small nations big sounds festival programme

Fri 3 October, 7.30pm

BBC NOW, St David’s Hall

Sat 4 October, 7.30pm

Dora Stouzker Hall, RWCMD

Sun 5 October, 7.30pm


Mon 6 October, 7.30pm


An International

chamber music

festival presented

by Sinfonia Cymru

SMALL NATIONS BIG SOUNDS

Camerata Nordica

Thomas Søndergård - BBC NO

W

Bar

tosz

Wor

och

- Sin

foni

a C

ymru

Supporters Cefnogwyr a Cyllid

Sinfonia Cymru is a registered Charity (1058196)

Sinfonia Cymru is a Company Limited by Guarantee (03240356)

SINFONIA CYMRU IS A REVENUE FUNDED CLIENT OF THE ARTS COUNCIL OF WALES

Mae Sinfonia Cymru’n elusen gofrestredig (1058196)

Mae Sinfonia Cymru’n gwmni Cyfyngedig gan warant (03240356)

MAE SINFONIA CYMRU YN GLEIENT REFENIW CYNGOR CELFYDDYDAU CYMRU

Partners Partneriaid

Sinfonia Cymru gratefully acknowledges the support of Sara Naudi, Carlo Rizzi and Lucy Stout

Mae Sinfonia Cymru yn cydnabod yn ddiolchgar gefnogaeth Sara Naudi, Carlo Rizzi a Lucy Stout

David AshGeoff D AtkinsValerie ChanceMona ClarkMr & Mrs ChegwinRev & Mrs P E N DavidDr & Mrs Anthony J EdwardsRhona EliasWendy EllisMr & Mrs J EvansJohn Foster

Bette L GriffithsGethin & Jane Griffiths Anna K JacksonSheila JeffriesDr D S & S A JeremiahMrs Janet JonesJenny KendallMeinir Lloyd LewisDr & Mrs Colin E MorganDr Brian NelsonEleri Owen

Meg ParkMary PughAlban & Rhinedd ReesJ M TannerCorris & Joan ThomasGenevieve ThomasLynn & Moira Thomas Clive WalesLady Sarah WaterhouseAnna Williams

Supporting Friends Cyfeillion Cefnogol

Mr & Mrs G CheesmanMr & Mrs John CosslettGeraint & Elizabeth Talfan DaviesMarian EvansWilliam & Christine Eynon G Wyn HowellsEmyr Wynne JonesHywel & Marian Jones

Dr & Mrs G Stanley JonesDafydd & Christine LewisSusan Holmes & Penny MalecJohn MinkesSally MorganSteven Tyrer & Mike PierceKempton & Helene Rees Dr & Mrs John C Rees

Ms. Menna RichardsLucy Stout & Carlo RizziMichael & Mary SalterMr SeligmanRoger & Rhian ThomasMrs. Gaye Williams

Patrons Noddwyr

George & Joyce DavisJ Russell Evans

Madeleine HanfordLeslie Jones

Emyr Williams

Friends Cyfeillion

www.sinfoniacymru.co.uk Small Nations Big Sounds 3

Small Nations Big Sounds: Who’s Who?

Sinfonia Cymru

Sinfonia Cymru is an exciting and progressive

chamber orchestra from Wales. The orchestra

consists of musicians in the early stages of

their careers and is the first and only orchestra

of its kind to be revenue-funded by the Arts

Council of Wales.

Sinfonia Cymru works in partnership with the

Royal Welsh College of Music and Drama

(RWCMD) through the Professional Pathway

Bursary scheme and regular performances at

The Dora Stoutzker Hall. Sinfonia Cymru is also

resident orchestra at The Riverfront in Newport

and performs in many venues across Wales.

The orchestra enjoys a partnership with the

Young Classical Artists Trust and creates

opportunities for the next generation of solo

artists including the orchestra’s current Leader/

Director Bartosz Woroch. Alongside Musical

Director, Gareth Jones , Sinfonia Cymru has

also worked with a number of celebrated guest

artists including Bryn Terfel, Llŷr Williams, Paul

Watkins, Carlo Rizzi, and Alina Ibragimova.

Collaboration forms a key part of Sinfonia

Cymru’s activities. In 2013, Sinfonia Cymru

worked with Ballet Cymru to present TIR &

Celtic Concerto (featuring Cerys Matthews and

Catrin Finch), an award-winning production

of Romeo and Juliet at The Riverfront, as well

as with The Clod Ensemble with ‘Anatomie in

Four Quarters’ at Wales Millennium Centre.

In 2013 Sinfonia Cymru embarked on a major

project to develop and launch a new model.

This included establishing Curate, a group

that brings together orchestral musicians,

administrators and other young creatives

to express their artistic ideas and develop

their own projects. Curate’s flagship event

last year was UnButtoned at Chapter Arts

Centre; a collaboration with BAFTA-Cymru

award winning musician Tom Raybould,

featuring a score which integrates live and

Small Nations Big Sounds www.sinfoniacymru.co.uk 4

electronic musical performance with reactive

visuals. UnButtoned will be further developed

throughout 2014 with further performances

planned next month.

This year Sinfonia Cymru worked with actor

Richard Harrington (star of S4C Y Gwyll /

Hinterland) and with harpist Catrin Finch

alongside conductor Ben Gernon. The

orchestra also performed at a number of

festivals including Fishguard International

Music Festival, Llangollen International Music

Eisteddfod with Bryn Terfel in Sweeney Todd,

and on an experimental collaboration with

Tom Morris (Director, Bristol Old Vic) at The

Bristol Proms where the orchestra also gave a

special late-night performance of UnButtoned.

After hosting Small Nations Big Sounds and

performing in Sweden at Musikaliska and

Kalmar County in October, Sinfonia Cymru looks

forward to performing with pianist Llŷr Williams

and Gareth Jones for a special double concerti

programme in November.

Small Nations Big Sounds is part of the

‘Emerging Classical Talent in the EU’ project;

an International collaboration between Sinfonia

Cymru, Kalmar Läns Musikstiftelse, Pille Lill

Music Fund, Fondazione Paolo Grassi and

Blåsarsymfonikerna. Earlier this year Sinfonia

Cymru’s String Quartet performed six concerts

in Estonia and Italy, sharing the platform with all

the partners in the project


Cenhedloedd Bach Synau mawr – Pwy yw pwy?

Sinfonia Cymru

Mae Sinfonia Cymru yn gerddorfa siambr

gyffrous a blaengar o Gymru. Mae’r gerddorfa

yn cynnwys cerddorion ar ddechrau eu

gyrfaoedd a dyma’r gerddorfa gyntaf, a’r unig

un gerddorfa siambr i gael cyllid refeniw gan

Gyngor Celfyddydau Cymru.

Mae Sinfonia Cymru yn gweithio mewn

partneriaeth â Choleg Brenhinol Cerdd a

Drama Cymru drwy gynllun Bwrsari Llwybrau

Proffesiynol ac yn perfformio’n rheolaidd

yn Neuadd Dora Stoutzker. Sinfonia Cymru

yw’r gerddorfa breswyl yng Nglan-yr-Afon,

Casnewydd ac mae’n perfformio mewn nifer o

leoliadau ledled Cymru.

Mae’r gerddorfa’n gweithio gyda’r

Ymddiriedolaeth ar gyfer Artistiaid Clasurol

Ifanc i greu cyfleoedd ar gyfer y genhedlaeth

nesaf o artistiaid sy’n unawdwyr gan gynnwys

Arweinydd/ Cyfarwyddwr cyfredol y gerddorfa,

Bartosz Woroch. Mae Sinfonia Cymru wedi

gweithio gyda nifer o artistiaid gwadd enwog

gan gynnwys Bryn Terfel, Llŷr Williams, Paul

Watkins, Carlo Rizzi, ac Alina Ibragimova.

Mae cydweithrediadau yn ffurfio rhan

allweddol o waith Sinfonia Cymru. Yn ystod

2013, bu Sinfonia Cymru yn gweithio gyda

Ballet Cymru ar gyfer TIR & Celtic Concerto

(gyda Cerys Matthews a Catrin Finch) mewn

cynhyrchiad o Romeo and Juliet yng Nglan yr

Afon a enillodd wobr, yn ogystal ag ‘Anatomie

in Four Quarters’ gan The Clod Ensemble yng

Nghanolfan Mileniwm Cymru.

Yn ystod 2013, dechreuodd Sinfonia Cymru

ar brosiect mawr i ddatblygu a lansio ffordd

newydd o weithio ar gyfer cerddorfeydd

siambr. Roedd hwn yn cynnwys sefydlu

Curadur, grŵp sy’n dod â cherddorion

cerddorfaol, gweinyddwyr a phobl greadigol

ifanc eraill at ei gilydd i fynegi eu syniadau

artistig a datblygu eu prosiectau eu hunain. Yn

2013, datblygwyd UnButtoned yng Nghanolfan

Gelfyddydau’r Chapter; cydweithrediad gyda’r

cerddor Tom Raybould, sydd wedi ennill

gwobr BAFTA Cymru, yn cynnwys sgôr sy’n

cyfuno perfformiad electronig a byw gydag

adweithiau gweledol byw. Bydd UnButtoned

yn cael ei ddatblygu ymhellach drwy gydol


2014 gyda pherfformiadau wedi’u cynllunio ar

gyfer yn hwyrach yn y flwyddyn.

