement that illustrates (explicitly in the score) lines of poetry about twilight, moonlight and 'two hearts fused in love'. The soloist evoked a beautiful range of colours that showed off the Coleg's Bechstein at its best. This masterpiece of the repertoire was given a well-sustained and memorable rendering by Richard Uttley.
Gydag un darn mawr ar y gorwel yn ail hanner ei ddatganiad (yn y Coleg ar 11eg Ionawr), penderfyniad doeth oedd gan Richard Uttley gyflwyno darnau gweddol byr, hawdd eu derbyn yn yr hanner cyntaf. Paris oedd y ddolen rhyngddynt. Agorwyd y noson gyda Sonata K.310 yn A leiaf gan Mozart, a gyfansoddwyd yn sgîl marwolaeth ei fam - un o ddim ond dwy sonata sydd ganddo mewn cywair lleiaf. Dyna agoriad cryf, cadarn ac emosiynol a enillodd sylw'r gynulleidfa yn syth. Dilynodd pedair wals gan Chopin, pob un yn ffres a neilltuol - yn eu plith yr enwocaf oll a labelir 'Minute' (h.y. 'bychan', nid 'i barhau am funud', fel y cawsom ein hatgoffa!). Wedyn 'Sonatine' gan Ravel mewn tri symudiad byr, yr olaf yn pefrio'n arbennig - fel yr wnaeth i'r dim yn nwylo'r unawydd. Meistrolwyd ganddo anghenion pob un o'r eitemau hynny o ran techneg ac arddull, a didannwyd pawb i'r eithaf.
Anodd yw credu mai gwaith llanc 20 oed oedd Sonata Rh. 3 yn F leiaf gan Brahms; hawdd credu, ar y llaw arall, ei fod o wedi symud ymlaen wedyn i greu ei ddau goncerto mawreddog ar gyfer piano. wrth ystyried natur epig, gerddorfaol agoriad y sonata a'i diweddglo. Serch hynny, allwedd i'r gwaith yw'r andante sy'n dilyn yr 'allegro maestoso' agoriadol, symudiad rhamantus sy'n darlunio (yn allblyg yn y sgôr) linellau barddonol am gyfnos, lloergan a 'dwy galon fel un mewn serch'. Galwodd y pianydd ar ystod hyfryd o liwiau a ddangosodd ar ei gorau Bechstein y Coleg (offeryn sydd o fudd mawr i'r dref). Dyma gampwaith y repertoire a gafodd dehongliad teilwng a chofiadwy gan Richard Uttley.
A piano workshop was held next day, in which four participants benefited greatly from Richard's gifts as teacher as well as performer. Erin Aled contributed Brahms's Intermezzo in A minor, Osian Lewis Smith Oiseaux Tristes by Ravel, Jessica Jones Allegretto by Vanhal, and Alison Woodbridge Entr'acte from 'Rosemunde'. In each case Richard offered insightful, at times challenging advice, and all four rose to the challenge. Listeners too learnt much about how better to listen to and appreciate piano music. So ended a most successful visit from this unassuming but highly gifted musician.
Y trannoeth cynhaliwyd gweithdy piano, lle manteisiodd pedwar ar ddawn Richard fel athro yn ogystal ag unawdydd. Cyfrannodd Erin Aled Intermezzo yn A leiaf gan Brahms, Osian Lewis Smith Oiseaux Tristes gan Ravel, Jessica Jones Allegretto gan Vanhal, ac Alison Woodbridge Entr'acte o 'Rosemunde'. Ym mhob achos cafwyd gan Richard sylwadau treiddgar, heriol weithiau, ac ymatebodd i'r her bob un o'r offerynwyr yn wych. Dysgwyd llawer hefyd gan y gwrandawyr am sut i werthfawrogi cerddoriaeth biano'n well. Diolch i gerddor arbennig am ddatganiad a gweithdy llwyddiannus iawn.
Trumpet recitals are not so common, but it was certainly worth hearing the one given in Coleg Meirion-Dwyfor on Friday 30th November by Matilda Lloyd (a Making Music Young Concert Artist) and pianist Leo Nicholson. Matilda appeared as a soloist in the 2016 Proms just after graduating, and her fluency and assurance were evident from the start of her Dolgellau programme in three pieces for piccolo trumpet by Giovanni Battista Martini. Now on standard trumpet, a 1935 sonata by Karl Pilss gave her every opportunity to explore the instrument's lyrical range.
A lighter mood was introduced in the second half with Sammy Nestico's jazz-inflected 'Portrait of a Trumpet', followed by Leo's rendering of Gershwin's easygoing 'Three Preludes' for piano solo. Before the showcase finale of Goedicke's Concert Etude Op. 49 (full of virtuoso double-tonguing), Matilda introduced a special technique required for the first of Deborah Pritchard's 'Seven Halts on the Somme'. Aiming her opening phrases at the strings of the piano (its lid fully raised), she elicited sympathetic resonances that echoed faintly but clearly throughout the hall. an effect repeated in the piece's ending - ghostly sounds that framed perfectly a work of tribute to the multitudinous Somme victims. This was a timely choice in a programme that gave full expression to the trumpet's many voices, and to both musicians' skills. Many thanks to Making Music for their continuing sponsorship of high-quality performance.
Mwynhawyd rhaglen wahanol a diddorol yng Ngholeg Meirion-Dwyfor nos Wener 30ain Tachwedd yng nghwmni Matilda Lloyd (utgorn) a Leo Nicholson (piano). Er yn ifanc mae Matilda wedi ymddangos yn barod fel unawdydd yn y Proms, a daeth ei dawn yn syth i'r amlwg wrth iddi agor ei datganiad gyda thri darn gan Giovanni Battista Martini wedi'u haddasu ar gyfer utgorn piccolo. Ar yr utgorn arferol cafwyd sonata mawr o 1935 gan Karl Pilss, a ddangosodd yn helaeth botensial telynegol yr offeryn. Ysgafnhawyd yr ail hanner gan ddarn 'jazzaidd' gan Sammy Nestico, 'Portrait of a Trumpet', a hefyd gan unawd piano 'Three Preludes' o waith Gershwin - swynol iawn. Cyn cloi gyda 'Concert Etude' gan Goedicke i arddangos ei sgiliau penigamp, cyflwynodd Matilda effaith arbennig sy'n agor 'Seven Halts on the Somme' o waith cyfansoddwraig ifanc Deborah Pritchard. Wrth anelu ei hutgorn at dannau'r biano agored wrth chwarae, creodd Matilda atsain ymatebol, tawel, ysbrydol - dyfais a greodd wefr. Digwyddodd yr un peth eto ar ddiwedd y darn neilltuol hwn. Dyma gyferbyniad crefftus iawn, a roddodd sêl cofiadwy ar gyngerdd a dderbynwyd yn wresog gan bawb.
A lighter mood was introduced in the second half with Sammy Nestico's jazz-inflected 'Portrait of a Trumpet', followed by Leo's rendering of Gershwin's easygoing 'Three Preludes' for piano solo. Before the showcase finale of Goedicke's Concert Etude Op. 49 (full of virtuoso double-tonguing), Matilda introduced a special technique required for the first of Deborah Pritchard's 'Seven Halts on the Somme'. Aiming her opening phrases at the strings of the piano (its lid fully raised), she elicited sympathetic resonances that echoed faintly but clearly throughout the hall. an effect repeated in the piece's ending - ghostly sounds that framed perfectly a work of tribute to the multitudinous Somme victims. This was a timely choice in a programme that gave full expression to the trumpet's many voices, and to both musicians' skills. Many thanks to Making Music for their continuing sponsorship of high-quality performance.
Mwynhawyd rhaglen wahanol a diddorol yng Ngholeg Meirion-Dwyfor nos Wener 30ain Tachwedd yng nghwmni Matilda Lloyd (utgorn) a Leo Nicholson (piano). Er yn ifanc mae Matilda wedi ymddangos yn barod fel unawdydd yn y Proms, a daeth ei dawn yn syth i'r amlwg wrth iddi agor ei datganiad gyda thri darn gan Giovanni Battista Martini wedi'u haddasu ar gyfer utgorn piccolo. Ar yr utgorn arferol cafwyd sonata mawr o 1935 gan Karl Pilss, a ddangosodd yn helaeth botensial telynegol yr offeryn. Ysgafnhawyd yr ail hanner gan ddarn 'jazzaidd' gan Sammy Nestico, 'Portrait of a Trumpet', a hefyd gan unawd piano 'Three Preludes' o waith Gershwin - swynol iawn. Cyn cloi gyda 'Concert Etude' gan Goedicke i arddangos ei sgiliau penigamp, cyflwynodd Matilda effaith arbennig sy'n agor 'Seven Halts on the Somme' o waith cyfansoddwraig ifanc Deborah Pritchard. Wrth anelu ei hutgorn at dannau'r biano agored wrth chwarae, creodd Matilda atsain ymatebol, tawel, ysbrydol - dyfais a greodd wefr. Digwyddodd yr un peth eto ar ddiwedd y darn neilltuol hwn. Dyma gyferbyniad crefftus iawn, a roddodd sêl cofiadwy ar gyngerdd a dderbynwyd yn wresog gan bawb.
It was good, on the 80th anniversary of the atrocity that was Kristallnacht and the eve of the Armistice centenary weekend, to be able to enjoy a sample of German culture at its very best. In their Coleg Meirion-Dwyfor recital on Friday 9th November Harriet Burns (soprano) and Michael Pandya (piano), joint winners of the 2018 Oxford Lieder Young Artist Platform Award, devoted the first half to songs by Schubert and Schumann.
The Schubert set included favourites such as 'Ganymed' and 'Nacht und Träume', as well as a lesser known example of Schubert in comic mode mocking the fickleness of men, 'Die Männer sind méchant!'. Mignon's dream of a land 'wo die Zitronen blühn', 'where lemons blossom' (from Goethe's novel Wilhelm Meister) has been set by many composers; the romanticism of Schumann's setting (sung here with three other of Mignon's songs) was given poignant expression by the duo. Harriet's voice has many colours, with plenty of power but never forced. Her projection of words is exemplary, and Michael's accompanying followed every nuance.
There was humour too in the second-half mix of songs by Barber, Copland and Bernstein, notably in the latter's 'I Hate Music!'. Settings by André Caplet of three of La Fontaine's fables gave scope for drama as the various characters (crow & fox, cricket & ant etc) were brought vividly to life. This was a well-judged and varied programme that went down very well indeed. Oxford Lieder's nurturing and promoting of young talent is admirable, and its generous sponsorship of Young Artist recitals much appreciated.
Cafwyd noson hyfryd yng Ngholeg Meirion-Dwyfor nos Wener 9fed Tachwedd yng nghwmni Harriet Burns (soprano) a Michael Pandya (piano). Mae ansawdd llais Harriet yn bleserus drwy'r amser, gydag ystod eang o liwiau a digon o nerth pan ddaw angen, ond heb straen. Techneg Michael sydd i'w edmygu, ond mwy na hynny mae ganddo'r sensitifrwydd sy'n gwneud cyfeilydd da; roedd Harriet a fo yn amlwg yn deall ei gilydd ym mhob cân. Dewiswyd ganddynt raglen amrywiol a deithiodd o harddwch lieder gan Schubert a Schumann, heibio cyflwyniadau dramatig gan André Caplet o dair chwedl La Fontaine, hyd at hiwmor egnïol 'I Hate Music!' o waith Leonard Bernstain. Derbyniwyd y cyfan yn frwd gan ei wrandawyr; mae'r Clwb yn ddiolchgar tu hwnt i Wyl Lieder Rhydychen am noddi datganiad arbennig o'r math.
The Schubert set included favourites such as 'Ganymed' and 'Nacht und Träume', as well as a lesser known example of Schubert in comic mode mocking the fickleness of men, 'Die Männer sind méchant!'. Mignon's dream of a land 'wo die Zitronen blühn', 'where lemons blossom' (from Goethe's novel Wilhelm Meister) has been set by many composers; the romanticism of Schumann's setting (sung here with three other of Mignon's songs) was given poignant expression by the duo. Harriet's voice has many colours, with plenty of power but never forced. Her projection of words is exemplary, and Michael's accompanying followed every nuance.
There was humour too in the second-half mix of songs by Barber, Copland and Bernstein, notably in the latter's 'I Hate Music!'. Settings by André Caplet of three of La Fontaine's fables gave scope for drama as the various characters (crow & fox, cricket & ant etc) were brought vividly to life. This was a well-judged and varied programme that went down very well indeed. Oxford Lieder's nurturing and promoting of young talent is admirable, and its generous sponsorship of Young Artist recitals much appreciated.
Cafwyd noson hyfryd yng Ngholeg Meirion-Dwyfor nos Wener 9fed Tachwedd yng nghwmni Harriet Burns (soprano) a Michael Pandya (piano). Mae ansawdd llais Harriet yn bleserus drwy'r amser, gydag ystod eang o liwiau a digon o nerth pan ddaw angen, ond heb straen. Techneg Michael sydd i'w edmygu, ond mwy na hynny mae ganddo'r sensitifrwydd sy'n gwneud cyfeilydd da; roedd Harriet a fo yn amlwg yn deall ei gilydd ym mhob cân. Dewiswyd ganddynt raglen amrywiol a deithiodd o harddwch lieder gan Schubert a Schumann, heibio cyflwyniadau dramatig gan André Caplet o dair chwedl La Fontaine, hyd at hiwmor egnïol 'I Hate Music!' o waith Leonard Bernstain. Derbyniwyd y cyfan yn frwd gan ei wrandawyr; mae'r Clwb yn ddiolchgar tu hwnt i Wyl Lieder Rhydychen am noddi datganiad arbennig o'r math.
The 2018-19 season got off to a very successful start on Friday 5th October in Coleg Meirion-Dwyfor. A good turn-out greeted the Aquarelle Guitar Quartet (still vividly remembered from their previous visit to Dolgellau in 2005), and their sparkling performance did not disappoint. One striking feature of this very accomplished ensemble is the equal prominence of all four members (Michael Baker, Vasilis Bessas, James Jervis and Rory Russell) - virtuosity is apparent across the board, and it was pleasurable not knowing which player would have the lead or tune from one piece to the next.
