sinfonia cymru: strauss, march 2014

MetamorphosenLe Bourgeois Gentilhomme Op. 60

Conductor/Arweinydd: Gareth JonesNarrator/Storïwr: Richard Harrington

Fri 21sth March, 7:30pm Gwe 21ain Mawrth, 7.30yh

Pontyberem Memorial Hall Neuadd Goffa Pontyberem

Sat 22nd March, 7.30pm Sad 22ain Mawrth, 7.30yh

Dora Stoutzker Hall, RWCMD, CardiffNeuadd Dora Stoutzker,CBCDC, Caerdydd

Sun 23rd March, 3.00pm Sul 23ain Mawrth, 3.00yh

The Riverfront, NewportGlan yr Afon, Casnewydd

Concert Programme £2Rhaglen Gyngerdd £2

Strauss

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Bach Concerto for Two Violinsin D minorSally Beamish SeavaigersVarious composers ScottishVariationsStout/McKay Sunstone (new material)Company: Scottish Ensemble,directed by Jonathan MortonChris Stout fiddleCatriona McKay Scottish harpJonathan Morton violin

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Sat 29th March, 7pm - 9pm (free entry)Small World TheatreCardiganCeredigion, SA43 1JY

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Musical Director Cyfarwyddydd CerddGareth Jones

Guest Leader / Director Arweinydd Gwadd / CyfarwyddyddBartosz Woroch

Sinfonia Cymru: Curate Curadur Sinfonia CymruJonathan Davies James Thomas Charlie MacClure Luc Morris Steffan Morris

Trustees YmddiriedolwyrLucy Stout Michael SalterGareth Cheesman

Toks Dada David Jackson Penny James Geraint Lewis

Management GweinyddiaethSophie Lewis

Matthew Green

Luc Morris

Emerald Skeete

Sebastian PennarSimon HowesToks DadaMatthew Green

Chair CadeiryddHonorary President Llywydd AnrhydeddusCompany Secretary Ysgrfiennydd Cwmni

Ian MorrisKempton ReesGaye Williams

General Manager Rheolwr [email protected] and Special Projects Co-ordinator Cyd-drefnydd y Gerddorfa a Phrosiectau Arbennig [email protected] & Communications Officer Swyddog Marchnata a [email protected] [email protected]

StraussMetamorphosen

Interval

Le Bourgeois Gentilhomme, Op. 60

Conductor ArweinyddGareth Jones

Narrator Storïwr Richard Harrington

March 2014 Mawrth 2014 www.sinfoniacymru.co.uk 4

www.sinfoniacymru.co.uk March 2014 Mawrth 2014 5

Welcome to our first ‘Classic Conversation’ of

2014. This year marks the 150th Anniversary of

the birth of Richard Strauss and we are taking

this opportunity to present to you two of his

very finest works for chamber orchestra.

Indeed, for this particular series the

description ‘Classic Conversation’ has

a somewhat different angle in that we

are joined by the highly-acclaimed actor

Richard Harrington, who will read translated

extracts from Moliere’s play, Le Bourgeois

Gentilhomme. I think that these interpolated

readings will add even further to your

enjoyment of what is without doubt one of

Strauss’ most brilliant and effervescent scores.

Richard will also deliver some background text

to the other work in this evening’s concert; his

Metamorphosen for 23 solo strings.

Over the years Sinfonia Cymru has had

a particularly strong association with this

piece, having performed it on three previous

occasions. For me, it is a piece that despite its

relative brevity, always has a shattering impact

both for performer and listener alike. It is a

piece that, because of its tremendous sense

of visual theatre requires an audience to see

it performed, every bit as much as to hear it

performed.

So, I hope that you will enjoy our very special

tribute to this very great composer.

Gareth Jones

Musical Director, Sinfonia Cymru

Croeso i ‘Sgwrs Glasurol’ gyntaf 2014. Mae

eleni’n nodi pen-blwydd Richard Strauss yn

150 oed ac rydym yn manteisio ar y cyfle hwn

i gyflwyno dau o’i gampweithiau cerddorfaol

siambr mwyaf cywrain.

Yn wir, ar gyfer y gyfres benodol hon, mae gan

y disgrifiad ‘Sgwrs Glasurol’ ystyr wahanol

mewn gwirionedd, am fod yr actor nodedig

Richard Harrington yn ymuno â ni, a bydd yn

darllen cyfieithiad o rannau o ddrama Moliere,

Le Bourgeois Gentilhomme. Rwy’n credu y

bydd y darlleniadau hyn yn ychwanegu fwy

fyth at eich mwynhad o’r hyn sydd, heb os, yn

un o gampweithiau mwyaf hynod Strauss.