Yn 2014, mae Sinfonia Cymru wedi gweithio

gyda’r actor Richard Harrington (seren

Y Gwyll/Hinterland S4C) a’r delynores

Catrin Finch ochr yn ochr â’r arweinydd

ifanc Ben Gernon. Mae’r gerddorfa hefyd

wedi perfformio yn nifer o wyliau Haf

gan gynnwys Gŵyl Gerdd Abergwaun,

Eisteddfod Ryngwladol Gerddorol Llangollen

gyda Bryn Terfel fel Sweeney Todd, ac ar

gydweithrediad arbrofol gyda Tom Morris

(Gyfarwyddydd, Bristol Old Vic) ym Mhroms

Bryste, lle rhoddodd y gerddorfa perfformiad

hwyrnos arbennig o UnButtoned. Ar ôl

cynnal Cenhedloedd Bach Synau Mawr

a perfformio yn Sweden yn Neuadd

Musikaliska a Sir Kalmar ym mis Hydref,

mae Sinfonia Cymru yn edrych ymlaen at

berfformio gyda’r pianydd Llŷr Williams am

raglen concerto dwbl ym mis Tachwedd.

Mae Cenhedloedd Bach Synau Mawr

yn rhan o’r prosiect ‘Emerging Classical

Talent in the EU’ yn 2014; cydweithrediad

Ryngwladol rhwng Sinfonia Cymru (GB),

Kalmar Läns Musikstiftelse, Pille Lill Music

Fund (EE), Fondazione Paolo Grassi (IT) a

Blåsarsymfonikerna (SE), sydd hefyd wedi

cymryd Pedwarawd Llinynol Sinfonia Cymru i

berfformio yng Ngwyliau yn Estonia a’r Eidal

ym mis Gorffenaf ac yn Neuadd Musikaliska,

Stockholm a Sir Kalmar ym mis Hydref.


Bartosz Woroch Artistic Director

Born in Poznan, Poland, Bartosz Woroch

studied with Marcin Baranowski at the

Paderewski Academy of Music in Poznan,

Monika Urbaniak-Lisik at the Hochschule der

Kunste Berne and with Louise Hopkins at the

Guildhall School of Music & Drama, where

he is now a Professor. He was selected for

representation by Young Classical Artists Trust

(YCAT) in 2011.

At the opening of the 2012/13 season Bartosz

performed the Tchaikovsky Violin Concerto

with the Royal Philharmonic Orchestra and

Bristol Ensemble, Wieniawski 2nd Concerto

with Sinfonia Juventus and the Elgar Concerto

in the Donatella Flick conducting competition.

He undertook collaborative projects as soloist,

leader and director with Sinfonia Cymru,

performed Beethoven’s Concerto at Cadogan

Hall, and gave recitals at Wigmore Hall,

Poland’s Lublin Philharmonie, the Brighton,

Lichfield and Gower Festivals.

Engagements this season include performances

of the Mendelssohn Concerto with the

Bournemouth Symphony Orchestra, Prokofiev’s

Concerto No.2 with Sinfonia Cymru and at St

John’s Smith Square in London, and Berg’s

Chamber Concerto at the Poznan Spring Festival

with Mei Yi Foo and the Poznan Philharmonic

Orchestra. He gives recitals at Wigmore Hall,

The Sage Gateshead, Colston Hall Bristol,

Kettles Yard Cambridge and the Royal Northern

College of Music, and made his USA debut at

The Phillips Collection in Washington in April.

As a concerto soloist Bartosz has appeared

with the Czestochowa, Poznan, Silesian and

Auckland Philharmonic Orchestras, the Bern

Symphony and Polish Radio Orchestras. He

has recorded for BBC Radio 3, Radio France

and Polish Radio, collaborated with Pekka

Kuusisto, Alasdair Beatson, Nicholas Daniel and

the award winning Cappa Ensemble, performed

Stravinsky’s Soldier’s Tale with Martyn Brabbins

and the Berg Chamber Concerto with Michael

Tilson Thomas. During 2011/12 he undertook

a residency in Banff working with Henk

Guittart and in took part in masterclasses with

Menahem Pressler and Mitsuko Uchida at the

Britten– Pears School in Aldeburgh.

At the age of 22 Bartosz was appointed

Concertmaster to the Poznan Philharmonic

Orchestra. He left this position in 2008 to

pursue his interest in solo and chamber music.

Since then he has given recitals at major

venues throughout Europe including Wigmore

Hall, Barbican, The Palais des Beaux-Arts

(Brussels), Radio France Festival (Monpelier),

the Edinburgh Fringe, Verbier and West Cork

Festivals. Further afield he has toured New

Zealand, Malaysia, Australia and Singapore.



Bartosz Woroch Cyfarwyddydd Artistig

Wedi eni yn Pozan, Poland, astudiodd Bartosz

Woroch gyda Marcin Baranowski yn Academi

Cerddoriaeth Paderewski yn Poznan, Monika

Urbaniak-Lisik yn Hochschule der Kunste

Berne, a gyda Louise Hopkins yn Ysgol Cerdd

a Drama Guildhall, lle y mae nawr yn Athro. Fe

gafodd ei ddewis am cynrychiolaeth gan Young

Classical Artists Trust yn 2011.

Yn agoriad tymor 2012/13, fe perfformiodd

Bartosz Consierto Feiolin Tchaikovsky gyda

Cerddorfa Brenhinol Ffilharmonig ac Ensemble

Bryste, Ail gonsierto Wienawski gyda Sinfonia

Juventus a Consierto Elgar yn cystadleuaeth

arwain Donatella Flick. Fe ymgymerodd mewn

prosiectau cydweithredol fel unawdydd,

arweinydd a gyfarwyddydd gyda Sinfonia

Cymru, perfformiodd Consierto Beethoven yn

Neuadd Cadogan, a rhoddodd ddatganiadau yn

Neuadd Wigmore, a Gwyliau Lichfield a Gwyr.

Mae Ymrwymiadau tymor yma yn cynnw

perfformiadau o Consierto Mendelssohn gyda

Cerddorfa Symffoni Bournemouth, Consierto

rhif 2 gyda Sinfonia Cymru ac yn Sgwar Saint

Ioan yn Llundain, a Consierto Siambr Berg yn

Gwyl Gwanwyn Poznan gyda Mei Yi Foo a

Ceddorfa Ffilharmonig Poznan. Mae ef yn rhoi

ddatganiadau yn Neuadd Wigmore, Y Saets

Gateshead, Neuadd Colston Bryste, Kettle’s

Yard Caergrawnt, a Coleg Brenhinol Cerdd y

Gogledd, ac fe wnaeth ei perfformiad cyntaf Yr

UDA yn Casgliad Phillips yn Washington yn Ebrill.

Fel unawdydd cyngerdd, ymddangosodd Bartosz

gyda Cerddorfeydd Czestochowa, Poznan,

Silesian a Ffilharmonig Auckland, Symffoni Bern a

Cerddoreydd Radio Pwyl. Mae ef wedi recordio ar

gyfer Radio 3 y BBC, Radio Ffrainc, a Radio Gwlad

Pwyl, wedi cydweithredu gyda Pekka Kuusisto,

Alasdair Beatson, Nicholas Daniel ac Ensemble

Cappa, ac wedi perfformio Chwedl Milwr

Stravinsky gyda Martyn Brabbins a Consierto

Siambr Berg gyda Michael Tilson Thomas. Yn

ystod 2011/12 fe ymgymerodd mewn preswyliad

yn Banff yn gweithio gyda Henk Guittart a fe

gymerodd rhan mewn Ddosbarthiadau Meistr

gyda Menahem Pressler a Mitsuo Uchida yn

Ysgol Britten-Pears yn Aldeburgh.

Y 22 oed, benodwyd Bartosz yn feistr cyngerdd

I Cerddorfa Ffilharmonig Poznan. Gadawodd y

swydd yn 2008 i ddilyn ei ddiddordeb mewn

cerddoriaeth unawdol a siambr. Ers hynny, mae

ef wedi rhoi ddatganiadau ym mhrif neuaddau

ledled Ewrop gan gynnwys Neuadd Wigmore,

Barbican, Palais des Beaux-Arts (Brwsel), Gwyl

Radio Ffrainc (Monpelier), Fringe Caeredin,

Gwyliau Verbier a West Cork. Ymhellach I

ffwrdd mae ef wedi teithio i Seland Newydd,

Malaysia, Awstralia a Singapore.