It was a wise choice to open with Rossini's Sinfonia to l'Italiana in Algeri (skilfully arranged by Richard Safhill, a founder member of the group), given its familiar melodies and wide range of dynamic contrast. Opals by Philip Houghton (Black Opal, Water Opal, White Opal) evoked vivid images of the gems' translucence and subtly shifting colours. The first half concluded in South America with Alfonsina y el Mar by Ariel Ramirez, a haunting piece with an intriguing story behind it. (Engaging and lucid introductions were given to each piece, shared between the four.)
Full use was made in the second half of the guitar's potential as a percussion instrument, in dances such as Pajduska (Macedonia) and La Muerte del Angel (from Astor Piazzolla, father of the tango). More meditative and hypnotic on the other hand was The Swan 'L243' by Catriona McKay, a Scottish harpist who created the piece after sailing as crew member/musician on 'The Swan' in the 1999 Cutty Sark tall ships race. James Jervis introduced a new sonority into De Usuahia a la Quiaca, theme tune to the film 'Motorcycle Diaries', by playing on a charango - this one of wood, not the traditional armadillo shell! A closing encore was insisted on, and the audience left with a spring in their step to the beguiling rhythms of Django Reinhardt's Minor Swing (arr. Mike Baker) adopted as theme tune for the 2000 film 'Chocolat'.
Heartfelt thanks to the Southall Trust for generous support towards this memorable concert.
Cafwyd agoriad llwyddiannus iawn nos Wener 5ed o Hydref i dymor newydd y Clwb yng Ngholeg Meirion-Dwyfor. Denwyd cynulleidfa gref gan enw Pedwarawd Gitâr Aquarelle (a gofir yn fyw o'i hymweliad cyntaf i Ddolgellau yn 2005), a bodlonwyd pawb gan eu perfformiad disglair. Agwedd nodweddiadol yr ensemble caboledig hwn yw'r cyfartaledd rhwng y pedwar (Michael Baker, Vasilis Bessas, James Jervis a Rory Russell) - maent i gyd yr un mor feistrolgar â'i gilydd, a phleser oedd peidio â gwybod o ble buasai'r prif alaw neu'r arweiniad yn tarddu o un darn i'r llall.
Dewis doeth oedd cychwyn gyda Sinfonia i l'Italiana in Algeri gan Rossini (wedi'i drefnu'n grefftus gan Richard Safhill, aelod gwreiddiol y grwp), darn adnabyddus sy'n gofyn am ystod eang o wrthgyferbyniadau deinamig. Y darn dilynol oedd Opals gan Philip Houghton (Opal Du, Opal Dwr, Opal Gwyn), lle galwodd yn lliwgar iawn ar led-dryloywder gemau'r teitl. Gorffennwyd yr hanner cyntaf yn Ne America gydag Alfonsina y el Mar o waith Ariel Ramirez, alaw boblogaidd gyda stori drawiadol tu ôl iddi. (Cyflwynwyd pob darn yn ddifyr phroffesiynol iawn gan bob un o'r pedwar yn eu tro.)
Defnyddiwyd i'r eithaf yn yr ail hanner botensial y gitâr fel offeryn taro, mewn dawnsfeydd megis Pajduska (Macedonia) a La Muerte del Angel (tango de Astor Piazzolla). Myfyriol a hypnotig, ar y llaw arall, oedd The Swan 'L243' gan Catriona McKay, telynores o'r Alban a greodd ei darn yn sgîl taith ar gwch tal 'The Swan' yn ras y Cutty Sark. Daeth soniaredd newydd gyda chyfraniad y charango (o bren, nid cragen armadilo!) gan James Jervis i De Usuahia a la Quiaca, alaw thema'r ffilm 'Motorcycle Diaries'. Mynnodd y gwrandawyr eu encore ar y diwedd, ac aeth pawb allan yn sionc eu cam i rythmau hudolus Minor Swing (Django Reinhardt, trefniant Mike Baker, alaw a fabwysiadwyd fel thema i'r ffilm 'Chocolat').
Diolch o galon i'r Southall Trust am nawdd hael tuag at gyngerdd cofiadwy.
It was a wise choice to open with Rossini's Sinfonia to l'Italiana in Algeri (skilfully arranged by Richard Safhill, a founder member of the group), given its familiar melodies and wide range of dynamic contrast. Opals by Philip Houghton (Black Opal, Water Opal, White Opal) evoked vivid images of the gems' translucence and subtly shifting colours. The first half concluded in South America with Alfonsina y el Mar by Ariel Ramirez, a haunting piece with an intriguing story behind it. (Engaging and lucid introductions were given to each piece, shared between the four.)
Full use was made in the second half of the guitar's potential as a percussion instrument, in dances such as Pajduska (Macedonia) and La Muerte del Angel (from Astor Piazzolla, father of the tango). More meditative and hypnotic on the other hand was The Swan 'L243' by Catriona McKay, a Scottish harpist who created the piece after sailing as crew member/musician on 'The Swan' in the 1999 Cutty Sark tall ships race. James Jervis introduced a new sonority into De Usuahia a la Quiaca, theme tune to the film 'Motorcycle Diaries', by playing on a charango - this one of wood, not the traditional armadillo shell! A closing encore was insisted on, and the audience left with a spring in their step to the beguiling rhythms of Django Reinhardt's Minor Swing (arr. Mike Baker) adopted as theme tune for the 2000 film 'Chocolat'.
Heartfelt thanks to the Southall Trust for generous support towards this memorable concert.
Cafwyd agoriad llwyddiannus iawn nos Wener 5ed o Hydref i dymor newydd y Clwb yng Ngholeg Meirion-Dwyfor. Denwyd cynulleidfa gref gan enw Pedwarawd Gitâr Aquarelle (a gofir yn fyw o'i hymweliad cyntaf i Ddolgellau yn 2005), a bodlonwyd pawb gan eu perfformiad disglair. Agwedd nodweddiadol yr ensemble caboledig hwn yw'r cyfartaledd rhwng y pedwar (Michael Baker, Vasilis Bessas, James Jervis a Rory Russell) - maent i gyd yr un mor feistrolgar â'i gilydd, a phleser oedd peidio â gwybod o ble buasai'r prif alaw neu'r arweiniad yn tarddu o un darn i'r llall.
Dewis doeth oedd cychwyn gyda Sinfonia i l'Italiana in Algeri gan Rossini (wedi'i drefnu'n grefftus gan Richard Safhill, aelod gwreiddiol y grwp), darn adnabyddus sy'n gofyn am ystod eang o wrthgyferbyniadau deinamig. Y darn dilynol oedd Opals gan Philip Houghton (Opal Du, Opal Dwr, Opal Gwyn), lle galwodd yn lliwgar iawn ar led-dryloywder gemau'r teitl. Gorffennwyd yr hanner cyntaf yn Ne America gydag Alfonsina y el Mar o waith Ariel Ramirez, alaw boblogaidd gyda stori drawiadol tu ôl iddi. (Cyflwynwyd pob darn yn ddifyr phroffesiynol iawn gan bob un o'r pedwar yn eu tro.)
Defnyddiwyd i'r eithaf yn yr ail hanner botensial y gitâr fel offeryn taro, mewn dawnsfeydd megis Pajduska (Macedonia) a La Muerte del Angel (tango de Astor Piazzolla). Myfyriol a hypnotig, ar y llaw arall, oedd The Swan 'L243' gan Catriona McKay, telynores o'r Alban a greodd ei darn yn sgîl taith ar gwch tal 'The Swan' yn ras y Cutty Sark. Daeth soniaredd newydd gyda chyfraniad y charango (o bren, nid cragen armadilo!) gan James Jervis i De Usuahia a la Quiaca, alaw thema'r ffilm 'Motorcycle Diaries'. Mynnodd y gwrandawyr eu encore ar y diwedd, ac aeth pawb allan yn sionc eu cam i rythmau hudolus Minor Swing (Django Reinhardt, trefniant Mike Baker, alaw a fabwysiadwyd fel thema i'r ffilm 'Chocolat').
Diolch o galon i'r Southall Trust am nawdd hael tuag at gyngerdd cofiadwy.
Welcomed back following a cancellation, Holborne Brass Ensemble brought the Club's 2017-18 concert series to a close every bit as successfully as they did the 2016-17 series last April. Their performance in Coleg Meirion-Dwyfor on Friday 23rd March was spirited, technically sparkling and full of 'hwyl' and humour, providing just the sense of uplift that was hoped for. And this with a programme substantially different from its predecessor.
Holborne Brass are a group supremely at ease with themselves and the music they play, and who make skilled use of the spaces they perform in - beginning with their trademark entry from the back of the hall to the strains of 'Just a Little Walk with Thee'. For Giovanni Gabrieli's 'Canzona per Sonare No. 4' the five players scattered to different compass points, recreating the stereophonic sound Gabrieli intended for St Mark's, Venice - a wonderul effect. For the Swiss folksong 'Old Castle' horn player Tim Stidwell disappeared offstage, the better to emulate the distant call of an alpenhorn. Bach's 'Air on a G String' is well known from innumerable different arrangements, but here the quintet bunched together to create a warmth and richness of texture that made the piece seem born anew. True to the comic potential of his instrument, tuba player Phil Green spent a good deal of 'Tuba Tiger Rag' - which he began by extruding a fluffy tiger cub from the tuba's generous aperture - playing on his back. There really never was a dull moment.
Keyed together by lead trumpeter Trevor Jones's skilful introductions, this was a varied programme that showcased the group's versatility as an ensemble but also gave each individual member the chance to shine. Greg McEwan's piccolo trumpet playing was phenomenal in 'Brandenburg Concerto - the best bit'. Les Whitehouse gave a fine demonstration of 'the trombone smear' (aka 'dirty trombone') in its exemplar Henry Fillmore's 'Lassus Trombone'. He also had a starring role in a highlight reprised from last year, 'Saints Hallelujah', in which his jazz bursts of 'When all the Saints' had to compete, and finally blend, with rowdy utterances of the Hallelujah Chorus from the rest.
Cafwyd gan Ensemble Pres Holborne - a groesawyd yn ôl, yn sgîl cansliad, i gloi tymor 2017-18 - gyflwyniad yr un mor lwyddiannus â'i ddatganiad flwyddyn yn ôl i gloi tymor 2016-17, a hynny gyda rhaglen dra gwahanol i'r un flaenorol. Gobeithiwyd am ryw hwb arbennig ganddynt ar gyfer y cyngerdd olaf, ac ni siomwyd neb: roedd eu perfformiad yng Ngholeg Meirion-Dwyfor ar 23ain Mawrth yn un hoenus, caboledig a llawn hiwmor a hwyl.
Fel grwp profiadol mae aelodau Holborne Brass yn gyfforddus iawn gyda'i gilydd, yn gerddorol ond hefyd yn y ffordd y maent yn cydweithredu. Gwelir hyn yn eu defnydd o'r safle perfformio.
Dechreuwyd eu heitem gyntaf, 'Just a Little Walk with Thee', o tu allan, wrth iddynt gerdded i mewn yn urddasol o gefn y neuadd. Ar gyfer 'Canzona per Sonare No. 4' gan Giovanni Gabrieli gwasgarwyd yr ensemble i gorneli gwahanol, er mwyn ailgreu'r math o sain stereoffonig a gynlluniodd Gabrieli i siwtio Eglwys Sant Marc yn Fenis - effaith hudolus. Diflannodd Tim Stidwell a'i gorn Ffrengig oddi ar y llwyfan er mwyn dynwared llais corn yr Alpau'n canu o bell yn 'Old Castle', cân werin o'r Swistir. Mae pawb yn gyfarwydd ag alaw enwog Bach 'Air on a G String', ond ar ei newydd wedd y clywyd hi yn y dehongliad hwn lle closiwyd y cerddorion yn agos iawn at ei gilydd, gan greu wrth wneud hyn ansawdd sain cynnes a chyfoethog. Manteisiodd Phil Green ar botensial digrif ei offeryn yn 'Tuba Tiger Rag', nid yn unig trwy wthio cyn dechrau genau teigr gwlanog allan o agoriad eang y tiwba; ond hefyd gan chwarae rhan sylweddol o'r darn ar ei gefn! Yn wir ni ddiffygiodd am eiliad nac egni nac ymroddiad.
Wedi'i chyflwyno'n grefftus unwaith eto gan brif drympedwr Trevor Jones, dangosodd y rhaglen hon amlochredd y grwp fel ensemble, yn ogystal â galluogi bob un i ddisgleirio fel unigolyn. Yng ngofal Greg McEwan, pefriodd y trwmped picolo trwy gydol 'Brandenburg Concerto - the best bit'. Arddangosodd Les Whitehouse i'r dim grefft 'rhwbiad y trombôn' yn 'Lassus Trombone' gan Henry Fillmore, arloeswr arddull y 'trombôn budr'. Serennodd Les hefyd yn 'Saints Hallelujah' (ffefryn o'r llynedd), lle bu'n rhaid i'w bytiau bach jazz o 'When all the Saints' gystadlu, ac wedyn ymdoddi, gyda hyrddiau stwrllyd y lleill o Gorws Hallelujah!
Holborne Brass are a group supremely at ease with themselves and the music they play, and who make skilled use of the spaces they perform in - beginning with their trademark entry from the back of the hall to the strains of 'Just a Little Walk with Thee'. For Giovanni Gabrieli's 'Canzona per Sonare No. 4' the five players scattered to different compass points, recreating the stereophonic sound Gabrieli intended for St Mark's, Venice - a wonderul effect. For the Swiss folksong 'Old Castle' horn player Tim Stidwell disappeared offstage, the better to emulate the distant call of an alpenhorn. Bach's 'Air on a G String' is well known from innumerable different arrangements, but here the quintet bunched together to create a warmth and richness of texture that made the piece seem born anew. True to the comic potential of his instrument, tuba player Phil Green spent a good deal of 'Tuba Tiger Rag' - which he began by extruding a fluffy tiger cub from the tuba's generous aperture - playing on his back. There really never was a dull moment.