Bydd Richard hefyd yn darllen testun

cefndirol i’r gwaith arall yn y gyngerdd heno,

Metamorphosen a gyfansoddwyd ar gyfer

23 o unawdau llinynnol. Dros y blynyddoedd,

mae Sinfonia Cymru wedi meithrin perthynas

benodol o glos gyda’r darn hwn, ac wedi’i

berfformio ar dri achlysur. I mi, mae’n ddarn

sydd bob amser yn creu effaith ysgytwol,

i’r perfformiwr yn ogystal â’r gwrandäwr, er

mai darn cymharol gryno ydyw. Oherwydd yr

ymdeimlad o theatr weledol a geir yn y darn,

mae’n bwysig bod cynulleidfa yn gweld y

perfformiad, yn gymaint â’i glywed.

Felly, rwy’n gobeithio y byddwch i gyd yn

mwynhau ein teyrnged arbennig iawn i’r

cyfansoddwr hynod.

Gareth Jones

Cyfarwyddydd Cerdd, Sinfonia Cymru

Foreword Rhagair


Sinfonia Cymru

Sinfonia Cymru is an exciting and progressive

chamber orchestra from Wales. The orchestra

is made up 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, Newport

and performs in venues across Wales.

The orchestra works with Young Classical

Artists Trust to create opportunities for the

next generation of solo artists including the

orchestra’s current Leader/Director Bartosz

Woroch. Sinfonia Cymru has worked with a

number of celebrated guest artists including

Bryn Terfel, Llŷr Williams, Paul Watkins, Carlo

Rizzi, and Alina Ibragimova.

The orchestra enjoys a long-standing

relationship with Deutsche-Gramophon harpist

Catrin Finch. Past projects with Catrin include

Classic BRIT nominated album ‘Blessing’

with John Rutter, which reached number

one in BBC Radio 3’s classical chart, and a

performance at Universal Live ‘Yellow Lounge’.

Collaboration forms a key part of Sinfonia

Cymru’s work. In 2013 Sinfonia Cymru worked

with Ballet Cymru on 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 on ‘Anatomie in Four Quarters’

at Wales Millennium Centre.

In 2013 Sinfonia Cymru embarked on a major

project to develop and launch a new way of

working for chamber orchestras. 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.

2013 saw the development of UnButtoned

at Chapter Arts Centre; a collaboration with

BAFTA-Cymru award winning musician Tom

Raybould, featuring a score which integrates

live and electronic musical performance with

live reactive visuals. UnButtoned will

be further developed throughout 2014 with

performances planned for later in the year.

In 2014 Sinfonia Cymru will be working with

actor Richard Harrington (star of S4C Y Gwyll

/ Hinterland), welcoming back Catrin Finch

and Llŷr Williams to perform concerti in June

and November respectively and performing

Sweeney Todd at Llangollen International

Music Eisteddfod featuring Bryn Terfel in

the title role, conducted by Sinfonia Cymru

founder and Musical Director Gareth Jones.

The orchestra will also be taking part in a

major European project with partners from

across the continent, culminating in a festival

featuring music from each participating nation,

hosted by Sinfonia Cymru and RWCMD in

October this year.


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’r gerddorfa’n ymfalchïo yn y berthynas

dda sydd ganddi â Catrin Finch, telynores y

Deutsche-Gramophon. Ymhlith y prosiectau

a wnaed yn y gorffennol gyda Catrin

mae’r albwm ‘Blessing’ gyda John Rutter

a enwebwyd ar gyfer BRIT Clasurol, ac a

gyrhaeddodd rhif un yn siart cerddoriaeth

glasurol BBC Radio 3, a pherfformiad yn

‘Yellow Lounge’ Universal Live.

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, bydd Sinfonia Cymru yn gweithio

gyda’r actor Richard Harrington (seren Y Gwyll

/ Hinterland S4C), yn croesawu Catrin Finch a

Llŷr Williams nôl i berfformio cyngherddau ym

mis Mehefin a mis Tachwedd ac yn perfformio

Sweeney Todd yn Eisteddfod Gerddorol

Ryngwladol Llangollen a fydd yn cynnwys Bryn

Terfel fel y prif seren ac yn cael ei arwain gan

sylfaenydd a Chyfarwyddwr Cerdd Sinfonia

Cymru, Gareth Jones. Bydd y gerddorfa hefyd

yn cymryd rhan mewn prosiect Ewropeaidd

mawr gyda phartneriaid ledled y cyfandir,

gan arwain at uchafbwynt mewn gŵyl gerdd

a fydd yn cynnwys cerddoriaeth o bob gwlad

sy’n cymryd rhan, ac yn cael ei chyflwyno gan

Sinfonia Cymru a Choleg Brenhinol Cerdd a

Drama Cymru ym mis Hydref eleni.