Y ystol ei astudiaethau roedd Bartosz yn

llawryfog yn Cystadlaethau Rhyngwladol

Michael Hill 2005 (Seland Newydd), Pablo

Sarasate 2003 (Sbaen), a Takasaki 2001

(Siapan). Fe mynychodd mewn dosbarthiadau

meistr gyda Mitsuko Uchida, Menahem Pressler,

Ruggiero Ricci, Benjamin Schmid, Gábor

Takács-Nagy, Gil Shaham a Alfred Brendel.



Could you add conductor, James Southall to the rehearsals for the Boden and Martinu on:Thursday 2 October 14.00 – 17.00 (p4)Friday 3 October 14.00 – 17.00 (p.5)Monday 6 October 14.30 – 16.30 (p.8) Martinu is missing the symbol above the ů in the concert listing. James’s email address is [email protected] – might be worth adding Directions ([ 20)Change Hoddinott Hall to Welsh National Opera Orchestra HallFinal bullet point: The entrance to the Orchestra Hall is via the Wales Millenni-um Centre Stage Door on your left Should we include directions from Parc Hotel to Royal Welsh College of Music and Drama? I would suggest that for rehearsal purposes, we meet the players in the main foyer in order to take them through to the rehearsal rooms.


RWCMD

The Royal Welsh College of Music & Drama,

the National Conservatoire of Wales, competes

alongside an international peer group of

conservatoires and specialist arts colleges for

the best students globally, enabling students

to enter and influence the world of music,

theatre and related professions.

Camerata Nordica

Sweden’s leading international string ensemble

is made up of between fifteen and twenty

players who work together intensively and

present concerts in Sweden and abroad.

Founded in 1974 and led by distinguished

Norwegian violinist and Musical Director Terje

Tønnessen, the orchestra tours regularly

in other parts of Sweden and Scandinavia

and internationally, including visits to many

European countries, South America and the

USA in which it has toured eight times.

In 2013 Camerata Nordica gave an acclaimed

debut performance at the BBC Proms and its

CD release of the Beethoven’s Late Quartets

for string ensemble has been described as “a

powerful, penetrating performance- light and

transparent and full of bite and depth when

called for” (American Record Guide), and as

having “an intensity, warmth and passion which

is so marked it is almost tangible.” (Norran)


Swedish Wind Ensemble [Quintet]

Per-Markus Heggestad (flute), Eva-Karin

Hellander Axelsson (clarinet), Johan Söderlund

(oboe), Peter Gullqvist (bassoon) and Anita

Andersson (french horn). The quintet features

the principal players of the Swedish Wind

Ensemble (SWE),

Founded as a sextet in 1906 with the aim

of promoting Swedish music, the Swedish

Wind Ensemble is comprised of the country’s

foremost professional wind players. Now

the largest professional orchestra in Sweden

with a growing International reputation, the

orchestra entered a new era in 2011 as it

launched a new partnership and residency at

Musikaliska Concert Hall, Stockholm.

Swedish Wind Ensemble works in close

partnership with Christian Lindberg (Principal

Conductor 2005-2012) and have worked

together on successful concert tours to

Spain, Estonia and London. With Lindberg

as conductor and soloist they have recorded

five discs for BIS Records featuring music

by Leonard Bernstein, George Gershwin,

John Williams, Ástor Piazzolla, and Christian

Lindberg himself.

Pille Lill Music Fund

Estonian Soprano Pille Lill founded Pille Lill Music

Fund in 2003 with the aim of supporting the

development of talented professional musicians

through master classes and performance

opportunities across Estonia and internationally.

The organisation supports Small Nations

Big Sounds Festival artists Andreas Lend

(cello), Oksana Sinkova (flute) and Virgo Veldi

(saxophone) and helps organise a number of

chamber music concerts and festivals each year,

which include the Tallinn Chamber Music and

Rapla Church Music Festivals.

‘Rodolfo Celletti’ Belcanto Academy (Fondazione Paolo Grassi)

Fondazione Paolo Grassi is a not-for-profit

organisation founded in 1994 to help support and

develop theatre and musical culture in Southern

Italy through research, outreach and extensive

performance activity, which includes the annual

Festival della Valle d’Itria in Martina Franca.

‘Rodolfo Celletti’ Belcanto Academy is founded

and managed by Fondazione Paolo Grassi in

collaboration with the Festival della Valle d’Itria.

It was set up in 2010 to provide young singers

with specialised training on vocal technique and

performance in the Italian Belcanto repertoire.

The academy supports this year’s Small Nations

Big Sounds performers Amy Elizabeth Corkery

(soprano), Angela Giovio (mezzo-soprano) and

Joonas Asikainen (baritone).



CBCDC

Mae Coleg Brenhinol Cerdd a Drama Cymru,

Conservatoire Cenedlaethol Cymru a rhan o

Grŵp Prifysgol De Cymru, yn cystadlu ochr yn

ochr â grŵp rhyngwladol o gonservatoires a

cholegau celfyddydol arbenigol am y myfyrwyr

gorau ledled y byd, gan alluogi myfyrwyr i

fynd i fyd cerddoriaeth, theatr a phroffesiynau

cysylltiedig a dylanwadu arnynt.

Camerata Nordica

Mae cerddorfa linynnol arweiniol Sweden yn

cynnwys rhwng pymtheg ac ugain chwaraewr

sydd yn gweithio gyda’i gilydd yn agos iawn ac

yn cyflwyno cyngherddau yn Sweden a dramor.

Wedi sefydlu yn 1974 ac wedi arwain gan y

feiolinydd Noraidd nodedig a Cyfarwyddydd

Cerddorol Terje Tønnessen, mae’r gerddorfa

yn teithio yn rheolaidd i rannau arall o Sweden,

Sgandinafia ac yn rhyngwladol, gan gynnwys

ymweliadau i lawer o wledydd Ewropeaidd, De

America ac yr UDA.

Yn 2013 rhoddodd Camerata Nordica

perfformiad cyntaf nodedig ym Mhroms y

BBC ac mae ei rhyddhad CD o Bedwarawdau

Hwyraf Beethoven ar gyfer gerddorfa linynnol

wedi cael ei ddisgrifio fel “perfformiad pwerus

a threiddgar – yn ysgafn a dryloyw ac yn llawn

gafael a dyfnder ar alw” (American Record

Guide), ac fel cael “Dyfnder, cynhesrwydd ac

angerdd sydd mor sylweddol mae hi bron yn

diriaethol” (Norran).


Swedish Wind Ensemble [Pumawd]

Per-Markus Heggestad (ffliwt), Eva-Karin

Hellander Axelsson (clarinét), Johan

Söderlund (obo), Peter Gullqvist (baswn)

ac Anita Andersson (corn Ffrengig). Mae’r

pumawd yn cynnwys prif chwaraewyr

Swedish Wind Ensemble (SWE),

Wedi sefydlu fel chwechawd yn 1906

gyda’r nod o hybu cerddoriaeth Swedeg,

mae Swedish Wind Ensemble yn cynnwys

cerddorion proffesiynol mwyaf blaenllaw’r

wlad. Nawr yn gerddorfa broffesiynol fwyaf

yn Sweden gydag enw sy’n cynyddu yn

rhyngwladol, aeth y gerddorfa mewn i gyfnod

newydd yn 2011 wrth lansio partneriaeth newydd

a preswyliad yn Neuadd Musikaliska, Stockholm.

Mae Swedish Wind Ensemble yn gweithio

mewn partneriaeth agos gyda Christian

Lindberg (Prif Arweinydd 2005-2012) ac wedi

gweithio gyda’i gilydd ar deithiau llwyddiannus

I Sbaen, Estonia a Llundain. Gyda Lindberg fel

arweinydd ac unawdydd mae’r gerddorfa wedi

recordio pump disc ar gyfer BIS Records gan

gynnwyd cerddoriaeth gan Leonard Bernstein,

George Gershwin, John Williams, Ástor

Piazzolla, a Christian Lindberg ei hun.


Sefydlwyd Pille Lill Music Fund gan Soprano

Estoneg Pille Lill yn 2003 gyda’r nod o gefnogi’r

datblygiad o gerddorion proffesiynol talentog

drwy ddosbarthiadau meistr a chyfleoedd

perfformiad dros Estonia ac yn rhyngwladol.

Mae’r sefydliad yn cefnogi artistiaid Gŵyl

Cenhedloedd Bach Synau Mawr Andreas

Lend (cello), Oksana Sinkova (ffliwt) a Virgo

Veldi (sacsoffon) ac yn helpu trefnu nifer o

cyngherddau cerddoriaeth siambr a gwyliau yn

flynyddol, sy’n cynnwys Cerddoriaeth Siambr

Tallinn a Gŵyl Cerdd Eglwys Rapla.

‘Rodolfo Celletti’ Belcanto Academy (Fondazione Paolo Grassi)

Mae Fondazione Paolo Grassi yn sefydliad dielw

wedi sefydlu yn 1994 i helpu cefnogi a datblygu

diwylliant theatr a cherddoriaeth yn De yr Eidal

drwy ymchwil, allgymorth a gweithgaredd

perfformiad eang, sy’n cynnwys y Gŵyl flynyddol

Festival della Valle d’Itria, yn Martina Franca.