Keyed together by lead trumpeter Trevor Jones's skilful introductions, this was a varied programme that showcased the group's versatility as an ensemble but also gave each individual member the chance to shine. Greg McEwan's piccolo trumpet playing was phenomenal in 'Brandenburg Concerto - the best bit'. Les Whitehouse gave a fine demonstration of 'the trombone smear' (aka 'dirty trombone') in its exemplar Henry Fillmore's 'Lassus Trombone'. He also had a starring role in a highlight reprised from last year, 'Saints Hallelujah', in which his jazz bursts of 'When all the Saints' had to compete, and finally blend, with rowdy utterances of the Hallelujah Chorus from the rest.
Cafwyd gan Ensemble Pres Holborne - a groesawyd yn ôl, yn sgîl cansliad, i gloi tymor 2017-18 - gyflwyniad yr un mor lwyddiannus â'i ddatganiad flwyddyn yn ôl i gloi tymor 2016-17, a hynny gyda rhaglen dra gwahanol i'r un flaenorol. Gobeithiwyd am ryw hwb arbennig ganddynt ar gyfer y cyngerdd olaf, ac ni siomwyd neb: roedd eu perfformiad yng Ngholeg Meirion-Dwyfor ar 23ain Mawrth yn un hoenus, caboledig a llawn hiwmor a hwyl.
Fel grwp profiadol mae aelodau Holborne Brass yn gyfforddus iawn gyda'i gilydd, yn gerddorol ond hefyd yn y ffordd y maent yn cydweithredu. Gwelir hyn yn eu defnydd o'r safle perfformio.
Dechreuwyd eu heitem gyntaf, 'Just a Little Walk with Thee', o tu allan, wrth iddynt gerdded i mewn yn urddasol o gefn y neuadd. Ar gyfer 'Canzona per Sonare No. 4' gan Giovanni Gabrieli gwasgarwyd yr ensemble i gorneli gwahanol, er mwyn ailgreu'r math o sain stereoffonig a gynlluniodd Gabrieli i siwtio Eglwys Sant Marc yn Fenis - effaith hudolus. Diflannodd Tim Stidwell a'i gorn Ffrengig oddi ar y llwyfan er mwyn dynwared llais corn yr Alpau'n canu o bell yn 'Old Castle', cân werin o'r Swistir. Mae pawb yn gyfarwydd ag alaw enwog Bach 'Air on a G String', ond ar ei newydd wedd y clywyd hi yn y dehongliad hwn lle closiwyd y cerddorion yn agos iawn at ei gilydd, gan greu wrth wneud hyn ansawdd sain cynnes a chyfoethog. Manteisiodd Phil Green ar botensial digrif ei offeryn yn 'Tuba Tiger Rag', nid yn unig trwy wthio cyn dechrau genau teigr gwlanog allan o agoriad eang y tiwba; ond hefyd gan chwarae rhan sylweddol o'r darn ar ei gefn! Yn wir ni ddiffygiodd am eiliad nac egni nac ymroddiad.
Wedi'i chyflwyno'n grefftus unwaith eto gan brif drympedwr Trevor Jones, dangosodd y rhaglen hon amlochredd y grwp fel ensemble, yn ogystal â galluogi bob un i ddisgleirio fel unigolyn. Yng ngofal Greg McEwan, pefriodd y trwmped picolo trwy gydol 'Brandenburg Concerto - the best bit'. Arddangosodd Les Whitehouse i'r dim grefft 'rhwbiad y trombôn' yn 'Lassus Trombone' gan Henry Fillmore, arloeswr arddull y 'trombôn budr'. Serennodd Les hefyd yn 'Saints Hallelujah' (ffefryn o'r llynedd), lle bu'n rhaid i'w bytiau bach jazz o 'When all the Saints' gystadlu, ac wedyn ymdoddi, gyda hyrddiau stwrllyd y lleill o Gorws Hallelujah!
There was a full house on Friday 23rd February for one of the highlights of the season, a recital by the Primrose Piano Quartet with Leon Bosch (double bass) culminating in Schubert's glorious 'Trout' Quintet. As a programme opener Mozart's Piano Quartet K.478 in G minor is immediately arresting, with its dark & dramatic opening theme. The tragic mood turns to wistful sadness in the second movement,
blown away by the dancing energy of the concluding rondo. Found notoriously difficult at the time (1785) of composition, the piano part fulfilled its starring role with élan in the hands of John Thwaites (the Quartet's founder back in 2004).
Violin and double bass now came to the fore in Giovanni Bottesini's Gran Duo Concertante of 1880, originally scored for orchestra and two double basses (an instrument on which Bottesini himself excelled). There was phenomenal playing here, Susanne Stanzeleit totally in command of the virtuoso fiddle part, and Leon Bosch likewise - but in great contrast - making the risk-taking bass part seem effortless. Close your eyes, and the harmonics at the bass's highest extremities could have been flutes; next minute the sound was (more familiarly) back down in the instrument's 'boots'. Together, violin & bass played sweetly in impeccably-tuned harmony. The audience listened and watched, as the French say, bouche bée - jaws dropping.
Schubert's 1819 'Trout' Quintet is so full of vibrant melody it's a surprise not to hear it weekly on Desert Island Discs. He began to compose it during a carefree summer spent with friends, and that mood is sustained throughout. Nor did it ever flag in this performance. The extra (and unusual) 'ballast' given by the bass enables Schubert to double his piano melodies in octaves, creating a uniquely luminous sonority. Every instrument plays its part, with special moments for viola (Dorothea Vogel) and cello (Andrew Fuller), the latter especially in the fifth variation on the titular theme tune - a reward for the work's patron Sylvester Paumgartner, himself an amateur cellist and a fan of Schubert's hit tune. The audience's reception of this concert at its close made it clear that quartet and bassist had in their turn scored 'a palpable hit'.
Thanks to the Southall Trust for helping to make this fine event possible. An afternoon workshop at Ysgol Bro Idris (supported by Cyfeillion Cerdd Ieuenctid Meirionnydd) saw Years 7 & 8 pupils amazed at the Primrose Quartet's ability to evoke midnight skeletons ('Danse Macabre'), frenetic gypsies ('Hungarian Dances') or a lone swan, to name but a few of the items played. Diolch i'r ysgol am y croeso.
Atynnwyd nifer sylweddol i Goleg Meirion-Dwyfor ar nos Wener 23ain Chwefror i wrando ar Bedwarawd Piano Primrose gyda Leon Bosch (bâs dwbl) a mwynhau uchafbwynt eu rhaglen, sef pumawd godidog Schubert 'Y Brithyll'. I agor, creuwyd argraff gref yn syth gan symudiad cyntaf Pedwarawd Piano K.478 o waith Mozart yn G leiaf, gyda'i themâu tywyll a dramatig. Troir y naws aflonydd i hiraeth yn yr andante, ac yn y rondo ceir egni a momentum afieithus. Teimlwyd ar amser ei greu (1785) fod y darn yn rhy anodd o lawer i'r pianydd, ond yn nwylo John Thwaites (a sefydlodd Bedwarawd Primrose yn 2004), llifodd y cyfan yn rhwydd.
Cerddorfa a gynrychiolwyd gan y piano yn yr eitem nesaf, Gran Duo Concertante (1880) ar gyfer ffidil a bâs dwbl gan Giovanni Bottesini, ei hun yn unawdydd o fri ar y bâs. Syfrdanwyd pawb gan y chwarae penigamp a glywyd gan y ddau unawdydd,
Susanne Stanzeleit ar y ffidil a Leon Bosch ar y bâs. Roedd cyweirio'r ddau yn berffaith, a'r gynghanedd rhyngddynt yn felys o hyd. Cafwyd gan Leon Bosch seiniau anhygoel ar eithafion uchel tannau'r bâs, lle galwyd trwy gyfrwng harmoneg (harmonics) ar ansawdd offerynnau chwyth - cyn troi i lawr (ar adegau gyda hiwmor) i ddyfnderoedd nodweddiadol yr offeryn lliwgar hwn.
Tarddodd Pumawd Schubert ar gyfer Piano a Llinynnau yn A fwyaf 'Y Brithyll', lle clywir alaw ei gân boblogaidd 'Die Forelle', o gyfnod diofal (yn ystod haf 1819) a dreuliodd y cyfansoddwr 22 oed yng nghwmni ei ffrindiau agosaf. Adlewyrchir hyn oll yn naws siriol y gwaith, sy'n gorlifo ag alawon bachog a hoenus. Dalwyd i'r dim gan Bedwarawd Primrose a Leon Bosch ysbryd heulog y darn arbennig hwn, nid yn unig yn gyffredinol, ond yn y llu o fanylion sy'n nodweddiadol o gyfraniad pob offeryn - heb anghofio'r fiola (Dorothea Vogel) yng nghanol yr harmoni. Ychwanegir pwys anarferol i'r ensemble gan y bâs dwbl sy'n caniatáu i Schubert ddyblu'r alaw yn nwylo'r pianydd, effaith hudol ac atseiniol. Manteisiodd Andrew Fuller ar ei gyfle yn ystod y pedwerydd symudiad, lle mae'r soddgrwth yn datgan fel unawdydd alaw'r pysgodyn teitlog (unawd a oedd yn wobr i noddwr y Pumawd, Sylvester Paumgartner, ei hun yn sielydd amatur brwdfrydig). Yn oes Schubert fe aeth y gân wreiddiol a'r pumawd offerynnol yn syth i'r brig, a tharwyd gan Bedwarawd Primrose a Leon Bosch lwyddiant cymeradwy ar ddiweddglo'r cyngerdd cofiadwy hwn.
Diolch i Ymddiriedolaeth Southall am nawdd. Cynhaliwyd yn gynharach weithdy yn Ysgol Bro Idris (gyda nawdd gan Gyfeillion Cerdd Ieuenctid Meirionnydd), lle synnwyd disgyblion Bl. 7 ac 8 gan sgiliau'r Pedwarawd wrth iddynt bortreadu sgerbydau'n dawnsio trwy'r nos ('Danse Macabre'), sipsiwn gwylltion ('Dawnsfeydd Hwngaraidd') neu alarch unig, i enwi ond ychydig o'i eitemau. Diolch i'r ysgol am y croeso cynnes.
blown away by the dancing energy of the concluding rondo. Found notoriously difficult at the time (1785) of composition, the piano part fulfilled its starring role with élan in the hands of John Thwaites (the Quartet's founder back in 2004).
Violin and double bass now came to the fore in Giovanni Bottesini's Gran Duo Concertante of 1880, originally scored for orchestra and two double basses (an instrument on which Bottesini himself excelled). There was phenomenal playing here, Susanne Stanzeleit totally in command of the virtuoso fiddle part, and Leon Bosch likewise - but in great contrast - making the risk-taking bass part seem effortless. Close your eyes, and the harmonics at the bass's highest extremities could have been flutes; next minute the sound was (more familiarly) back down in the instrument's 'boots'. Together, violin & bass played sweetly in impeccably-tuned harmony. The audience listened and watched, as the French say, bouche bée - jaws dropping.
Schubert's 1819 'Trout' Quintet is so full of vibrant melody it's a surprise not to hear it weekly on Desert Island Discs. He began to compose it during a carefree summer spent with friends, and that mood is sustained throughout. Nor did it ever flag in this performance. The extra (and unusual) 'ballast' given by the bass enables Schubert to double his piano melodies in octaves, creating a uniquely luminous sonority. Every instrument plays its part, with special moments for viola (Dorothea Vogel) and cello (Andrew Fuller), the latter especially in the fifth variation on the titular theme tune - a reward for the work's patron Sylvester Paumgartner, himself an amateur cellist and a fan of Schubert's hit tune. The audience's reception of this concert at its close made it clear that quartet and bassist had in their turn scored 'a palpable hit'.
Thanks to the Southall Trust for helping to make this fine event possible. An afternoon workshop at Ysgol Bro Idris (supported by Cyfeillion Cerdd Ieuenctid Meirionnydd) saw Years 7 & 8 pupils amazed at the Primrose Quartet's ability to evoke midnight skeletons ('Danse Macabre'), frenetic gypsies ('Hungarian Dances') or a lone swan, to name but a few of the items played. Diolch i'r ysgol am y croeso.
Atynnwyd nifer sylweddol i Goleg Meirion-Dwyfor ar nos Wener 23ain Chwefror i wrando ar Bedwarawd Piano Primrose gyda Leon Bosch (bâs dwbl) a mwynhau uchafbwynt eu rhaglen, sef pumawd godidog Schubert 'Y Brithyll'. I agor, creuwyd argraff gref yn syth gan symudiad cyntaf Pedwarawd Piano K.478 o waith Mozart yn G leiaf, gyda'i themâu tywyll a dramatig. Troir y naws aflonydd i hiraeth yn yr andante, ac yn y rondo ceir egni a momentum afieithus. Teimlwyd ar amser ei greu (1785) fod y darn yn rhy anodd o lawer i'r pianydd, ond yn nwylo John Thwaites (a sefydlodd Bedwarawd Primrose yn 2004), llifodd y cyfan yn rhwydd.
Cerddorfa a gynrychiolwyd gan y piano yn yr eitem nesaf, Gran Duo Concertante (1880) ar gyfer ffidil a bâs dwbl gan Giovanni Bottesini, ei hun yn unawdydd o fri ar y bâs. Syfrdanwyd pawb gan y chwarae penigamp a glywyd gan y ddau unawdydd,
Susanne Stanzeleit ar y ffidil a Leon Bosch ar y bâs. Roedd cyweirio'r ddau yn berffaith, a'r gynghanedd rhyngddynt yn felys o hyd. Cafwyd gan Leon Bosch seiniau anhygoel ar eithafion uchel tannau'r bâs, lle galwyd trwy gyfrwng harmoneg (harmonics) ar ansawdd offerynnau chwyth - cyn troi i lawr (ar adegau gyda hiwmor) i ddyfnderoedd nodweddiadol yr offeryn lliwgar hwn.
Tarddodd Pumawd Schubert ar gyfer Piano a Llinynnau yn A fwyaf 'Y Brithyll', lle clywir alaw ei gân boblogaidd 'Die Forelle', o gyfnod diofal (yn ystod haf 1819) a dreuliodd y cyfansoddwr 22 oed yng nghwmni ei ffrindiau agosaf. Adlewyrchir hyn oll yn naws siriol y gwaith, sy'n gorlifo ag alawon bachog a hoenus. Dalwyd i'r dim gan Bedwarawd Primrose a Leon Bosch ysbryd heulog y darn arbennig hwn, nid yn unig yn gyffredinol, ond yn y llu o fanylion sy'n nodweddiadol o gyfraniad pob offeryn - heb anghofio'r fiola (Dorothea Vogel) yng nghanol yr harmoni. Ychwanegir pwys anarferol i'r ensemble gan y bâs dwbl sy'n caniatáu i Schubert ddyblu'r alaw yn nwylo'r pianydd, effaith hudol ac atseiniol. Manteisiodd Andrew Fuller ar ei gyfle yn ystod y pedwerydd symudiad, lle mae'r soddgrwth yn datgan fel unawdydd alaw'r pysgodyn teitlog (unawd a oedd yn wobr i noddwr y Pumawd, Sylvester Paumgartner, ei hun yn sielydd amatur brwdfrydig). Yn oes Schubert fe aeth y gân wreiddiol a'r pumawd offerynnol yn syth i'r brig, a tharwyd gan Bedwarawd Primrose a Leon Bosch lwyddiant cymeradwy ar ddiweddglo'r cyngerdd cofiadwy hwn.
Diolch i Ymddiriedolaeth Southall am nawdd. Cynhaliwyd yn gynharach weithdy yn Ysgol Bro Idris (gyda nawdd gan Gyfeillion Cerdd Ieuenctid Meirionnydd), lle synnwyd disgyblion Bl. 7 ac 8 gan sgiliau'r Pedwarawd wrth iddynt bortreadu sgerbydau'n dawnsio trwy'r nos ('Danse Macabre'), sipsiwn gwylltion ('Dawnsfeydd Hwngaraidd') neu alarch unig, i enwi ond ychydig o'i eitemau. Diolch i'r ysgol am y croeso cynnes.
The combination of piano accordion and cello, in the recital given in Coleg Meirion-Dwyfor on Friday 2nd February by Bartosz Glowacki and Corentin Chassard, was certainly unusual; but far more than that, it provided an exhilarating and memorable musical experience. Each performer was a superb advocate for his instrument, and the duo's rapport when they played together clearly grew out of long acquaintance. Adaptations of well-known melodies by composers such as Scarlatti, Vivaldi, Purcell, Bach, Handel & Schubert provided a solid 'core' to the programme, in which the audience could enjoy the familiar from a new angle. But some of the most striking contributions were solo ones.
Czech composer Vaclav Trojan's piece 'Destroyed Cathedral' grew out of a visit to Dresden in 1956, the city's wartime wreckage still apparent. From a subdued plainchant melody there emerged, as Bartosz gradually unleashed the full power of his classical accordion, the thundering resonance of a ghostly cathedral organ. Another solo of his with strong narrative was 'Archipelago Gulag' (2001) by Victor Vlasov, which began with the wind howling through the 'Zone' on a long winter's night in Siberia; ßrapping on the keyboard produced the tramp tramp ('Foot Stage') of prisoners marched for versts from colony to colony; another effect evoked 'Timber Cutting', and the monotonous sawing of logs.
Corentin introduced, and clearly loves, his 1820s German cello. He demonstrated how his bow could conjure sound from its every part - including the spike! A couple of modern items using harmonics gave a flavour of the more avant-garde scene he is involved with. Bloch's 'Prayer from Jewish Life' (1921) tapped into a deep tradition, the cello an eloquent cantor. Foot-tapping Braziian numbers brought the evening to a buoyant close, ending with Piazzolla's ever-popular 'Libertango'.
Nid yn aml y clywir cyfuniad piano-acordion a soddgrwth mewn datganiad, ond dyna beth gynigwyd gan Bartosz Glowacki a Corentin Chassard yng Ngholeg Meirion-Dwyfor ar nos Wener 2ail Chwefror. Cawsom ganddynt brofiad cofiadwy, nid yn unig am fod digwyddiad o'r math yn brin, ond yn bennaf oll oherwydd ansawdd cerddorol eu cyflwyniad. Roedd perfformiad pob un yn ddadl gref dros werth ei offeryn, ac argyhoeddodd y ddau fel deuawd hefyd. Ffurfiwyd asgwrn cefn y rhaglen gan addasiadau o alawon adnabyddus o law cyfansoddwyr megis Scarlatti, Vivaldi, Purcell, Bach, Handel a Schubert, a mwynhaodd y gynulleidfa gyfle i werthfawrogi darnau cyfarwydd o berspectif gwahanol. Llai 'saff' yr oedd rhai o'r cyfraniadau unawd, lle clywyd sawl eitem trawiadol iawn.
Tarddodd y darn 'Cadeirlan Ddinistriedig', gan y cyfansoddwr Tsiec Vaclav Trojan, o ymweliad ganddo i Dresden ym 1956; cyfnod lle roedd effaith y rhyfel ar y ddinas yn dal yn weladwy. Yn sgîl agoriad tawel trwy gyfrwng alaw plaensiant, tyfodd atseiniau tarannol organ drychiolaethus, gyda Bartosz yn rhyddhau holl nerth ei offeryn. Stori gref a gafwyd hefyd yn 'Archipelago Gulag' (2001) gan Victor Vlasov, mewn tair golygfa. Udodd y gwynt trwy 'Zona', gan alw ar nos aeafol hir yn Siberia. Trampan y carcharorion a glywyd yn 'Foot Stage' (swn bysedd Bartosz ar lawfwrdd yr acordion), wrth iddynt orfod gorymdeithio am bellterau hir o wersyll i wersyll. Creuwyd wedyn yn 'Timber Cutting', trwy effaith arall, y swn undonog o lifio boncyffion.
Yn amlwg mae Corentin Chassard yn hoff iawn o'i soddgrwth, offeryn Almaenaidd o'r 1820au. Yn ystod ei gyflwyniad iddo ddangosodd sut yr oedd o'n medru gyda'i fwa greu swn pleserus allan o bob darn o'i gorff - gan gynnwys y sbigyn! Defnyddiodd mewn cwpl o eitemau donau harmonig, i roi blas o'r byd avant-garde y mae o'n cymryd rhan ynddo. Canodd ei soddgrwth fel cantor huawdl yn 'Prayer from Jewish Life' (1921) gan Ernest Bloch, darn gyda'i wreiddiau mewn traddodiad dwfn. Daeth y noson i ben yn hoenus gyda dawnsfeydd o Frasil, a chroesawyd fel diweddglo y bytholwyrdd 'Libertango' gan Astor Piazzolla.
The combination of piano accordion and cello, in the recital given in Coleg Meirion-Dwyfor on Friday 2nd February by Bartosz Glowacki and Corentin Chassard, was certainly unusual; but far more than that, it provided an exhilarating and memorable musical experience. Each performer was a superb advocate for his instrument, and the duo's rapport when they played together clearly grew out of long acquaintance. Adaptations of well-known melodies by composers such as Scarlatti, Vivaldi, Purcell, Bach, Handel & Schubert provided a solid 'core' to the programme, in which the audience could enjoy the familiar from a new angle. But some of the most striking contributions were solo ones.
Czech composer Vaclav Trojan's piece 'Destroyed Cathedral' grew out of a visit to Dresden in 1956, the city's wartime wreckage still apparent. From a subdued plainchant melody there emerged, as Bartosz gradually unleashed the full power of his classical accordion, the thundering resonance of a ghostly cathedral organ. Another solo of his with strong narrative was 'Archipelago Gulag' (2001) by Victor Vlasov, which began with the wind howling through the 'Zone' on a long winter's night in Siberia; ßrapping on the keyboard produced the tramp tramp ('Foot Stage') of prisoners marched for versts from colony to colony; another effect evoked 'Timber Cutting', and the monotonous sawing of logs.
Corentin introduced, and clearly loves, his 1820s German cello. He demonstrated how his bow could conjure sound from its every part - including the spike! A couple of modern items using harmonics gave a flavour of the more avant-garde scene he is involved with. Bloch's 'Prayer from Jewish Life' (1921) tapped into a deep tradition, the cello an eloquent cantor. Foot-tapping Braziian numbers brought the evening to a buoyant close, ending with Piazzolla's ever-popular 'Libertango'.
Nid yn aml y clywir cyfuniad piano-acordion a soddgrwth mewn datganiad, ond dyna beth gynigwyd gan Bartosz Glowacki a Corentin Chassard yng Ngholeg Meirion-Dwyfor ar nos Wener 2ail Chwefror. Cawsom ganddynt brofiad cofiadwy, nid yn unig am fod digwyddiad o'r math yn brin, ond yn bennaf oll oherwydd ansawdd cerddorol eu cyflwyniad. Roedd perfformiad pob un yn ddadl gref dros werth ei offeryn, ac argyhoeddodd y ddau fel deuawd hefyd. Ffurfiwyd asgwrn cefn y rhaglen gan addasiadau o alawon adnabyddus o law cyfansoddwyr megis Scarlatti, Vivaldi, Purcell, Bach, Handel a Schubert, a mwynhaodd y gynulleidfa gyfle i werthfawrogi darnau cyfarwydd o berspectif gwahanol. Llai 'saff' yr oedd rhai o'r cyfraniadau unawd, lle clywyd sawl eitem trawiadol iawn.
Tarddodd y darn 'Cadeirlan Ddinistriedig', gan y cyfansoddwr Tsiec Vaclav Trojan, o ymweliad ganddo i Dresden ym 1956; cyfnod lle roedd effaith y rhyfel ar y ddinas yn dal yn weladwy. Yn sgîl agoriad tawel trwy gyfrwng alaw plaensiant, tyfodd atseiniau tarannol organ drychiolaethus, gyda Bartosz yn rhyddhau holl nerth ei offeryn. Stori gref a gafwyd hefyd yn 'Archipelago Gulag' (2001) gan Victor Vlasov, mewn tair golygfa. Udodd y gwynt trwy 'Zona', gan alw ar nos aeafol hir yn Siberia. Trampan y carcharorion a glywyd yn 'Foot Stage' (swn bysedd Bartosz ar lawfwrdd yr acordion), wrth iddynt orfod gorymdeithio am bellterau hir o wersyll i wersyll. Creuwyd wedyn yn 'Timber Cutting', trwy effaith arall, y swn undonog o lifio boncyffion.
Yn amlwg mae Corentin Chassard yn hoff iawn o'i soddgrwth, offeryn Almaenaidd o'r 1820au. Yn ystod ei gyflwyniad iddo ddangosodd sut yr oedd o'n medru gyda'i fwa greu swn pleserus allan o bob darn o'i gorff - gan gynnwys y sbigyn! Defnyddiodd mewn cwpl o eitemau donau harmonig, i roi blas o'r byd avant-garde y mae o'n cymryd rhan ynddo. Canodd ei soddgrwth fel cantor huawdl yn 'Prayer from Jewish Life' (1921) gan Ernest Bloch, darn gyda'i wreiddiau mewn traddodiad dwfn. Daeth y noson i ben yn hoenus gyda dawnsfeydd o Frasil, a chroesawyd fel diweddglo y bytholwyrdd 'Libertango' gan Astor Piazzolla.
Alexandra Vaduva's lightness of touch and lyrical sensitivity delighted her audience in Coleg Meirion-Dwyfor on Friday 12th January. With their rapid repeated notes Domenico Scarlatti's harpsichord sonatas are a challenge when adapted for piano, but the two chosen here ('Cortège' K.380 and 'Pastorale' K.9) made a perfect opening, with multiple agile trills as decoration. Another excellent choice was Schumann's evergreen 'Kinderszenen'/Scenes from Childhood, in which Alexandra moved fluently from nostalgia (the hiraeth of 'Kuriose Geschichte'/A Curious Story) to scurrying energy ('Hasche-Mann'/Blind Man's Buff) and back again ('Bittendes Kind'/Pleading Child'). A piece 'in the ancient style' by her countryman, the remarkable George Enescu (1881-1955) - teacher of Yehudi Menuhin, amongst other achievements - was entirely accessible, with its echoes of Bach and Scarlatti.
Bartók's Suite Op.14, with its Romanian and Arabic folk influences, added to the programme an at times abrasive 'edge' that felt just right at this point. Alexandra now spoke a little about Enescu (whose work she is researching at the Royal Academy), his character as well as his music - he played in hospitals during both world wars, for example. In 1916 in the peace of the Carpathian Mountains he composed his haunting 'Carillon Nocturne', which cleverly captures the clangorous overtones and dissonances of church bells. A flawless and eloquent performance of Beethoven's 'Moonlight' Sonata, with Schumann's 'Träumerei' as a touching encore, brought this varied and well-judged recital to a close.
Yn ei datganiad yng Ngholeg Meirion-Dwyfor ar 12fed Ionawr. swynodd y pianydd Alexandra Vaduva ei chynulleidfa gyda'i sensitifrwydd telynegol ac ysgafnder ei chyffyrddiad. Dangoswyd hyn yn syth yn ei darnau agoriadol, sef dau sonata gan Domenico Scarlatti, 'Cortège' K.380 a 'Pastorale' K.9: ar gyfer harpsicord yn wreiddiol, nid tasg hawdd yw creu eu triliau a'u troellau ar biano fodern. Dewis da hefyd oedd y bytholwyrdd 'Kinderszenen'/Golygfeydd Plentyndod gan Schumann, lle symudodd Alexandra'n rhwydd o hiraeth ('Kuriose Geschichte'/Stori Ryfedd) i egni ffyrnig ('Hasche-Mann'/Mwgwd y Dall) ac yn ôl i hiraeth ('Bittendes Kind'/Plentyn Erfyniol). Cyfres Op.3 wedyn 'yn yr hen arddull' gan gyfansoddwr o Romania (gwlad Alexandra ei hun) George Enescu (1881-1955), fiolinydd o fri ac athro i Yehudi Menuhin, neb llai; pleserus iawn i'r clust oedd yr atseiniau niferus o arddull Bach a Scarlatti.