Mae ‘Rodolfo Celletti’ Belcanto Academy wedi’I

seilio a’i reoli gan Fondazione Paolo Grassi

mewn cydweithrediad gyda Festival della Valle

d’Itria. Fe cafodd ei sefydlu yn 2010 i ddarparu

cantorion ifanc gyda hyfforddiant arbenigol

ar techneg leisiol a perfformiad yn repertoire

Belcanto Eidaleg. Mae’r Academi yn cefnogi

perfformwyr Cenhedloedd Bach Synau Mawr

Amy Elizabeth Corkery (soprano), Angela Giovio

(mezzo-soprano) and Joonas Asikainen (bariton).



James Southall – Conductor (Conducts Martinů & Boden)

James Southall has conducted several leading

opera companies and orchestras including

Welsh National Opera (WNO), English Touring

Opera, Opéra de Baugé and the Orchestra of

WNO. He has conducted WNO in productions

of Don Giovanni, Cosi Fan Tutte and The Magic

Flute and recently made his concert debut

with the Orchestra of WNO in a programme of

Mozart and Webern. James has been Assistant

Conductor to Lothar Koenigs for WNO tour

performances. Having made a successful

debut as guest conductor at Opéra de Baugé

directing Mozart’s La Finta Giardiniera, he was

invited to conduct Strauss’s Die Fledermaus at

Baugé in 2013. In Spring 2014 James made his

debut with English Touring Opera conducting

The Magic Flute. He is Music Director of

Sinfonia Newydd, a dynamic platform for young

emerging music creators. James has studied

with Lothar Koenigs, Jorma Panula and Sir

Roger Norrington.

As a pianist James has performed recitals at

Wigmore Hall, Cadogan Hall and live on BBC

Radio 3 as a guest of Sean Rafferty. In 2012

he collaborated with Bryn Terfel and Rebecca

Evans at Buckingham Palace in WNO’s

inaugural Royal Gala Concert hosted by Prince

Charles.

Recordings include the highly acclaimed Engel

Lund’s Book of Folk Songs for Nimbus Records,

a disc of 20th century English choral works

with the choir of Queens’ College Cambridge,

and a recital with bass David Soar for Resonus

Classics featuring a selection of rarely heard

songs by Cecil Armstrong Gibbs, Henry Purcell

and Frederick Keel.

James was Organ Scholar at Queens’ College,

Cambridge University. He completed his

Master of Music in Piano Accompaniment

(Distinction) at the Royal College of Music

with Roger Vignoles and John Blakely. James

was awarded the Kendall Taylor Prize, Sir

Gordon Palmer Prize and the David Bowerman

Fellowship. In 2008 he won the Musicians

Benevolent Fund Accompanist’s Prize at the

Kathleen Ferrier Awards (Wigmore Hall) and the

Maggie Teyte Competition for French Art Song

(Royal Opera House).



James Southall – Arweinydd (Yn arwain Martinů a Boden)

Mae James Southall wedi arwain nifer o

gwmnïoedd a cherddorfeydd opera arweiniol

gan gynnwys Opera Cenedlaethol Cymru

(OCC), Opera Teithiol Lloegr, Opéra de Baugé

a cherddorfa OCC. Mae ef wedi arwain OCC

mewn cynyrchiadau o Don Giovanni, Cosi Fan

Tutte a The Magic Flute ac wedi gwneud ei

gyngerdd cyntaf gyda Cerddorfa OCC mewn

rhaglen o Mozart a Webern. Mae James

wedi bod yn Arweinydd Cynorthwyol i Lothar

Koenigs ar gyfer perfformiadau teithiol OCC.

Wedi gwneud perfformiad cyntaf llwyddiannus

fel arweinydd gwadd gyda Opéra de Baugé yn

cyfarwyddo La Finta Giardiniera gan Mozart,

fe gafodd ei wahodd I arwain Die Fledermaus

Strauss yn Baugé yn 2013. Yn Wanwyn 2014,

gweithiodd James am y tro cyntaf gyda Opera

Teithiol Lloegr yn arwain The Magic Flute. Mae

ef yn Cyfarwyddydd Cerddoriaeth i Sinfonia

Newydd, llwyfan deinamig ar gyfer crewyr

cerdd ifanc sy’n dod i’r amlwg. Mae James

wedi astudio gyda Lothar Koenigs, Jorma

Panula a Sir Roger Norrington.

Fel pianydd mae James wedi perfformio

datganiadau yn Neuadd Wigmore, Neuadd

Cardogan ac yn fyw ar Radio 3 y BBC

fel gwestai i Sean Rafferty. Yn 2012 fe

gydweithredodd James gyda Bryn Terfel a

Rebecca Evans ym Mhalas Buckingham am

Gyngerdd agoriadol Gala Frenhinol Opera

Cenedlaethol Cymru, a gafodd ei gynnal gan

Dywysog Charles.

Mae recordiau yn cynnwys y lyfr nodedig

‘Book of Folk Songs’ gan Engel Lund ar gyfer

Recordiau Nimbus, disg o gweithiau corawl

Saesneg yr 20fed Ganrif gyda côr Coleg

Queens Caergrawnt, ac am ddatganiad gyda’r

cantor bas David Soar ar gyfer Resonus

Classics yn cynnwys dewis o ganeuon sy’n

cael eu glywed yn anaml gan Cecil Armstrong

Gibbs, Henry Purcell a Frederick Keel.

Roedd James yn Ysgolhaig Organ yng Ngholeg

Queens, Prifysgol Caergrawnt. Fe gwblhaodd

ei Meistr yn Cerddoriaeth mewn cyfeiliant Piano

(Rhagoriaeth) yn Coleg Brenhinol Cerdd gyda

Roger Vignoles a John Blakely. Fe gafodd

James ei wobrwyo gyda Gwobr Kendall Taylo,

Gwobr Sir Gordon Palmer a Gymrodoriaeth

David Bowerman. Yn 2008 fe enillodd Gwobr

Cyfeilydd y Cronfa Les Gerddorion yn seremoni

gwobrwyo Kathleen Ferrier (Neuadd Wigmore)

a Cystadleuaeth Maggie Teyte ar gyfer Cân

Gelt Ffrengig (Tŷ Opera Brenhinol).

Small Nations Big Sounds www.sinfoniacymru.co.uk 16 Bartosz Woroch


Commissions

Tina Andersson“Five Poems of Sara Teasdale”

Commision for Pille Lill (soprano), Oksana

SInkova (flute) &Camerata Nordica

I But Not To Me

II Child, Child

III Joy

IV After Love / Ebb Tide

Daniela Terranova

“Asleep Landscape”

For soprano, saxophone and string orchestra

Commission for Amy Elizabeth Corkery (soprano),

Virgo Veldi (saxophone) & Camerata Nordica

Mark David Boden (GB)“Murmurations” for double string orchestra

Commissioned by Ty Cerdd & Sinfonia Cymru

for the string orchestras of Sinfonia Cymru &

Camerata Nordica

“Murmurations occur when birds (notably

starlings) flock together in tight, fluid formations.

Such murmurations can range from a few

hundred birds creating small shimmering balls

of energy, to vast undulating masses of millions.

Musically, I hope to explore oscillating and

rippling textures which capture a sense of fluid

and yet unpredictable motion in my new work

for Sinfonia Cymru and Camerata Nordica”.

Tina Andersson“Five Poems of Sara Teasdale”

Comisiwn ar gyfer Pille Lill (soprano), Oksana

Sinkova (ffliwt) a Camerata Nordica

I Ond Ddim i Mi

II Plentyn, Plentyn

III Llawenydd

IV Wedi Cariad / Trai

Daniela Terranova

“Asleep Landscape”

Ar gyfer soprano, sacsoffon a gerddorfa llinynnol

Comisiwn ar gyfer Amy Elizabeth Corkery (soprano),

Virgo Veldi (saxophone) & Camerata Nordica

Mark David Boden (GB)“Murmurations” ar gyfer cerddorfa llinynnol dwbl

Comisiynwyd gan Ty Cerdd a Sinfonia Cymru

ar gyfer y gerddorfeydd llinynnol o Sinfonia

Cymru a Camerata Nordica

“Mae Murmurations yn digwydd wrth i adar

(drudwennod yn nodweddiadol) yn heidio gyda’i

gilydd mewn ffurfiannau tyn, hylif. Mae’r murmur

yma yn gallu amrywio o ryw gant adar yn creu

peli bach symudliw o egni, i fasau tonnog enfawr

o filiynau. Yn cerddorol, rydw i yn gobeithio

archwilio gweadau bendiliol a grychdonnol

sydd yn dal y synnwyr o mudiant hylifol ond

anrhagweladwy yn fy ngwaith newydd ar gyfer

Sinfonia Cymru a Camerata Nordica.”