Cyfrannodd Cyfres Op.14 gan Bartók, gyda'i dylanwadau gwerinol Romaniaidd ac Arabaidd, fin grafog ar adegau i'r rhaglen, gwrthgyferbyniad effeithiol. Cyn chwarae darn arall gan Enescu, eglurodd Alexandra (sy'n ymchwilio ei waith yn yr Academi Frenhinol) dipyn mwy am ei gymeriad yn ogystal â'i gerddoriaeth - roedd Enescu yn barod o hyd, er enghraifft, i berfformio mewn ysbytai trwy gydol y ddau ryfel byd. Ym 1916, yn llonyddwch y Mynyddoedd Carpathiaidd, cyfansoddodd ei 'Carillon Nocturne' gyfareddol, lle clywir argraff anghytseiniol o glychau eglwysig. I gloi'r datganiad amrywiol a lliwgar hwn cafwyd dehongliad mynegol a huawdl o Sonata 'Golau lleuad' gan Beethoven, ac yn ogystal encôr myfyriol, sef 'Träumerei' gan Schumann.
Bartók's Suite Op.14, with its Romanian and Arabic folk influences, added to the programme an at times abrasive 'edge' that felt just right at this point. Alexandra now spoke a little about Enescu (whose work she is researching at the Royal Academy), his character as well as his music - he played in hospitals during both world wars, for example. In 1916 in the peace of the Carpathian Mountains he composed his haunting 'Carillon Nocturne', which cleverly captures the clangorous overtones and dissonances of church bells. A flawless and eloquent performance of Beethoven's 'Moonlight' Sonata, with Schumann's 'Träumerei' as a touching encore, brought this varied and well-judged recital to a close.
Yn ei datganiad yng Ngholeg Meirion-Dwyfor ar 12fed Ionawr. swynodd y pianydd Alexandra Vaduva ei chynulleidfa gyda'i sensitifrwydd telynegol ac ysgafnder ei chyffyrddiad. Dangoswyd hyn yn syth yn ei darnau agoriadol, sef dau sonata gan Domenico Scarlatti, 'Cortège' K.380 a 'Pastorale' K.9: ar gyfer harpsicord yn wreiddiol, nid tasg hawdd yw creu eu triliau a'u troellau ar biano fodern. Dewis da hefyd oedd y bytholwyrdd 'Kinderszenen'/Golygfeydd Plentyndod gan Schumann, lle symudodd Alexandra'n rhwydd o hiraeth ('Kuriose Geschichte'/Stori Ryfedd) i egni ffyrnig ('Hasche-Mann'/Mwgwd y Dall) ac yn ôl i hiraeth ('Bittendes Kind'/Plentyn Erfyniol). Cyfres Op.3 wedyn 'yn yr hen arddull' gan gyfansoddwr o Romania (gwlad Alexandra ei hun) George Enescu (1881-1955), fiolinydd o fri ac athro i Yehudi Menuhin, neb llai; pleserus iawn i'r clust oedd yr atseiniau niferus o arddull Bach a Scarlatti.
Cyfrannodd Cyfres Op.14 gan Bartók, gyda'i dylanwadau gwerinol Romaniaidd ac Arabaidd, fin grafog ar adegau i'r rhaglen, gwrthgyferbyniad effeithiol. Cyn chwarae darn arall gan Enescu, eglurodd Alexandra (sy'n ymchwilio ei waith yn yr Academi Frenhinol) dipyn mwy am ei gymeriad yn ogystal â'i gerddoriaeth - roedd Enescu yn barod o hyd, er enghraifft, i berfformio mewn ysbytai trwy gydol y ddau ryfel byd. Ym 1916, yn llonyddwch y Mynyddoedd Carpathiaidd, cyfansoddodd ei 'Carillon Nocturne' gyfareddol, lle clywir argraff anghytseiniol o glychau eglwysig. I gloi'r datganiad amrywiol a lliwgar hwn cafwyd dehongliad mynegol a huawdl o Sonata 'Golau lleuad' gan Beethoven, ac yn ogystal encôr myfyriol, sef 'Träumerei' gan Schumann.
The cold night outside seemed to add to the intensity of audience concentration surrounding guitarist Laura Snowden, in her recital at Coleg Meirion-Dwyfor on Friday 1st December. Technically brilliant, her style was in no way flamboyant but instead drew listeners into her world. This comprised the familiar and the new, across a variety of styles and periods. An arrangement by Julian Bream of Bach's 3rd Cello Suite made an excellent opener, its sequence of dance movements immediately engaging; as was Fernando Sor's Variations on a Theme by Mozart. So attention was fully focused for contemporary Finnish composer Olli Mustonen's Sonata No. 2, which Laura had given its world premiere at the Wigmore Hall the week before. Its drama and mystery came across vividly, as did the dawn atmosphere of Laura's short piece 'Anpao'.
Villa Lobos's Five Preludes are well known and rightly so, immediately sparking this programme's second half into colourful life with their evocation of Brazilian street music. 19th-century composer Giulio Regondi was himself a guitar virtuoso, already dazzling critics in Paris at the age of 8! His Introduction & Caprice Op.23 enabled Laura Snowden to show immense dexterity as well as musical sensitivity, bringing to a close a recital of high quality presented with warmth and simplicity. It was very warmly received.
Cyfrannodd rywsut yr oerni tu allan at ddwyster y sylw a roddwyd gan ei chynulleidfa i'r gitarydd Laura Snowden, yn ei datganiad yng Ngholeg Meirion-Dwyfor ar nos Wener 1af Rhagfyr. Er yn ddisglair ar ran ei thechneg, nid yw dull Laura yn un llachar o bell ffordd - mae'n well ganddi'ch tynnu chi i mewn yn dyner i'w byd. Yn y byd hwn ceir y cyfarwydd ochr yn ochr â'r newydd, ar draws ystod eang o gyfnodau ac arddulliau. Dewis da oedd agor ei rhaglen gyda threfniant Julian Bream o 3ydd Suite Bach ar gyfer Soddgrwth, lle mae cyfres o symudiadau dawns yn diddanu'n syth; deniadol iawn hefyd oedd Amrywiaethau Fernando Sor ar Thema gan Mozart. Fel canlyniad i'r paratoad graddol hwn, 'roedd y gwrandawyr yn barod am gyfansoddiad mwy heriol. Rhoddwyd gan Laura'r wythnos flaenorol, yn Neuadd Wigmore, berfformiad cyntaf erioed o 2il Sonata Olli Mustonen, cyfansoddwr cyfoes o'r Ffindir.
Cyfleuwyd ganddi i'r dim ddrama a dirgelwch pob un o dri symudiad y sonata. Yr un mor llawn awyrgylch oedd darn byr gan Laura ei hun, 'Anpao', sy'n galw ar deimladau'n gysylltiedig â'r wawr.
Taniwyd ail hanner y rhaglen yn lliwgar gan Bump Preliwd Villa Lobos, darnau adnabyddus sy'n darlunio'n fywiog bywyd stryd dinasoedd Brasil. Pencampwr ar y gitâr, fel Villa Lobos, oedd Giulio Regondi, cyfansoddwr o'r 19eg Ganrif a syfrdanodd wybodusion Paris pan ddim ond 8 oed! Cafwyd gan Laura yn narn enwocaf Regondi, Introduction et Caprice Op.23, gyfle i ddangos i'r eithaf ei deheurwydd a'i sensitifrwydd cerddorol, mewn perfformiad a derfynodd ddatganiad o safon uchel iawn. Cyflwynwyd y cyfan ganddi'n gynnes a diymhongar; bu cymeradwyaeth ei chynulleidfa'n wresog a brwd.
Villa Lobos's Five Preludes are well known and rightly so, immediately sparking this programme's second half into colourful life with their evocation of Brazilian street music. 19th-century composer Giulio Regondi was himself a guitar virtuoso, already dazzling critics in Paris at the age of 8! His Introduction & Caprice Op.23 enabled Laura Snowden to show immense dexterity as well as musical sensitivity, bringing to a close a recital of high quality presented with warmth and simplicity. It was very warmly received.
Cyfrannodd rywsut yr oerni tu allan at ddwyster y sylw a roddwyd gan ei chynulleidfa i'r gitarydd Laura Snowden, yn ei datganiad yng Ngholeg Meirion-Dwyfor ar nos Wener 1af Rhagfyr. Er yn ddisglair ar ran ei thechneg, nid yw dull Laura yn un llachar o bell ffordd - mae'n well ganddi'ch tynnu chi i mewn yn dyner i'w byd. Yn y byd hwn ceir y cyfarwydd ochr yn ochr â'r newydd, ar draws ystod eang o gyfnodau ac arddulliau. Dewis da oedd agor ei rhaglen gyda threfniant Julian Bream o 3ydd Suite Bach ar gyfer Soddgrwth, lle mae cyfres o symudiadau dawns yn diddanu'n syth; deniadol iawn hefyd oedd Amrywiaethau Fernando Sor ar Thema gan Mozart. Fel canlyniad i'r paratoad graddol hwn, 'roedd y gwrandawyr yn barod am gyfansoddiad mwy heriol. Rhoddwyd gan Laura'r wythnos flaenorol, yn Neuadd Wigmore, berfformiad cyntaf erioed o 2il Sonata Olli Mustonen, cyfansoddwr cyfoes o'r Ffindir.
Cyfleuwyd ganddi i'r dim ddrama a dirgelwch pob un o dri symudiad y sonata. Yr un mor llawn awyrgylch oedd darn byr gan Laura ei hun, 'Anpao', sy'n galw ar deimladau'n gysylltiedig â'r wawr.
Taniwyd ail hanner y rhaglen yn lliwgar gan Bump Preliwd Villa Lobos, darnau adnabyddus sy'n darlunio'n fywiog bywyd stryd dinasoedd Brasil. Pencampwr ar y gitâr, fel Villa Lobos, oedd Giulio Regondi, cyfansoddwr o'r 19eg Ganrif a syfrdanodd wybodusion Paris pan ddim ond 8 oed! Cafwyd gan Laura yn narn enwocaf Regondi, Introduction et Caprice Op.23, gyfle i ddangos i'r eithaf ei deheurwydd a'i sensitifrwydd cerddorol, mewn perfformiad a derfynodd ddatganiad o safon uchel iawn. Cyflwynwyd y cyfan ganddi'n gynnes a diymhongar; bu cymeradwyaeth ei chynulleidfa'n wresog a brwd.
It quickly became apparent, in their Coleg Meirion-Dwyfor recital on Friday 3rd November, how Peter Harris (tenor) and Hamish Brown (piano) had come to be joint winners last March of the 2017 Oxford Lieder Young Artist Platform Award. Both musicians were above all expressive. Peter Harris's strong and flexible tenor had a wide range of dynamics; his accompanist brought out every nuance afforded by the chosen scores. Songs by Strauss, Mahler, Gurney and Britten gave the pair opportunities for a wide range of lyrical and dramatic effects, and there were also touches of humour along the way. Hamish conjured up vividly the tinkling stream that warns and punishes (in a song by Strauss) the seven drinking brothers who cannot bear to utter the word 'Wasser'/water. Peter enjoyed bringing to life the pompous vicar who denies the choirmaster a musical burial in Britten's 'Winter Words' (to poems by Hardy). Both were in their element characterising cuckoo, nightingale and donkey (braying and all) in Mahler's 'Lob des hohen Verstands'/'In praise of higher understanding'. First World War composer Ivor Gurney's 'Ludlow & Teme' Housman settings came over as evocative and deeply affecting.
Thanks are due to Oxford Lieder for sponsorship, and to Aberystwyth Music Club (where the programme had been heard the night before) for supplying song texts and translations. The duo will be appearing for Welshpool Music Club in January, and can be highly recommended.
Daeth i'r amlwg yn fuan, wrth wrando ar ddatganiad Peter Harris (tenor) a Hamish Brown (piano) yng Ngholeg Meirion-Dwyfor ar 3ydd Tachwedd, sut yr oeddent wedi llwyddo i rannu fis Mawrth diwethaf Wobr Celfyddyddion Ifanc 2017 Gwyl Lieder Rhydychen. Mae gan y ddau ddoniau mynegiannol tu hwnt. Dangoswyd gan lais cryf a hyblyg Peter Harris ystod eang o nodweddiadau dynamig; lliwiodd ei gyfeilydd bob arlliw a chyffyrdiad cywrain yn y miwsig a ddewiswyd. Ar draws caneuon gan Strauss, Mahler, Gurney a Britten clywyd pob math o effeithiau telynegol a dramatig, heb anghofio'r rhai ysgafnach. O ddwylo Hamish daeth tincial pefriol y nant (mewn cân gan Strauss) sydd yn rhybuddio a chosbi'r saith brawd-yfwr sy'n cau ynganu'r gair 'Wasser'/dwr. Cafodd Peter hwyl wrth ddynwared llais rhodresgar y ficer sy'n gwadu claddiad cerddorol i'r côr-feistr yn 'Winter Words' gan Britten (i gerddi gan Hardy). Bu'r ddau wrth eu boddau gan gymeriadu'r gwcw, yr eos a'r asyn (ynghyd â'i frefiadau) yn y gân ddoniol gan Mahler 'Lob des hohen Verstands'/'Er clod i ddealltwriaeth uwch'. Galwodd eu dehongliad o'r cylch 'Ludlow & Teme' (Housman) gan Ivor Gurney, cyfansoddwr o'r Rhyfel Byd Gyntaf, ar deimladau ingol a dwfn.
Diolch i Wyl Lieder Rhydychen am nawdd, ac i Glwb Cerdd Aberystwyth (lle cyflwynwyd y rhaglen hon y noson cynt) am rannu testunau a chyfieithiadau. Bydd y deuawd arbennig hwn yn ymddangos yng Nghlwb Cerdd y Trallwng fis Ionawr - maent yn werth eu clywed
Thanks are due to Oxford Lieder for sponsorship, and to Aberystwyth Music Club (where the programme had been heard the night before) for supplying song texts and translations. The duo will be appearing for Welshpool Music Club in January, and can be highly recommended.
Daeth i'r amlwg yn fuan, wrth wrando ar ddatganiad Peter Harris (tenor) a Hamish Brown (piano) yng Ngholeg Meirion-Dwyfor ar 3ydd Tachwedd, sut yr oeddent wedi llwyddo i rannu fis Mawrth diwethaf Wobr Celfyddyddion Ifanc 2017 Gwyl Lieder Rhydychen. Mae gan y ddau ddoniau mynegiannol tu hwnt. Dangoswyd gan lais cryf a hyblyg Peter Harris ystod eang o nodweddiadau dynamig; lliwiodd ei gyfeilydd bob arlliw a chyffyrdiad cywrain yn y miwsig a ddewiswyd. Ar draws caneuon gan Strauss, Mahler, Gurney a Britten clywyd pob math o effeithiau telynegol a dramatig, heb anghofio'r rhai ysgafnach. O ddwylo Hamish daeth tincial pefriol y nant (mewn cân gan Strauss) sydd yn rhybuddio a chosbi'r saith brawd-yfwr sy'n cau ynganu'r gair 'Wasser'/dwr. Cafodd Peter hwyl wrth ddynwared llais rhodresgar y ficer sy'n gwadu claddiad cerddorol i'r côr-feistr yn 'Winter Words' gan Britten (i gerddi gan Hardy). Bu'r ddau wrth eu boddau gan gymeriadu'r gwcw, yr eos a'r asyn (ynghyd â'i frefiadau) yn y gân ddoniol gan Mahler 'Lob des hohen Verstands'/'Er clod i ddealltwriaeth uwch'. Galwodd eu dehongliad o'r cylch 'Ludlow & Teme' (Housman) gan Ivor Gurney, cyfansoddwr o'r Rhyfel Byd Gyntaf, ar deimladau ingol a dwfn.
Diolch i Wyl Lieder Rhydychen am nawdd, ac i Glwb Cerdd Aberystwyth (lle cyflwynwyd y rhaglen hon y noson cynt) am rannu testunau a chyfieithiadau. Bydd y deuawd arbennig hwn yn ymddangos yng Nghlwb Cerdd y Trallwng fis Ionawr - maent yn werth eu clywed
Côr Rhuthun a'r Cylch delivered everything hoped of them in their concert for Dolgellau Music Club at Coleg Meirion-Dwyfor on Friday 13th October, and got the Club's 2017-18 season off to the best possible start. In Robat Arwyn the choir have not only a first-rate accompanist-cum-conductor but also an inspiring composer who has given them, and other musicians far and wide, some wonderful melodies to perform. Many of these were featured in this programme - Brenin y sêr, Yfory ddaw, Benedictus (as piano solo), Anfonaf angel - together with other favourites such as 'O nefol addfwyn Oen' and 'O Gymru'. The balance of voices seemed just right, and the choir's tone and intonation never faltered.
As well as providing five piano solos himself, Robat Arwyn accompanied three excellent soloists from within the choir's ranks. Soprano Kate Griffiths was in glorious voice for Handel's 'Lascia ch'io pianga' and Mozart's 'Alleluia'; baritone Meirion Wyn Jones gave noble renderings of 'Y Dymestl' and 'Bryniau aur fy gwlad'; and young Elis Jones's warm tenor rang true in 'Llanrwst' and 'O na byddai'n haf o hyd'. This mixture of choral and solo numbers made for a most successful recital overall, which was met with enthusiasm by a highly appreciative audience.
Cyflawnwyd y disgwyliadau i gyd gan Gôr Rhuthun a'r Cylch yn eu cyngerdd yng Ngholeg Meirion-Dwyfor ar nos Wener 13eg Hydref, a agorodd tymor 2017-18 y Clwb.
Arweinwyd y Côr o'r piano gan Robat Arwyn, a gyfrannodd yn ogystal sawl unawd o'i waith ei hun megis 'Benedictus' ac 'Ave Maria: maddau i mi'. Mae'r Côr (a'r byd cerdd i gyd) yn lwcus ohono a’i ddawn fel cyfansoddwr, a chlywyd ganddynt sawl ffefryn arall o'i waith megis 'Brenin y sêr', 'Yfory ddaw' ac 'Anfonaf angel'. Mwynhawyd hefyd ddarnau poblogaidd megis 'O nefol addfwyn Oen' (Sioned Williams) ac 'O Gymru' (Rhys Jones), a bu ansawdd a chydbwysedd y lleisiau'n ardderchog bob tro. Yn y darnau digyfeiliant - 'Lux aeterna' (Robat Arwyn' a 'Gweddi'r Arglwydd' (Gwenda Williams) - ni fethodd y traw am eiliad.
Rhwng y darnau corawl cyfeiliodd Robat Arwyn i unawdwyr o safon uchel iawn. Nid trwy hap y mae Kate Griffiths wedi ennill deirgwaith yr Unawd Soprano yn y Genedlaethol, a chlywyd ei llais pur ar ei orau yn 'Ombra mai fu' (gyda'r côr) a 'Lascia ch'io pianga' o waith Handel, ac 'Alleluia' gan Mozart. Atseiniodd yn urddasol llais baritôn cyfoethog Meirion Wyn Jones (Rhuban Glas 2008) yn 'Y Dymestl' a 'Bryniau aur fy gwlad'. I'r ddau brofiadol hyn ychwanegwyd llais cynnes y tenor ifanc Elis Jones (3ydd ar yr Unawd Tenor dan 25 eleni), a gyfleodd 'Llanrwst' ac 'O na byddai'n haf o hyd' mewn modd diffuant a thelynegol dros ben.
Llwyddodd y cymysgedd hwn o unawdau a chyfraniadau corawl i greu rhaglen gyfan a blesiodd y gynulleidfa'n fawr iawn, fel y daeth yn amlwg yn ei chymeradwyaeth hael ar ddiwedd y noson.
As well as providing five piano solos himself, Robat Arwyn accompanied three excellent soloists from within the choir's ranks. Soprano Kate Griffiths was in glorious voice for Handel's 'Lascia ch'io pianga' and Mozart's 'Alleluia'; baritone Meirion Wyn Jones gave noble renderings of 'Y Dymestl' and 'Bryniau aur fy gwlad'; and young Elis Jones's warm tenor rang true in 'Llanrwst' and 'O na byddai'n haf o hyd'. This mixture of choral and solo numbers made for a most successful recital overall, which was met with enthusiasm by a highly appreciative audience.
Cyflawnwyd y disgwyliadau i gyd gan Gôr Rhuthun a'r Cylch yn eu cyngerdd yng Ngholeg Meirion-Dwyfor ar nos Wener 13eg Hydref, a agorodd tymor 2017-18 y Clwb.
Arweinwyd y Côr o'r piano gan Robat Arwyn, a gyfrannodd yn ogystal sawl unawd o'i waith ei hun megis 'Benedictus' ac 'Ave Maria: maddau i mi'. Mae'r Côr (a'r byd cerdd i gyd) yn lwcus ohono a’i ddawn fel cyfansoddwr, a chlywyd ganddynt sawl ffefryn arall o'i waith megis 'Brenin y sêr', 'Yfory ddaw' ac 'Anfonaf angel'. Mwynhawyd hefyd ddarnau poblogaidd megis 'O nefol addfwyn Oen' (Sioned Williams) ac 'O Gymru' (Rhys Jones), a bu ansawdd a chydbwysedd y lleisiau'n ardderchog bob tro. Yn y darnau digyfeiliant - 'Lux aeterna' (Robat Arwyn' a 'Gweddi'r Arglwydd' (Gwenda Williams) - ni fethodd y traw am eiliad.
Rhwng y darnau corawl cyfeiliodd Robat Arwyn i unawdwyr o safon uchel iawn. Nid trwy hap y mae Kate Griffiths wedi ennill deirgwaith yr Unawd Soprano yn y Genedlaethol, a chlywyd ei llais pur ar ei orau yn 'Ombra mai fu' (gyda'r côr) a 'Lascia ch'io pianga' o waith Handel, ac 'Alleluia' gan Mozart. Atseiniodd yn urddasol llais baritôn cyfoethog Meirion Wyn Jones (Rhuban Glas 2008) yn 'Y Dymestl' a 'Bryniau aur fy gwlad'. I'r ddau brofiadol hyn ychwanegwyd llais cynnes y tenor ifanc Elis Jones (3ydd ar yr Unawd Tenor dan 25 eleni), a gyfleodd 'Llanrwst' ac 'O na byddai'n haf o hyd' mewn modd diffuant a thelynegol dros ben.
Llwyddodd y cymysgedd hwn o unawdau a chyfraniadau corawl i greu rhaglen gyfan a blesiodd y gynulleidfa'n fawr iawn, fel y daeth yn amlwg yn ei chymeradwyaeth hael ar ddiwedd y noson.
Holborne Brass Ensemble
A rousing finale, kindly sponsored by Mrs Alison Wilkinson, brought the 2016-7 series to an end in the Coleg on Friday 7th April with a dynamic evening's entertainment provided by the Holborne Brass Ensemble. The group presented just the right mix of down the line classical arrangements ('Girl with the Flaxen Hair', 'Air on a G string') showing to advantage the quintet's rich sonorities; jazz numbers ('12th St Rag', or Dixieland hit 'Tuba Tiger Rag' with solo by Phil Green); pop covers (fine adaptations by Rob Willis of 'Yesterday' and 'Honey Pie'); and more off-the-wall contributions such as the jazz/classical 'Saints Hallelujah' in which a trombone solo rendering from Les Whitehouse of 'When all the Saints' was blended with bursts of the Hallelujah chorus from the rest. There was a lot of fun along the way: in the Souza march 'Washington Post' for example, the ensemble's members marched in different directions round the hall and succeeded in reuniting at their starting-point just as they reached the closing bars.
Highlights from the William Tell Overture took the music to vertiginous speeds.
These are just samples from a generous programme of more than twenty items, all skilfully introduced by lead trumpeter Trevor Jones. There was variety too in the colourings, with Greg McEwan adding piccolo trumpet brightness to Roger May's 'The Agents' (a piece sent to the band), and percussion and vocal touches here and there. The warmth of Tim Stidwell's French horn playing was ever-present. Altogether this was as uplifting an ending as could have been wished for from a highly professional group who convey immense joie-de-vivre; the event crowned another successful and varied season's music-making.
Many thanks to all sponsors and supporters, and to Coleg Meirion-Dwyfor for use of the venue. The 2017-8 series will begin on Friday 13th October with a concert (postponed from last October) to be given by Côr Rhuthun under their conductor Robat Arwyn.
Yn y Coleg ar 7fed Ebrill cafwyd diweddglo cyffrous i dymor 2016-17 (wedi'i noddi'n garedig gan Mrs Alison Wilkinson), diolch i ddoniau a hoenusrwydd Ensemble Pres Holborne. Cyflwynwyd ganddynt gymysgfa foddhaol o drefniannau clasurol ('Y Ferch â'r Gwallt Melyn'', 'Alaw ar Dant G') a bwysleisiodd soniarusrwydd melys y pumawd; darnau jazz ('12th St Rag', neu'r ffefryn Dixieland 'Tuba Tiger Rag' gydag unawd gan Phil Green); caneuon pop (trefniannau arbennig gan Rob Willis o 'Yesterday' a 'Honey Pie'); a chyfraniadau dipyn mwy anghyffredin megis y darn jazz/clasurol 'Saints Hallelujah', lle clywyd pytiau bach o 'When all the Saints' gan drombôn Les Whitehouse ymhlith hyrddiau o Gorws Hallelujah gan y lleill! Enghraifft arall o hwyl ac asbri'r grwp oedd ymdeithgan Souza 'Washington Post', lle martsiodd yr aelodau i gyd mewn cyfeiriadau gwahanol o gwmpas y neuadd, gan lwyddo i ailgyrraedd eu mannau cychwyn yn ystod mesurau ola'r gerddoriaeth. Cyrhaeddwyd cyflymderau pensyfrdanol yn ystod Agorawd William Tell.
Samplau'n unig yw'r uchod allan o raglen o dros ugain o ddarnau, pob un wedi'i gyflwyno'n grefftus gan brif drympedwr Trevor Jones. Amrywyd lliwiau'r sain o ddarn i ddarn: ychwanegodd trymped piccolo Greg McEwan ddisgleirdeb i 'The Agents' (gwaith a anfonwyd i'r band gan ei awdur Roger May), ac ychwanegwyd cyffyrddiadau lleisiol neu daro yma ac acw. Cynheswyd ansawdd y sain gan gorn Ffrengig Tim Stidwell drwy gydol y rhaglen.
Dyna ffordd berffaith o ddod â thymor 2016-17 i ben, yng nghwmni grwp profesiynol iawn sy'n gwybod sut i greu adloniant mewn modd siriol ac afieithus. Coronwyd ganddynt dymor llwyddiannus arall o gerddoriaeth amrywiol a chofiadwy. Diolchiadau mawr i bawb sydd wedi noddi neu gefnogi'r gyfres, ac i'r Coleg am ddefnydd y lleoliad. Bydd cyfres 2017-18 yn dechrau ar 13eg Hydref yng nghwmni Côr Rhuthun a'r Cylch, dan faton eu maestro y cyfansoddwr Robat Arwyn.
Highlights from the William Tell Overture took the music to vertiginous speeds.
These are just samples from a generous programme of more than twenty items, all skilfully introduced by lead trumpeter Trevor Jones. There was variety too in the colourings, with Greg McEwan adding piccolo trumpet brightness to Roger May's 'The Agents' (a piece sent to the band), and percussion and vocal touches here and there. The warmth of Tim Stidwell's French horn playing was ever-present. Altogether this was as uplifting an ending as could have been wished for from a highly professional group who convey immense joie-de-vivre; the event crowned another successful and varied season's music-making.
Many thanks to all sponsors and supporters, and to Coleg Meirion-Dwyfor for use of the venue. The 2017-8 series will begin on Friday 13th October with a concert (postponed from last October) to be given by Côr Rhuthun under their conductor Robat Arwyn.