Musicians Cerddorion

Sinfonia Cymru

Quartet

Bartosz Woroch

Charlie MacClure

Tetsuumi Nagata

Steffan Morris

Violin I

Bartosz Woroch

Ricky Gore

Agata Darashkaite

Simran Singh

Georgie Leo

Camerata Nordica

Violin I

Terje Tönnesen

Eleonora Matsuno

Brusk Zanganeh

Sergej Bolkhovets

Annika Thunberg

Sarah Cross

Violin II

Mihkel Kerem

Dinara Mansurova

Torbjörn Westman

Anna Sandri Olsson

Viola

Catherine Bullock

Pål Solbakk

Ulla – Riitta Raukola

Violin II

Kirsty Lovie

Charlie MacClure

Kana Ohashi

Catherine Landen

Viola

Tetsuumi Nagata

Elizabeth Boyce

Miguel Angel

Laurie Anderson

Cello

Steffan Morris

Ali Howes

Gemma Johnson

Double Bass

David Johnson

Clarinet

Benjamin Mellefont

Rhodri Taylor

Piano

Robin Green

Timpani

Rhys Matthews

Cello

Per Nyström

Sabina Sandri Olsson

Double Bass

Barbro Lennstam


Swedish Wind Ensemble (Quintet Pumawd)

Flute

Per-Markus Heggestad

Oboe

Eva-Karin Axelsson Hellander

Clarinet

Johan Söderlund

Horn

Anita Andersson

Bassoon

Peter Gullqvist


Saxophone

Virgo Veldi

Cello

Andreas Lend

Fondazione Paolo Grassi

Soprano

Amy Elizabeth Corkery

Mezzo Soprano

Angela Giovio

Flute

Oksana Sinkova

Soprano

Pille Lill

Baritone

Joonas Antti Ilari Asikainen


Saturday 4 October, 7.30pmCentral European Influences

Grieg

Foote

Fernström

Nordgren

Tina Andersson

Berg

Hindemith

Holberg Suite, Op. 40

‘A Night Piece’ for flute & string quartet

Darn y Nos’ ar gyfer ffliwt a phedwarawd llinynol

Wind Quintet, Op. 59

Pumawd Chwyth, Op. 59

Hate-Love, Op. 71

Interval

UK PREMIERE: Five Poems of Sara Teasdale

PERFFORMIAD CYNTAF Y DU:

Bump o Gerddi gan Sara Teasdale

An Leukon

Five pieces for string orchestra, Op. 44

Pum darn ar gyfer gerddorfa llinynol Op. 44

Camerata Nordica

Sinfonia Cymru String Quartet

& Oksana Sinkova

Swedish Wind Ensemble

Andreas Lend

& Camerata Nordica

Pille Lill (soprano),

Oksana Sinkova (flute)

& Camerata Nordica

Pille Lill & Camerata Nordica

Camerata Nordica

Sadwrn 4 Hydref, 7.30yhDylanwadau Canol Ewrop

The Norwegian title of Grieg’s Holberg Suite

(1884) makes its purpose clearer: Fra Holbergs

Tid, from the time of Baron Ludwig Holberg

(1864–1754), the Bergen-born writer especially

prized for his sparkling comedies, a kind of

‘Molière of the North’. Grieg captured Holberg’s

spirit by recreating five Baroque dances:

Prelude, Sarabande, Gavotte and Musette, Air

and Rigaudon.

Arthur Foote – one of the undiscovered glories

of American music – composed A Night Piece in

1934, right at the end of his long life (1853–1937).

Foote was the first American composer to be

trained entirely in the USA instead of making the

journey to some European conservatoire and he

became one of the leading members of a group

known as the ‘New England composers’ (most of

them were based, like Foote, in Boston).


The exquisite Night Piece is virtually the

only work of his that has held its place in the

repertoire – a pity, since he wrote much more of

similar quality.

John Fernström (1897–1961) was born in China,

where his Swedish father was a missionary. In

1913 he entered the conservatoire in Malmö,

later returning to the city as a conductor before

moving to Lund, where he directed both the

conservatoire and the symphony orchestra. His

main output was twelve powerful symphonies.

His Wind Quintet dates from 1943, observes

the traditional outline of Allegro molto, Adagio,

Scherzo and rondo-finale and displays

Fernström’s fondness for contrapuntal textures

invested with a modern tang.

Pehr Hendrik Nordgren (1944–2008) lived in

Kaustinen, in the north-west of Finland, where

the Ostrobothnian Chamber Orchestra under

Juha Kangas is also based, and so he knew his

music for strings would get performed almost

as soon as it left his desk. Hate-Love for cello

and strings (1987) is typical of Nordgren in its

combination of the dense textures that earned

him the respect of his modernist colleagues and

the emotional immediacy that allows audiences

to connect with his music directly.

Alban Berg’s An Leukon, for high voice and strings,

was composed in 1908 and exhibits the high-

Romantic language he left behind in his partial

embrace of Schoenberg’s example. The version

for voice and string orchestra was made by Chris

Gordon and first performed in Surbiton in 1978.

Paul Hindemith wrote his Five Pieces for String

Orchestra in 1927 as ‘School Exercises for

Advanced Students’. Two movements marked

‘Langsam’ (‘Slow’) are followed by one marked

‘Lebhaft’ (‘Lively’); the fourth is ‘Sehr langsam’

and the last once again ‘Lebhaft’. They may be

brief, but they contain a considerable range of

emotion, from dark, edgy anguish via barrelling

contrapuntal energy to buoyant good humour.

Mae teitl Norwyaidd o Suite Holberg Grieg

(1884) yn gwneud ei phwrpas yn fwy glir: Fra

Holbergs Tid, o oes Baron Ludwig Holberg

(1684-1754), yr ysgrifennydd a aned ym

Mergen yn nodedig am ei comedïau pefriog,

fel fath o ‘Molière y Gogledd.’ Daliodd Grieg

ysbryd Holberg trwy ail- greu pump dawns

Baróc: Prelude, Sarabande, Gavotte a

Musette, Air a Rigaudon.

Cyfansoddodd Arthur Foote - un o ogoniannau

cyfrinachol yn gerddoriaeth Americanaidd -

‘Darn Nos’ yn 1934, ar ddiwedd ei fywyd

hir (1853-1937). Foote oedd y cyfansoddwr

Americanaidd cyntaf erioed i hyfforddi yn

Yr UDA yn lle teithio i ryw conservatoire

Ewropeaidd ac fe ddaeth yn un o aelodau

arweiniol o grŵp a elwir yn ‘cyfansoddwyr

Lloegr Newydd’ ((roedd rhan fwyaf ohonynt

wedi lleoli, fel Foote, yn Boston). Mae’r gwaith

eithriadol ‘Darn Nos’ fwy neu lai yn unig waith ef

a daliodd ei le yn y repertoire - drueni, ers iddo

ysgrifennu lot fwy, o ansawdd tebyg.


Cafodd John Fernström (1897-1961) ei eni yn

Tsieina, lle bu ei Dad Swedeg yn genhadwr.

Yn 1913 fe aeth i gonservatoire yn Malmö,

a hwyrach yn dychwelyd i’r ddinas

fel arweinydd cyn symud I Lund, lle

gyfarwyddodd ef y conservatoire a cherddorfa

symffoni. Ei chynnyrch mwyaf oedd deuddeg

symffoni bwerus. Mae ei Phumawd Chwyth

yn dyddio o 1943, yn arsylwi’r amlinelliad

traddodiadol o Allegro molto, Adagio, Scherzo

a rondo- finale ac yn arddangos hoffter

Fernström o weadau gwrthbwyntiol wedi

buddsoddi gyda sawr modern.

Roedd Pehr Hendrik Nordgren (1944-

2008) yn by yn Kaustinen, yng ngogledd-

orllewin Finland, lle mae Cerddorfa Siambr

Ostrobothnian o dan Juha Kangas hefyd wedi

ei lleoli, ac felly gwyddai bydd ei cherddoriaeth

ar gyfer llinynnau yn cael ei berfformio

cyn gynted ag y gadawodd ei ddesg. Mae

‘Hate-Love’ ar gyfer cello a llinynnau (1987)

yn nodweddiadol o Nordgren yn ei gyfuniad

o strwythurau trwchus a enillodd ef barch ei

gydweithwyr modernaidd a’r uniongyrchedd

emosiynol sy’n caniatáu cynulleidfaoedd i

gysylltu gydag ef yn uniongyrchol.

Cafodd An Leukon Alban Berg, ar gyfer llais

uwch a llinynnau, ei gyfansoddi yn 1908 ac

yn arddangos yr iaith uwch-Rhamantaidd y

gadawodd y tu ôl yn ei gofleidio rhannol o

esiampl Schoenberg. Cafodd y fersiwn ar

gyfer llais a cerddorfa llinynnol ei wneud gan

Chris Gordon a perfformio am y tro gyntaf yn

Surbiton yn 1978.