Yn y Coleg ar 7fed Ebrill cafwyd diweddglo cyffrous i dymor 2016-17 (wedi'i noddi'n garedig gan Mrs Alison Wilkinson), diolch i ddoniau a hoenusrwydd Ensemble Pres Holborne. Cyflwynwyd ganddynt gymysgfa foddhaol o drefniannau clasurol ('Y Ferch â'r Gwallt Melyn'', 'Alaw ar Dant G') a bwysleisiodd soniarusrwydd melys y pumawd; darnau jazz ('12th St Rag', neu'r ffefryn Dixieland 'Tuba Tiger Rag' gydag unawd gan Phil Green); caneuon pop (trefniannau arbennig gan Rob Willis o 'Yesterday' a 'Honey Pie'); a chyfraniadau dipyn mwy anghyffredin megis y darn jazz/clasurol 'Saints Hallelujah', lle clywyd pytiau bach o 'When all the Saints' gan drombôn Les Whitehouse ymhlith hyrddiau o Gorws Hallelujah gan y lleill! Enghraifft arall o hwyl ac asbri'r grwp oedd ymdeithgan Souza 'Washington Post', lle martsiodd yr aelodau i gyd mewn cyfeiriadau gwahanol o gwmpas y neuadd, gan lwyddo i ailgyrraedd eu mannau cychwyn yn ystod mesurau ola'r gerddoriaeth. Cyrhaeddwyd cyflymderau pensyfrdanol yn ystod Agorawd William Tell.
Samplau'n unig yw'r uchod allan o raglen o dros ugain o ddarnau, pob un wedi'i gyflwyno'n grefftus gan brif drympedwr Trevor Jones. Amrywyd lliwiau'r sain o ddarn i ddarn: ychwanegodd trymped piccolo Greg McEwan ddisgleirdeb i 'The Agents' (gwaith a anfonwyd i'r band gan ei awdur Roger May), ac ychwanegwyd cyffyrddiadau lleisiol neu daro yma ac acw. Cynheswyd ansawdd y sain gan gorn Ffrengig Tim Stidwell drwy gydol y rhaglen.
Dyna ffordd berffaith o ddod â thymor 2016-17 i ben, yng nghwmni grwp profesiynol iawn sy'n gwybod sut i greu adloniant mewn modd siriol ac afieithus. Coronwyd ganddynt dymor llwyddiannus arall o gerddoriaeth amrywiol a chofiadwy. Diolchiadau mawr i bawb sydd wedi noddi neu gefnogi'r gyfres, ac i'r Coleg am ddefnydd y lleoliad. Bydd cyfres 2017-18 yn dechrau ar 13eg Hydref yng nghwmni Côr Rhuthun a'r Cylch, dan faton eu maestro y cyfansoddwr Robat Arwyn.
Plattis
Music Club
Those who'd set the match to record and came to hear the Piatti Quartet in Coleg Meirion-Dwyfor on Friday 10th March had the best of both worlds, enjoying a time-lapsed Wales victory and a superb evening's music. The Piattis began their recital with Haydn's Op.20 No.2, the second of a miraculous set of six that mark (around 1770) the birth of the string quartet as we know it - in the sense that all four players are equal performers. They certainly were in this rendering, with tone evenly matched and close rapport throughout. A jump to the 1930s and Britten's three youthful Divertimenti made an excellent contrast, all three pieces having some 20th-century 'jagged edges' whilst being instantly enjoyable. Turina's 'Bullfighter's Prayer' of 1925, evoking the toreador on his knees in a small incense-filled chapel before going out to face the crowds, hot sun and possible death, made a vivid close to the first half.
It has been said that Brahms's second string quartet, Op.51 No.2 in A minor, is 'a tale of two cities, Budapest and Vienna', meaning that it combines the fire of the Hungarian gypsy tradition with the sophistication of quartet construction dating back to Haydn. The Piatti Quartet were fully equal to both challenges, with impeccable tuning and respect for dynamics combined with an intensity and emotional engagement that had the audience hanging on every note. It was already clear from the rush for CDs in the interval that this programme was going down extremely well, and so it proved to the end.
Many thanks to the Southall Trust for generous sponsorship of this event.. The final concert of the 2016-7 series, at 8.00pm (not 7.30) on Friday 7th April in Coleg Meirion-Dwyfor, will be given by the Holborne Brass Ensemble.
Clwb Cerdd
Cafwyd y gorau allan o ddau fyd gan y rhai a oedd wedi gosod eu hoffer teledu i recordio'r gêm Cymru-Iwerddon cyn dod i ddatganiad Pedwarawd Llinynnol Piatti yng Ngholeg Meirion-Dwyfor ar nos Wener 10fed Mawrth: buddugoliaeth i'w blasu ar eu hamdden nes ymlaen, a chyn hynny, noson arbennig o gerddoriaeth siambr. Agorodd y pedwarawd eu cyflwyniad gyda Op.20 Rh.2 gan Haydn, yr ail mewn set wyrthiol lle creodd 'Papa' Haydn (tua 1770) y pedwarawd llinynnol fel yr adnabyddir hyd heddiw - hynny yw, gyda phob rhan yn gwneud cyfraniad cyfartal. Dyna fel yr oedd, yn bendant, yn y dehongliad hwn, gydag ansawdd tôn cyson ac ymdeimlad agos rhwng y pedwar offerynnydd.
Dilynwyd hyn gyda naid i'r 20fed Ganrif a '3 Divertimenti' (1936) gan Benjamin Britten (cyfansoddwr ifanc ar y pryd), cyferbyniad effeithiol o ystyried bod y tair elfen (Ymdeithgan, Walts a Bwrlésg) yn 'fodern' o ran cyffyrddiadau harmonig a thechnegol, ac eto'n hawdd iawn eu mwynhau'n syth. Daeth yr hanner cyntaf i ben gyda 'Gweddi'r Toreador' (1925) gan Joaquín Turina, lle gelwir ar lun o'r ymladdwr teirw ar ei benliniau mewn capel bach llawn arogldarth, cyn iddo fynd allan i wynebu'r dorf, haul poeth ac o bosib, farwolaeth.
Yn ôl rhai mae ail bedwarawd Brahms Op.51 Rh.2 yn A leiaf yn 'chwedl dwy ddinas, Budapest a Vienna' - mewn geiriau eraill, cyfunir ynddo dân y traddodiad sipsiwn Hwngaraidd gydag adeiladwaith soffistigedig y pedwarawd ers dyddiau Haydn. Meistrolodd Pedwarawd Piatti'r her o bob ochr, wrth barchu gofynion technegol y darn tra'n creu dwyster emosiynol a gipiodd yn llwyr sylw ac ymglymiad eu gwrandawyr. Yn ystod yr egwyl amlygwyd gan werthiant poeth eu crynoddisgiau bod perfformiad y 'Piattis' yn plesio eu cynulleidfa'n fawr iawn, a dyna fel yr oedd tan y diwedd.
Diolch i Ymddiriedolaeth Southall am noddi'r digwyddiad neilltuol hwn. Cyflwynir cyngerdd olaf cyfres 2016-17 ar 7fed Ebrill yng Ngholeg Meirion-Dwyfor gan Ensemble Pres Holborne (am 8.00yh, nid 7.30).
Those who'd set the match to record and came to hear the Piatti Quartet in Coleg Meirion-Dwyfor on Friday 10th March had the best of both worlds, enjoying a time-lapsed Wales victory and a superb evening's music. The Piattis began their recital with Haydn's Op.20 No.2, the second of a miraculous set of six that mark (around 1770) the birth of the string quartet as we know it - in the sense that all four players are equal performers. They certainly were in this rendering, with tone evenly matched and close rapport throughout. A jump to the 1930s and Britten's three youthful Divertimenti made an excellent contrast, all three pieces having some 20th-century 'jagged edges' whilst being instantly enjoyable. Turina's 'Bullfighter's Prayer' of 1925, evoking the toreador on his knees in a small incense-filled chapel before going out to face the crowds, hot sun and possible death, made a vivid close to the first half.
It has been said that Brahms's second string quartet, Op.51 No.2 in A minor, is 'a tale of two cities, Budapest and Vienna', meaning that it combines the fire of the Hungarian gypsy tradition with the sophistication of quartet construction dating back to Haydn. The Piatti Quartet were fully equal to both challenges, with impeccable tuning and respect for dynamics combined with an intensity and emotional engagement that had the audience hanging on every note. It was already clear from the rush for CDs in the interval that this programme was going down extremely well, and so it proved to the end.
Many thanks to the Southall Trust for generous sponsorship of this event.. The final concert of the 2016-7 series, at 8.00pm (not 7.30) on Friday 7th April in Coleg Meirion-Dwyfor, will be given by the Holborne Brass Ensemble.
Clwb Cerdd
Cafwyd y gorau allan o ddau fyd gan y rhai a oedd wedi gosod eu hoffer teledu i recordio'r gêm Cymru-Iwerddon cyn dod i ddatganiad Pedwarawd Llinynnol Piatti yng Ngholeg Meirion-Dwyfor ar nos Wener 10fed Mawrth: buddugoliaeth i'w blasu ar eu hamdden nes ymlaen, a chyn hynny, noson arbennig o gerddoriaeth siambr. Agorodd y pedwarawd eu cyflwyniad gyda Op.20 Rh.2 gan Haydn, yr ail mewn set wyrthiol lle creodd 'Papa' Haydn (tua 1770) y pedwarawd llinynnol fel yr adnabyddir hyd heddiw - hynny yw, gyda phob rhan yn gwneud cyfraniad cyfartal. Dyna fel yr oedd, yn bendant, yn y dehongliad hwn, gydag ansawdd tôn cyson ac ymdeimlad agos rhwng y pedwar offerynnydd.
Dilynwyd hyn gyda naid i'r 20fed Ganrif a '3 Divertimenti' (1936) gan Benjamin Britten (cyfansoddwr ifanc ar y pryd), cyferbyniad effeithiol o ystyried bod y tair elfen (Ymdeithgan, Walts a Bwrlésg) yn 'fodern' o ran cyffyrddiadau harmonig a thechnegol, ac eto'n hawdd iawn eu mwynhau'n syth. Daeth yr hanner cyntaf i ben gyda 'Gweddi'r Toreador' (1925) gan Joaquín Turina, lle gelwir ar lun o'r ymladdwr teirw ar ei benliniau mewn capel bach llawn arogldarth, cyn iddo fynd allan i wynebu'r dorf, haul poeth ac o bosib, farwolaeth.
Yn ôl rhai mae ail bedwarawd Brahms Op.51 Rh.2 yn A leiaf yn 'chwedl dwy ddinas, Budapest a Vienna' - mewn geiriau eraill, cyfunir ynddo dân y traddodiad sipsiwn Hwngaraidd gydag adeiladwaith soffistigedig y pedwarawd ers dyddiau Haydn. Meistrolodd Pedwarawd Piatti'r her o bob ochr, wrth barchu gofynion technegol y darn tra'n creu dwyster emosiynol a gipiodd yn llwyr sylw ac ymglymiad eu gwrandawyr. Yn ystod yr egwyl amlygwyd gan werthiant poeth eu crynoddisgiau bod perfformiad y 'Piattis' yn plesio eu cynulleidfa'n fawr iawn, a dyna fel yr oedd tan y diwedd.
Diolch i Ymddiriedolaeth Southall am noddi'r digwyddiad neilltuol hwn. Cyflwynir cyngerdd olaf cyfres 2016-17 ar 7fed Ebrill yng Ngholeg Meirion-Dwyfor gan Ensemble Pres Holborne (am 8.00yh, nid 7.30).
Richard and Savitri
Music Club
The fine January piano recital by Mauro lo Conte was followed, in Coleg Meirion-Dwyfor on Friday 10th February, by an equally impressive evening of quality playing from Savitri Grier (violin) and Richard Uttley (piano). Savitri was awarded a 2015 Philip & Dorothy Green Award by Making Music (sponsors of this recital), and both she and Richard have been selected by the Young Concert Artists Trust: on the evidence of their Dolgellau performance, it was not hard to see why. They shine both technically and musically, and to hear them is inspiring.
Their programme gave full measure and was very well chosen, with 'classics' from Mozart and Brahms to open and close, and 20th-Century pieces by Enescu and Stravinsky in between. The influence of Romanian folk music on Enescu's 3rd Sonata makes it highly accessible, with challenge too in its modernistic dissonances. Stravinsky's 'Suite Italienne', with its gloss on Pergolesi dance-tunes, is also immediately enjoyable, and yet is more than pastiche with its spiky rhythms and playful harmonies. Both pieces held the attention from first to last. Mozart (his Sonata in B flat) never fails to astound with the inventiveness of his melodic and decorative ideas, realised here with aplomb by Savitri and Richard. For Brahms's mighty Sonata No. 3 in D minor the duo found the extra romantic resonance the piece demands, making the most of its exciting shifts of dynamic and extremes of light and shade. Their achievement met with the warm and appreciative applause it deserved.
Many thanks to Making Music for helping to bring these exceptional talents to Dolgellau. The next concert, at 7.30pm on Friday 10th March in Coleg Meirion-Dwyfor, will be given by the Piatti String Quartet.
Yn sgîl datganiad gwych ar y piano yn Ionawr gan Mauro lo Conte, cafwyd cyngerdd arall o safon yng Ngholeg Meirion-Dwyfor ar 10eg Chwefror gan Savitri Grier (ffidl) a Richard Uttley (piano). Dyfarnwyd i Savitri Wobr Philip & Dorothy Green 2015 gan Making Music (sy'n noddi'r datganiad hwn), a dewiswyd Savitri a Richard yn ddiweddar gan YCAT (Young Concert Artists Trust): dewis doeth, ar sail tystiolaeth eu perfformiad yn Nolgellau. Disgleiria'r ddau ar lefel dechnegol a cherddorol, ac ysbrydolwyd y gynulleidfa wrth wrando arnynt.
Mewn rhaglen hael a chrefftus ei phatrwm clywyd ar y dechrau a'r diwedd 'glasuron' gan Mozart a Brahms, gyda darnau'r 20fed ganrif yn y canol gan Enescu a Stravinsky. Oherwydd ei wreiddiau gwerinol yn nhraddodiad cerddorol Romania mae'n hawdd mwynhau yn syth 3ydd Sonata Enescu, serch ei anghytseiniau modernaidd. O fewn cyrraedd pawb hefyd yw'r 'Suite Italienne' gan Stravinsky, sy'n harddu ac yn amrywio alawon dawns gan Pergolesi: ychwanegir atynt rhythmau pigog a harmonïau chwareus. Plesiodd y ddau ddarn yn fawr. Rhyfedda'n ddi-ffael athrylith Mozart gyda dyfeisgarwch ei syniadau melodig ac addurnol; gwireddwyd yn hyderus ac yn rhugl gan Savitri a Richard ei Sonata yn B leddf. Gofyn gwaith Brahms am ystod ehangach o soniaredd rhamantus, a llwyddodd y ddeuawd i ddwyn i'w Sonata Rh. 3 yn D leiaf newidiadau deinamig gwefreiddiol ac eithafion boddhaol o olau a chysgod. Haeddodd eu perfformiad yn llwyr y gymeradwyaeth wresog a gafodd.