Fe ysgrifennodd Paul Hindemith ei Pum Ddarn

ar gyfer Cerddorfa Linynnol yn 1927 fel ‘Ymarfer

Ysgol Myfyrwyr Uwch’. Mae dau symudiad

enwyd ‘Langsam’ (‘Araf’) yn cael eu dilyn gan

un enwyd ‘Lebhaft’ (‘Bywiog’); Y pedwerydd

yw ‘Sehr langsam’ ac yr un olaf unwaith eto

‘Lebhaft’. Efallai maent yn fyr, ond maen nhw’n

cynnwys amrediad sylweddol o emosiwn, o ofid

tywyll, miniog drwy egni a ruthrid gwrthbwyntiol i

hiwmor bywiog.


Sunday 5 October, 7.30pmItalian Moods Through Time

Rota

Rota

Daniela

Terranova

Respighi

Sciarrino

Respighi

Small Musical Offering for Wind Quintet

‘Rhodd Fach Gerddorol’ ar gyfer pumawd chwyth

‘Nonet’ for Wind Quintet and String Quartet

Nonet ar gyfer pumawd chwyth a bedwarawd llinynol

UK PREMIERE: Asleep Landscape

PERFFORMIAD CYNTAF Y DU: Asleep Landscape

Interval

Il Tramonto for mezzo & string quartet

Il Tramonto ar gyfer mezzo & pedwarawd llinynol

Due arie notturne dal campo, arr. of Two Arias by A. Scarlatti

Due arie notturne dal campo, tref. o ddau Aria gan A. Scarlatti

Antique Airs and Dances

Swedish Wind Ensemble

Swedish Wind Ensemble &

Sinfonia Cymru String Quartet

Amy Corkery, Virgo Veldi

& Camerata Nordica

Angela Giovio

& Sinfonia Cymru String Quartet

Amy Corkery

& Sinfonia Cymru String Quartet

Camerata Nordica

Sul 5 Hydref, 7.30yhTeimladau Eidaleg Drwy Amser

Nino Rota (1911–79) is best known as a composer

of film music, especially for Federico Fellini:

he wrote 150 film scores between 1933 and

1979. But he also composed concert music – a

substantial quantity of it – revealing the same

Italianate love of melody. His Piccola Offerta

Musicale for wind quintet – Andante mosso,

Allegro con spirit, Tempo primo, Allegro – is brief

enough to live up to its title, but its alternation

of summer-evening laziness and bucolic

spirits belies the date of its composition: July

1943, at the height of the Second World War.

Rota’s Nonet is more substantial, and its dates

would seem to gainsay his usual facility: it was

composed over two decades, in 1959, 1974 and

1977. But that protracted birth does not seem

to have affected the spontaneity of its mood,

unfolding over an Allegro calmo, an Andante, an

Allegretto con spirit, a Canzone con variazioni

and a concluding Vivacissimo.


There’s a popular misconception that while the

rest of Europe was churning out symphonies,

concertos and string quartets, Italian composers

wrote only operas. Like all myths, there’s

some truth in it: in 19th-century Italy opera

was as popular a pursuit as football is today.

But Italian composers have always written

instrumental music as well, and there’s a huge

corpus of it still waiting to be discovered. One

of the few Italians whose orchestral music has

become central repertoire is Ottorino Respighi

(1879–1936), particularly through his ‘Roman

Trilogy’, Fountains of Rome, Pines of Rome and

Feste Romane. But Respighi was an operatic

composer as well (he wrote nine of them) and

the two worlds meet in Il Tramonto, a 1914 setting

of Shelley’s poem ‘The Sunset’ (translated by

Rinaldo Ascoli). The poem, which Respighi sets

in a mixture of recitativo and arioso, with vocal

and instrumental lines interwoven, charts the

feelings of a woman as she remembers her

dead lover and the intensity of their love and,

after a central climax, reflects on her life without

him – the twilight of her passion.

As part of his concern to shift the focus of

Italian music away from its obsession with

opera, Respighi turned to Italian lute music of

the 16th and 17th centuries, producing three

suites of Antiche Arie e Danze per liuto. The

first two, composed in 1917 and 1923, are for full

orchestra; the third, written in 1932, is scored

for strings only. The first movement adapts

an ‘Italiana’ by an anonymous composer. The

second is based on a series of ‘Arie di corte’,

lute-songs by the Burgundian composer

Jean-Baptiste Besard (c. 1567–c. 1625). The

third is a Siciliana by another anonymous

composer from the late 16th century, and the

powerful finale uses a Passacaglia – a set of

variations on a repeated bass – dating from

1692; its first composer was Ludovico Roncalli, a

nobleman about whom little is known – Respighi

encountered the music in an 1881 transcription

for modern guitar by Oscar Chilesotti.

Respighi’s example in reviving early music

in modern garb has been followed by many

subsequent composers. One of the least likely is

the Italian modernist Salvatore Sciarrino (born in

1947), whose Due arie notturne dal campo (2001)

sets two arias by Alessandro Scarlatti (1660–

1725), the first extending a haunting melodic

line over bell-like harmonies in the strings, the

second a gentle dance.

Nino Rota (1911–79) yn enwog am fel

cyfansoddwr o cerddoriaeth ffilm, yn enwedig

ar gyfer Federico Fellini: fe ysgrifennodd

150 sgôrau ffilm rhwng 1933 a 1979. Ond fe

gyfansoddodd cerddoriaeth cyngerdd hefyd

– swm mawr ohoni – yn datgelu yr un cariad

Eidaleg tuag at felodi. Mae ei Piccola Offerta

Musicale ar gyfer pumawd chwyth –Andante

mosso. Allegro con spirit, Tempo primo,

Allegro – yn ddigon byr i fyw lan I’w deitl,

ond mae ei hamrywiaeth o ddiogi hafnôs ac

ysybrydion bugeiliol yn gwrth-ddweud dyddiad

ei gyfansoddiad: Gorffenaf 1943, yn anterth yr

ail ryfel byd. Mae Nonet Rota yn fwy sylweddol,

ac mae ei dyddiadau yn ymddangos I wadu ei


gyfleuster arferol: gafodd ei cyfansoddi dros

ddau ddegawd, yn 1959, 1974 a 1977. Ond nid

yw’n ymddangos bod y genedigaeth hir yma

wedi effeithio ar dymer y ddarn, sy’n datblygu

dros Allegro calmo, Andante, Allegretto con spirit,

a Canzone con variazioni a Vivacissimo i gloi.

Mae yna camsyniad poblogaidd lle tra roedd

gweddill Ewrop yn corddi allan symffoniau,

consiertos a pedwarawdau llinynnol, roedd

cyfansoddwyr Eidaleg m’ond yn ysgrifennu

operau. Fel bob chwedl, mae rhywfaint o

wirionedd ynddo: Yn yr Eidal 19eg ganrif roedd

opera yn dilyniad yr un mor poblogaidd ac y

mae pêl droed heddiw. Ond mae cyfansoddwyr

Eidaleg gwastad wedi ysgrifennu cerddoriaeth

offerynol hefyd, ac mae yna corpws enfawr

ohoni dal yn aros i’w cael ei darganfod. Un o’r

prin Eidalwyr y mae eu cerddoriaeth gerddorfaol

wedi dod yn repertoire canolog yw Ottorino

Respighi (1879- 1936) yn enwedig drwy ei

‘Drioleg Rhufeinig’, Ffynhonnau Rhufain, Pinwydd

Rhufain a Feste Romane. Ond roedd Respighi yn

chyfansoddwr operatig hefyd (fe ysgrifennodd

naw ohonynt) ac mae’r ddau byd yn cwrdd

mewn Il Tramonto, a gosod cerdd ‘Y Machlud’

Shelley yn 1914 (wedi gyfieithu gan Rinaldo

Ascoli). Mae’r cerdd, sy’n cael ei osod mewn

cymysgedd o recitativo a arioso gan Respighi,

gyda linellau lleisiol ac offerynol wedi gydblethu,

yn siartiau teimladau o Ddynes wrth iddi hi

gofio ei gariad bu farw a dwyster eu cariad ac,

ar ol uchafbwynt canolog, yn myfyrio ei fywyd

hebddo – cyfnos ei angerdd hi.

Fel rhan o’i phryder i symud y ffocws ar

cerddoriaeth Eidaleg o’i obsesiwn gydag opera,

trodd Respighi i gerddoriaeth liwt Eidaleg o’r

16eg a’r 17eg ganrif, a gynhyrchu tair cyfres

o Antiche Arie e Danze per liuto. Mae’r ddau

gyntaf, wedi cyfansoddi yn 1917 a 1923, ar gyfer

cerddorfa llawn; mae’r trydydd, ysgrifennwyd

yn 1932, wedi sgorio ar gyfer llinynnau yn unig.

Mae’r symudiad cyntaf yn addasu ‘Italiana’ gan

gyfansoddwr dienw.