Diolch i Making Music am hwyluso'r digwyddiad arbennig hwn. Cyflwynir y cyngerdd nesaf ar 10fed Mawrth yng Ngholeg Meirion-Dwyfor gan Bedwarawd Llinynnol Piatti.
With cold and unpleasant weather outside, it felt especially good to be inside listening to pianist Mauro Lo Conte on Friday 13th January in Coleg Meirion-Dwyfor. Mauro's programme was a satisfying mix of baroque, classical and romantic repertoire, giving him ample opportunity to show a wide spectrum of technical skill and musical understanding. Here without doubt is a performer and artist of the first order, whose future in his chosen field seems assured.
J.S. Bach composed his French Suites of 1722 for the harpsichord (well before the age of the pianoforte), and might well have been astonished could he have heard the variety of colours conjured by Mauro from the Coleg Bechstein. (There seems indeed to be an element of wizardry in this whole process whereby, without a scrap of music in sight, such a rich universe of sound is created.) The dances that make up the Suites represent a mix of European countries - the Allemande from Germany, the Courante from France, the Satabande from Spain etc; and in Suite No.5, BWV 816 Mauro caught to perfection the style and character of each one. (As a Swiss-Italian musician working in Hamburg, he's certainly well placed to grasp the spirit of such a piece!) In the concluding Gigue it was hard to stay in one's seat, so sprightly were Mauro's rhythms and touch in this ebullient number.
Weather came explicitly to mind in the subtitle of the next piece, Sonata Op.31 No.2 by Beethoven, 'The Tempest' (not his own choice of name it must be said). This was an effective move, to jump from Bach's baroque precision to the turbulent 'Sturm und Drang' world of Beethoven. The latter is clearly felt in the abrupt mood changes that occur at the opening of Sonata Op 31 No.2 and throughout its first movement, which contrasts moments of peace with the impetuous main passages that reflect the now-traditional label. After the dignified Largo that follows the restless momentum is re-established in the closing Allegretto, this time without respite. Mauro tackled the formidable array of notes and emotional turmoil with unwavering authority, and listeners' responses in the interval made clear how deeply impressed they were.
Just as assured was Mauro's rendition in the second half of Schumann's Fantasie Op.17 (1839), a wise choice that made a logical progression from the preceding piece. Schumann's initial stimulus for his Fantasie was an appeal by Liszt in 1836 for contributions towards a monument in Bonn to honour Beethoven, who had died but nine years before. The Fantasie's second movement evokes images of imposing splendour, in a way that chimes well with the piece's origins. ['Trophäen', 'Trophies', was an early name given by Schumann for this movement; it is worth recalling also that the Arc de Triomphe had just recently been unveiled in Paris in 1835, to honour another hero (in the eyes of some!), Napoleon.] Another mainspring for the work was the distance imposed by her father between Schumann and his beloved Clara Wieck, also a pianist. The first movement quotes from 'An die Ferne Geliebte', 'To the Distant Beloved', Beethoven's only song-cycle; in so doing Schumann fulfils his twin aims of commemoration and secret, intimate communication. His success on both fronts is shown by the Fantasie's popularity to this day, and Clara's response at the time when she wrote that it made her 'half ill with rapture'. The Dolgellau audience's applause at the end of Mauro's performance was pretty rapturous too, for the Schumann and indeed the recital as a whole.
Many thanks to W D Pugh & Sons Ltd for sponsoring this memorable evening. The next concert will be given at 7.30pm on Friday, 10th February in Coleg Meirion-Dwyfor by Savitri Grier (violin) and Richard Uttley (piano).
The fine January piano recital by Mauro lo Conte was followed, in Coleg Meirion-Dwyfor on Friday 10th February, by an equally impressive evening of quality playing from Savitri Grier (violin) and Richard Uttley (piano). Savitri was awarded a 2015 Philip & Dorothy Green Award by Making Music (sponsors of this recital), and both she and Richard have been selected by the Young Concert Artists Trust: on the evidence of their Dolgellau performance, it was not hard to see why. They shine both technically and musically, and to hear them is inspiring.
Their programme gave full measure and was very well chosen, with 'classics' from Mozart and Brahms to open and close, and 20th-Century pieces by Enescu and Stravinsky in between. The influence of Romanian folk music on Enescu's 3rd Sonata makes it highly accessible, with challenge too in its modernistic dissonances. Stravinsky's 'Suite Italienne', with its gloss on Pergolesi dance-tunes, is also immediately enjoyable, and yet is more than pastiche with its spiky rhythms and playful harmonies. Both pieces held the attention from first to last. Mozart (his Sonata in B flat) never fails to astound with the inventiveness of his melodic and decorative ideas, realised here with aplomb by Savitri and Richard. For Brahms's mighty Sonata No. 3 in D minor the duo found the extra romantic resonance the piece demands, making the most of its exciting shifts of dynamic and extremes of light and shade. Their achievement met with the warm and appreciative applause it deserved.
Many thanks to Making Music for helping to bring these exceptional talents to Dolgellau. The next concert, at 7.30pm on Friday 10th March in Coleg Meirion-Dwyfor, will be given by the Piatti String Quartet.
Yn sgîl datganiad gwych ar y piano yn Ionawr gan Mauro lo Conte, cafwyd cyngerdd arall o safon yng Ngholeg Meirion-Dwyfor ar 10eg Chwefror gan Savitri Grier (ffidl) a Richard Uttley (piano). Dyfarnwyd i Savitri Wobr Philip & Dorothy Green 2015 gan Making Music (sy'n noddi'r datganiad hwn), a dewiswyd Savitri a Richard yn ddiweddar gan YCAT (Young Concert Artists Trust): dewis doeth, ar sail tystiolaeth eu perfformiad yn Nolgellau. Disgleiria'r ddau ar lefel dechnegol a cherddorol, ac ysbrydolwyd y gynulleidfa wrth wrando arnynt.
Mewn rhaglen hael a chrefftus ei phatrwm clywyd ar y dechrau a'r diwedd 'glasuron' gan Mozart a Brahms, gyda darnau'r 20fed ganrif yn y canol gan Enescu a Stravinsky. Oherwydd ei wreiddiau gwerinol yn nhraddodiad cerddorol Romania mae'n hawdd mwynhau yn syth 3ydd Sonata Enescu, serch ei anghytseiniau modernaidd. O fewn cyrraedd pawb hefyd yw'r 'Suite Italienne' gan Stravinsky, sy'n harddu ac yn amrywio alawon dawns gan Pergolesi: ychwanegir atynt rhythmau pigog a harmonïau chwareus. Plesiodd y ddau ddarn yn fawr. Rhyfedda'n ddi-ffael athrylith Mozart gyda dyfeisgarwch ei syniadau melodig ac addurnol; gwireddwyd yn hyderus ac yn rhugl gan Savitri a Richard ei Sonata yn B leddf. Gofyn gwaith Brahms am ystod ehangach o soniaredd rhamantus, a llwyddodd y ddeuawd i ddwyn i'w Sonata Rh. 3 yn D leiaf newidiadau deinamig gwefreiddiol ac eithafion boddhaol o olau a chysgod. Haeddodd eu perfformiad yn llwyr y gymeradwyaeth wresog a gafodd.
Diolch i Making Music am hwyluso'r digwyddiad arbennig hwn. Cyflwynir y cyngerdd nesaf ar 10fed Mawrth yng Ngholeg Meirion-Dwyfor gan Bedwarawd Llinynnol Piatti.
With cold and unpleasant weather outside, it felt especially good to be inside listening to pianist Mauro Lo Conte on Friday 13th January in Coleg Meirion-Dwyfor. Mauro's programme was a satisfying mix of baroque, classical and romantic repertoire, giving him ample opportunity to show a wide spectrum of technical skill and musical understanding. Here without doubt is a performer and artist of the first order, whose future in his chosen field seems assured.
J.S. Bach composed his French Suites of 1722 for the harpsichord (well before the age of the pianoforte), and might well have been astonished could he have heard the variety of colours conjured by Mauro from the Coleg Bechstein. (There seems indeed to be an element of wizardry in this whole process whereby, without a scrap of music in sight, such a rich universe of sound is created.) The dances that make up the Suites represent a mix of European countries - the Allemande from Germany, the Courante from France, the Satabande from Spain etc; and in Suite No.5, BWV 816 Mauro caught to perfection the style and character of each one. (As a Swiss-Italian musician working in Hamburg, he's certainly well placed to grasp the spirit of such a piece!) In the concluding Gigue it was hard to stay in one's seat, so sprightly were Mauro's rhythms and touch in this ebullient number.
Weather came explicitly to mind in the subtitle of the next piece, Sonata Op.31 No.2 by Beethoven, 'The Tempest' (not his own choice of name it must be said). This was an effective move, to jump from Bach's baroque precision to the turbulent 'Sturm und Drang' world of Beethoven. The latter is clearly felt in the abrupt mood changes that occur at the opening of Sonata Op 31 No.2 and throughout its first movement, which contrasts moments of peace with the impetuous main passages that reflect the now-traditional label. After the dignified Largo that follows the restless momentum is re-established in the closing Allegretto, this time without respite. Mauro tackled the formidable array of notes and emotional turmoil with unwavering authority, and listeners' responses in the interval made clear how deeply impressed they were.
Just as assured was Mauro's rendition in the second half of Schumann's Fantasie Op.17 (1839), a wise choice that made a logical progression from the preceding piece. Schumann's initial stimulus for his Fantasie was an appeal by Liszt in 1836 for contributions towards a monument in Bonn to honour Beethoven, who had died but nine years before. The Fantasie's second movement evokes images of imposing splendour, in a way that chimes well with the piece's origins. ['Trophäen', 'Trophies', was an early name given by Schumann for this movement; it is worth recalling also that the Arc de Triomphe had just recently been unveiled in Paris in 1835, to honour another hero (in the eyes of some!), Napoleon.] Another mainspring for the work was the distance imposed by her father between Schumann and his beloved Clara Wieck, also a pianist. The first movement quotes from 'An die Ferne Geliebte', 'To the Distant Beloved', Beethoven's only song-cycle; in so doing Schumann fulfils his twin aims of commemoration and secret, intimate communication. His success on both fronts is shown by the Fantasie's popularity to this day, and Clara's response at the time when she wrote that it made her 'half ill with rapture'. The Dolgellau audience's applause at the end of Mauro's performance was pretty rapturous too, for the Schumann and indeed the recital as a whole.
Many thanks to W D Pugh & Sons Ltd for sponsoring this memorable evening. The next concert will be given at 7.30pm on Friday, 10th February in Coleg Meirion-Dwyfor by Savitri Grier (violin) and Richard Uttley (piano).
From the Cambrian News - Dolgellau
Harp and clarinet are rarely heard together as a performance duo, but the combination was very successful in the recital given by Rhianwen Pugh (harp) and Rhodri Pugh (clarinet) on 2nd December in Coleg Meirion-Dwyfor. Their programme began with a duo arrangement of Ravel's 'Pièce en forme de Habanera', lively and colourful, followed by 'Sonate' by Saint-Saëns, expansive enough in range to give a full impression of the instrumentalists' skills. The first half ended with an attractive group of dances for solo harp: 'Dawns Gymreig' by Delwyn Henshall, Piazzolla's catchy 'Libertango', and 'Fire Dance' by David Watkins. Sparks certainly flew in the latter, with its daring and imaginative use of harp sonorities.
From fire to water: in 'La Source' (The Wellspring) by Alphonse Hasselmans (a pioneer of the modern harp, as Rhianwen explained), equally dazzling images were evoked. The following solo gave the harpist her greatest challenge, Variations on Themes from 'Lucia di Lammermoor' (Donizetti), to which she was more than equal. Duo arrangements formed the final part of the programme: 'The Victorian Kitchen Garden' by Paul Reade, based on tunes from the popular 1991 TV series, made an excellent contrast. Debussy's evergreen 'La Fille aux Cheveux de Lin' worked well in this format, as did 'Carnival of Venice' by Giampieri, a showstopper that gave Rhodri the chance to display his technical brilliance as well as musical grace. A serene encore, Handel's touching 'Largo', left a large audience well satisfied.
Harp and clarinet are rarely heard together as a performance duo, but the combination was very successful in the recital given by Rhianwen Pugh (harp) and Rhodri Pugh (clarinet) on 2nd December in Coleg Meirion-Dwyfor. Their programme began with a duo arrangement of Ravel's 'Pièce en forme de Habanera', lively and colourful, followed by 'Sonate' by Saint-Saëns, expansive enough in range to give a full impression of the instrumentalists' skills. The first half ended with an attractive group of dances for solo harp: 'Dawns Gymreig' by Delwyn Henshall, Piazzolla's catchy 'Libertango', and 'Fire Dance' by David Watkins. Sparks certainly flew in the latter, with its daring and imaginative use of harp sonorities.
From fire to water: in 'La Source' (The Wellspring) by Alphonse Hasselmans (a pioneer of the modern harp, as Rhianwen explained), equally dazzling images were evoked. The following solo gave the harpist her greatest challenge, Variations on Themes from 'Lucia di Lammermoor' (Donizetti), to which she was more than equal. Duo arrangements formed the final part of the programme: 'The Victorian Kitchen Garden' by Paul Reade, based on tunes from the popular 1991 TV series, made an excellent contrast. Debussy's evergreen 'La Fille aux Cheveux de Lin' worked well in this format, as did 'Carnival of Venice' by Giampieri, a showstopper that gave Rhodri the chance to display his technical brilliance as well as musical grace. A serene encore, Handel's touching 'Largo', left a large audience well satisfied.