Mae’r ail wedi seilio ar gyfres o ‘Arie di corte’,

caneuon-liwt gan y gyfansoddwr Bwrgwyn

Jean-Baptiste Besars (c. 1567 – c. 1625). Mae’r

trydydd yn ‘Siciliana’ gan cyfansoddwr dienw

arall o hwyr y 16eg ganrif, ac mae’r diweddglo

pwerus yn ddefnyddio Passacaglia – cyfres o

amrywiaethau ar grwndfas – yn dyddio o 1692;

ei cyfansoddwr cyntaf oedd Ludovico Roncalli,

dyn fonheddig mai ychydig iawn yn cael ei

wybod amdano – Daeth Respighi ar draws ei

cherddoriaeth mewn trawsgrifiad ar gyfer Gitar

Fodern gan Oscar Chilesotti.

Mae esiampl Respughi o adfywio cerddoriaeth

gynnar wedi cael ei ddilyn gan llawer o

gyfansoddwyr wedi hynny. Un o’r rhai lleiaf

tebygol yw’r fodernydd Eidaleg Salvatore

Sciarrino (an aned yn 1947), mae Due arie

notturne dal campo (2001) ef yn gosod dau aria

gan Alessandro Scarlatti (1660-1725), y gyntaf

yn ymestyn llinell felodi swynol dros harmoniau

clychol yn y llinynnau, yr ail yn dawns ysgafn.


Monday 6 October, 7.30pmSmall Nations Big Sounds

Watkins

Sibelius

Boden

Haas

Grigorjeva

Martinů

Three Welsh Songs for strings

Tair Cân Gymreig ar gyfer llinynau

Kuolema

WORLD PREMIERE: Murmurations for double string orchestra

PERFFORMIAD CYNTAF: Murmurations ar gyfer dwy gerddorfa llinynol

Interval

String Quartet No. 2, Op. 7

Pedwarawd Llinynol rhif 2, Op. 7

‘Prayer’

Double Concerto for Two String Orchestras, Piano and Timpani.

Concerto Dwbl ar gyfer Dwy Gerddorfa Llinynol, Piano a Timpani

Sinfonia Cymru

Joonas Asikainen, Amy

Corkery & Sinfonia Cymru

Sinfonia Cymru

& Camerata Nordica

Camerata Nordica

Camerata Nordica

Camerata Nordica

& Sinfonia Cymru

Llun 6 Hydref, 7.30yhCenhedloedd Bach Synau Mawr

Huw Watkins (b. 1976) writes of his Three

Welsh Songs (2008–9) for string orchestra,

commissioned by the English Chamber Orchestra

to mark the 60th birthday of the Prince of Wales:

The first movement [Allegro vivace] begins with

all the violins playing a vigorous, lively tune with

interruptions from the lower strings. The tune,

‘Ar hyd y nos’ (‘All through the Night’) gradually

emerges in the gentler central section before a

return to the opening tune. The movement ends

with a reminiscence of the ‘Ar hyd y nos’. The

second movement [Lento] is based on two songs:

‘Bugeilio’r Gwenith Gwyn’ is heard in its entirety

after a solo viola plays a fragment of ‘Lisa Lan’. The

last movement [Allegro] is based on the first phrase

of ‘Y Gwcw Fach’ (‘The little cuckoo’); it is only at the

climax that the tune is almost heard in full.


Sinfonia Cymru

Joonas Asikainen, Amy

Corkery & Sinfonia Cymru

Sinfonia Cymru

& Camerata Nordica

Camerata Nordica

Camerata Nordica

Camerata Nordica

& Sinfonia Cymru

Kuolema (‘Death’) is a play, first performed in

1903, by the Finnish writer Aarvid Järnefelt

(1861–1962), who didn’t have far to look to find

someone to write the incidental music for it:

his sister Aino was married to Jean Sibelius.

Sibelius duly wrote six numbers for the first

production, one of which became wildly

popular, revised under the title Valse triste (in

the play a widowed mother is dancing with

Death). That was the start of the musicological

confusion that until recently attended these

pieces. In 1906 Sibelius revised another of

them (the fourth you’ll hear in this concert)

as Scene with Cranes and adapted some

of the rest of the music as a Rondino der

Liebenden (‘Rondo of the Lovers’) for strings.

The next layer of confusion came in 1911 when

Järnefelt revised his play – and Sibelius his

music, resulting in a chain of conflicting opus

numbers about as straightforward as a sudoku

puzzle. When the complete recorded edition

of Sibelius’ music by the Swedish label BIS

reached Kuolema in 1997, it sent the scholars

back to the sources to re-establish the original

scores, so that they could be recorded by

the Lahti Symphony Orchestra under Osmo

Vänskä. They are the ‘Valse Triste’, ‘Paavali’s

Song’ (with baritone; Paavali is the son of the

mother who had danced with Death at the

beginning), ‘Elsa’s Song’ (with mezzo soprano:

Elsa is the girl he will marry), and music from

Scenes IV, V and VI.

Pavel Haas (1899–1944) gained posthumous

fame as one of the composers incarcerated in

the garrison-ghetto of Terezín (Theresienstadt),

some forty miles outside Prague: for some

years, despite extraordinary deprivation,

cultural life thrived there – until October

1944, when most of the leading figures where

shunted off to Auschwitz and gassed. But

Haas had known happier times: he was born

in Brno and in the early 1920s studied with

Brno’s best-known musical inhabitant, Leoš

Janáček, whose music is an audible influence

on Haas’: Moravian folksong and Jewish

cantilena can also be heard threaded through

it. Haas’ Second String Quartet, which often

performed by a full string ensemble (sometimes

with percussion), was written in 1925, three

years after he had left Janáček’s composition

class. It bears the subtitle, ‘From the Monkey

Mountains’ – the ‘Monkey Mountains’ being a

popular name for the Vysočina, the Moravian

Highlands. The first movement, Andante, is

labeled ‘Landscape’, and the second, also

Andante, is ‘Coach, Coachman and Horse’,

each illustrating its title. The third, ‘The Moon

and I’ emerges Largo e misterioso before rising

to a climax and sinking back to the opening

mood. And the finale, ‘Wild Night’ (Vivace e con

fuoco) does what it says on the can, mixing jazz

and folk elements.

Galina Grigorjeva (b. 1962) is a Ukrainian

who has lived in Tallinn since the mid-1990s;

she is now one of Estonia’s most widely

performed composers. Her music is often

explicitly spiritual in intent, and frequently has

a suggestion of religious ritual. Her Molitva

(‘Prayer’) was originally written in 2005 for

saxophone and organ; the version for cello


and strings from 2011 is one of a number of

subsequent adaptations.

Many of Martinů’s works from the 1930s revive

the Baroque form of the concerto grosso, with

a soloist or group of soloists contrasted with

the larger ensemble, and his Double Concerto

for Piano, Strings and Timpani – part concerto

grosso, part piano concerto – takes the form

a step further. A masterpiece of impassioned

counterpoint, the Concerto reflects its troubled

times: commissioned by Martinů’s occasional

patron, Paul Sacher, for his Basel Chamber

Orchestra, it was finished in sketch form on

the very day that the western Allies signed

away Czechoslovakia to Hitler in the Munich

Agreement, and the music vents Martinů’s

despair at the impending fate of his homeland. In

the outer movements, Poco allegro and Allegro,

the two string groups hurl jagged, syncopated

rhythms at each other; the central Largo rises

from edgy chords via whirling string lines and a

lonely, nervous solo from the piano to a defiant

climax, from which it sinks back in empty despair.

Dyma Huw Watkins (a. 1976) yn ysgrifennu am ei

Thair Gan Gymreig (2008-9) i gerddorfa llinynnol,

wedi comisiynu gan Cerddorfa Siambr Lloegr i nodi

pen blwydd Tywysog Cymru yn 60 mlwydd oed:

Comisiynwyd fy Nhair Cân Gymreig gan

Gerddorfa Siambr Lloegr. Mae’r symudiad

cyntaf yn dechrau gyda’r feiolinau’n chwarae

alaw egnïol a bywiog gydag ymyriadau o’r

llinynnau is. Mae’r alaw, Ar Hyd y Nos, yn

ymddangos yn raddol yn y rhan dawelach sydd

yng nghanol y symudiad cyn dychwelyd at yr

alaw agoriadol. Mae’r symudiad yn gorffen gan

ailymweld ag Ar Hyd y Nos. Mae’r ail symudiad

wedi’i seilio ar ddwy gân; clywir Bugeilio’r

Gwenith Gwyn yn ei chyfanrwydd yn dilyn unawd

allan o Lisa Lân ar y fiola. Mae’r symudiad olaf

wedi’i seilio ar frawddeg gyntaf Y Gwcw Fach;

dim ond wrth iddi chyrraedd ei huchafbwynt y

clywir yr alaw bron yn ei chyfanrwydd.

Mae Kuolema (‘Marwolaeth’) yn ddrama,

perfformiwyd am y tro cyntaf yn 1903, gan y

dramodydd Ffinneg Aarvid Järnefelt (1861–

1962), na chafodd bell i edrych am rywun i

ysgrifennu’r gerddoriaeth achlysurol iddo:

roedd ei chwaer wedi priodi i Jean Sibelius.

Yn briodol, fe ysgrifennodd Sibelius chwe

darn am y cynhyrchiad cyntaf, ac fe ddaeth un

ohonynt yn boblogaidd tu hwnt, wedi adolygu

o dan y teitl Valse triste (yn y ddrama mae

Mam weddw yn dawnsio gyda’r Medelwr

Mawr. Hyd yn ddiweddar, dyna oedd dechrau’r

dryswch cerddolegol a weinyddodd y darnau

yma. Yn 1906, adolygodd Sibelius un arall

o’r gyfres yma (fe glywch y pedwerydd yn y

cyngerdd yma) fel ‘Olygfa gyda Chraeniau’ ac

fe addasodd tipyn o weddill y gerddoriaeth fel

Rondino der Liebenden (‘Rondo’r Cariadon’)

ar gyfer llinynnau. Daeth yr haen nesaf o

ddryswch yn 1911, pan adolygodd Järnefelt

ei ddrama – a Sibelius ei cherddoriaeth,

yn arwain at cadwyn o rhifau opws

gwrthdrawiadol oedd mor syml a pos sudoku.

Pan gyrhaeddodd yr argraffiad cyflawn wedi


recordio o gerddoriaeth Sibelius gan y label

Swedeg BIS i Kuolema yn 1997, fe anfonodd

yr ysgolheigion yn ôl i’r darddiadau i gallu

ailsefydlu’r sgoriau wreiddiol, er mwyn iddyn

nhw gael eu recordio gan Cerddorfa Symffoni

Lahti o dan Osmo Vänskä. Y symudiadau yw

‘Valse Triste’, ‘Cân Paavali’ (gyda bariton;

Paavali yw mab y Fam a dawnsiodd gyda’r

Medelwr Mawr yn y ddechreuad), ‘Can Elsa’

(gyda mezzo soprano: Elsa yw’r ferch y fydd

e’n ei phriodi), a cerddoriaeth o golygfeydd

IV, V a VI.

Enillwyd Pavel Haas (1899–1944) enwogrwydd

ar ôl marwolaeth fel un o’r cyfansoddwyr

gafodd eu carcharu yng ngarsiwn geto o yn

Terezín (Theresienstadt) rhyw bedwardeg milltir

tu allan i Brâg: am flynyddoedd, er gwaethaf

yr amddifadedd anhygoel, fe ffynnodd bywyd

diwylliannol yno, nes mis Hydref 1944, pan

gafodd mwyafrif o ffigurau arweiniol ei symud i

Auschwitz a’i wenwyno gyda nwy. Ond cafodd

Haas amserau hapusach yno: Cafodd ei eni

yn Brno ac yn 1920au cynnar fe astudiwyd

gyda dinesydd cerddorol enwocaf Brno,

Leoš Janáček, y person a’i gerddoriaeth

gafodd dylanwad clywadwy ar Haas: gellir

clywed can werin Morafaidd a chantilena

Iddewig wedi gwau trwyddo hefyd. Cafodd

Ail Bedwarawd Llinynnol Haas, sydd yn aml

yn cael ei berfformio gan ensemble linynnau

llawn (weithiau gydag offerynnau taro), ei

ysgrifennu yn 1925, tair blwyddyn ar ôl iddo

adael dosbarth cyfansoddi Janáček. Mae’r

darn yn gwyro’r isdeitl ‘O’r Mynyddoedd Mwnci’

– y ‘Mynyddoedd Mwnci’ yn enw poblogaidd

am Vysočina, ucheldiroedd Morafia. Mae’r

symudiad cyntaf Andante, wedi labelu

‘Tirwedd’, yr ail, hefyd Andante, yw ‘Coets,

Coetmon a Cheffyl’, pob un yn darlunio ei deitl.

Mae’r trydydd, ‘Y Lleuad a Mi’ yn ymddangos

fel Largo e misterioso cyn codi i uchafbwynt a

suddo nôl i’r tymer agoriadol. A’r diweddglo,

‘Noson Wyllt’ (Vivace e con fuoco) yn gwneud

fel mae’r teitl yn ei awgrymu, wrth gymysgu

elfennau jazz a gwerin.


Mae Galina Grigorjeva Wcreineg sydd wedi

byw yn Tallinn ers canol y 1990au; mae hi nawr

yn un o gyfansoddwyr y perfformir yn fwyaf

eang Estonia. Mae ei cherddoriaeth hi yn aml

yn fwriadol ysbrydol, ac yn aml yn awgrymiad

o’i ddefod grefyddol. Cafodd ei Molitva

(‘Gweddi’) ei ysgrifennu yn wreiddiol yn 2005

ar gyfer sacsoffon ac organ; mae’r fersiwn ar

gyfer cello a llinynnau o 2011 yn un o nifer o

addasiadau dilynol.

Mae llawer o weithiau Martinů o’r 1930au

yn adfywio’r ffurf Faróc o’r concerto grosso,

gydag unawdydd neu grŵp o unawdwyr wedi

cyferbynnu gyda grŵp fwy, ac mae ei Consierto

Dwbl ar gyfer piano, llinynnau a timpani – rhan

concerto grosso, rhan consierto piano – yn

cymryd y ffurf un cam pellach. Campwaith

o wrthbwynt angerddol, mae’r consierto yn

adlewyrchu ei oesoedd cythryblus: wedi

comisiynu gan y noddwr achlysurol, Paul

Sacher, am ei Cherddorfa Siambr Basel,

fe gafodd y darn ei orffen yn ffurf fraslun

ar yr un dydd a llofnodwyd y cynghreiriaid

Tsiecoslofacia i ffwrdd i Hitler yn y Cytundeb

Munich, ac mae’r gerddoriaeth yn leisio

anobaith Martinů tuag at y dynged oedd ar

fin dod i’w famwlad. Yn y symudiadau allanol,

Poco allegro ac Allegro, mae’r ddau grŵp

llinynnol yn hyrddio rhythmau danheddog,

trawsacennog at ei gilydd; mae’r Largo

canolog yn codi o cordiau miniog trwy llinellau

llinynnol chwyrlïol ac unawd unig, nerfus o’r

piano i uchafbwynt herllyd, o ble mae’n suddo

yn ôl mewn anobaith gwag.

Notes by Martin Anderson, 2014

Nodiadau gan Martin Anderson, 2014

Supported by Philip and Christine Carne and The Radcliffe Trust

Gyda chefnogaeth Philip a Christine Carne ac Ymddiriedol aeth Radcliffe

Chamber Music Weekend Penwythnos Cerddoriaeth Siambr

Robert Schumann:Inner Voices, Outer Worlds

‘ I have been composing so much that it seems uncanny at times.’ Robert Schumann

17–19 Oct | Hyd 2014

Featuring the Gould Piano Trio Yn cynnwys y Triawd Piano Gould

Tickets | Tocynnau029 2039 1391www.rwcmd.ac.uk

BBC

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BBC

THE DREAM OF GERONTIUS

ST DAVID’S HALL, CARDIFF • NEUADD DEWI SANT, CAERDYDD

0800 052 1812 bbc.co.uk/now

Friday • Gwener 07.11.14 7.30pm

Conductor • Arweinydd Mark Wigglesworth

Mezzo Anna Larsson Bass • Baswr Peter Rose

BBC NOW_SinfoniaCymru.indd 1 19/09/2014 15:55

sinfoniacymru.co.uk /sinfoniacymru @sinfoniacymru

SINFONIA CYMRU & LLŶR WILLIAMS

Described by The Guardian as a performer with ‘acute sensitivity’ and ‘penetrating insight’, Llŷr Williams joins Sinfonia Cymru for a unique double concerto programme.

Rossini: Overture to ‘The Italian Girl in Algiers’ Mozart: Piano Concerto No. 24 in C minor, K.491Schubert: Symphony No. 5 in Bb, D. 485Mendelssohn: Piano Concerto No. 1 in G minor, Op. 25

Friday 21 November, 7.30pmPontyberem Memorial Hall

Saturday 22 November, 7.30pm Aberystwyth Arts Centre

SINFONIA CYMRU: SCHUBERT QUINTET

Musicians from Sinfonia Cymru perform a recital featuring two intensely intimate masterpieces from the chamber music repertoire.

Webern Langsamer Satz Schubert String Quintet in C Major, D.956

Wednesday 5 November, 1pmRiverfront, Newport

Saturday 8 November, 1pmFfwrnes, Llanelli

Tuesday 11 November, 1pmSt David’s Hall, Cardiff

Sunday 23 November, 3.00pm The Riverfront, Newport

Sinfonia Cymru is an exciting and progressive chamber orchestra made up of young professional musicians at the start of their careers.

small nations big sounds festival programme

Documents

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pmdora stouzker hall

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