Gareth Jones began his conducting career

as a member of Music Staff of Welsh National

Opera, which he joined in 1990. While there he

conducted an extensive range of repertoire

including Un Ballo in Maschera, Il Barbiere di

Siviglia, Turandot, Nabucco, La Traviata, Ernani,

Die Fledermaus, Eugene, La Boheme, Fidelio,

Billy Budd, The Carmelites, Carmen, Katya

Kabanova, The Cunning Little Vixen, Jenufa, Le

Nozze di Figaro, Madama Butterfly, The Magic

Flute and Hansel and Gretel. In 2009 and 2010,

Gareth conducted Aida at the Bregenz Festival.

In addition, Gareth has conducted many

concerts worldwide with Bryn Terfel, including

the disc “We’ll Keep a Welcome”, opera galas at

the Faenol, Henley and Hampton Court Festivals

and an S4C recording of Handel’s “Messiah”. In

addition Gareth has conducted more than sixty

concerts worldwide with Bryn, including his own

BBC Proms debut with Renee Fleming and Bryn

in works by Wagner and Strauss. Gareth has

also conducted at the Faenol Festival where

he has worked with international singers such

as Andrea Bocelli, Angela Gheorghiu, Rolando

Villazon, Renee Fleming, Carlos Alvarez and

Diana Damrau.

Concert work in the United Kingdom has

included appearances with the Halle Orchestra,

Scottish Chamber Orchestra, the Orchestra of

Welsh National Opera, Royal Scottish National

Orchestra, BBC National Orchestra of Wales,

Royal Liverpool Philharmonic Orchestra, Royal

Gareth JonesMusical Director & Conductor

Cyfarwyddydd Cerddoriaeth & Arweinydd

Philharmonic Orchestra, the Philharmonia

Orchestra, the Ulster Orchestra, English

Chamber Orchestra and the Manchester

Camerata.

Engagements for 2014 include Showboat

for Cape Town Opera in Cape Town, Cardiff,

Manchester and Birmingham, Sweeney Todd

at the Llangollen Eisteddfod and Philip Glass’

A Perfect American for this year’s Brisbane

Festival.

Dechreuodd Gareth Jones ar ei yrfa arweinydd

fel aelod o Staff Cerddorol Opera Cenedlaethol

Cymru, yr ymunodd ag ef yn 1990. Tra ei fod

yno, arweiniodd amrywiaeth eang o repertoire

gan gynnwys Un Ballo in Maschera, Il Barbiere

di Siviglia, Turandot, Nabucco, La Traviata,

Ernani, Die Fledermaus, Eugene, La Boheme,

Fidelio, Billy Budd, The Carmelites, Carmen,

Katya Kabanova, The Cunning Little Vixen,

Jenufa, Le Nozze di Figaro, Madama Butterfly,

The Magic Flute a Hansel and Gretel. Yn 2009

a 2010, arweiniodd Gareth Aida yng Ngŵyl

Bregenz.

Yn ogystal â hyn, mae Gareth wedi arwain

llawer iawn o cyngerddau ledled y byd gyda

Bryn Terfel, gan gynnwys y recordiad “We’ll

Keep a Welcome”, operau mawreddog yng

ngwyliau’r Faenol, Henley a Llys Hampton a

recordiad S4C o “Messiah” Handel. Yn ogystal,

mae Gareth wedi arwain mwy na chwe deg


Born in Merthyr Tydfil, Richard is best known

for his recent portrayal of DCI Tom Mathias in

the acclaimed Welsh detective series Y Gwyll /

Hinterland, which aired on both S4C and BBC

Wales as part of a commitment to broadening

the reach of Welsh language drama on British

TV. Other television appearances include

Silent Witness, Hustle, Spooks and BBC

costume drama Lark Rise to Candleford. Stage

roles include Tullus Audifidius in National

Theatre Wales’ Coriolan/us.

Richard is a keen athlete and this year will be

taking part in the ‘hardest race on earth’; the

gruelling Marathon de Sables, covering 156

miles of the Sahara desert in six days.

cyngerdd ledled y byd gyda Bryn, gan gynnwys

ei ymddangosiad cyntaf yn Proms y BBC gyda

Renee Fleming a Bryn mewn gweithiau gan

Wagner a Strauss. Mae Gareth hefyd wedi

arwain yng Ngŵyl y Faenol lle mae wedi

gweithio gyda chantorion rhyngwladol fel

Andrea Bocelli, Angela Gheorghiu, Rolando

Villazon, Renee Fleming, Carlos Alvarez a Diana

Damrau.

Mae gwaith cyngherddau yn y Deyrnas

Unedig wedi cynnwys ymddangosiadau gyda

Cherddorfa Hallé, Cerddorfa Siambr yr Alban,

Cerddorfa Opera Cenedlaethol Cymru, Opera

Cenedlaethol Brenhinol yr Alban, Cerddorfa

Genedlaethol Cymru’r BBC, Cerddorfa

Ffilharmonig Frenhinol Lerpwl, y Gerddorfa

Ffilharmonig, Cerddorfa Wlster, Cerddorfa

Siambr Lloegr a Camerata Manceinion.

Mae ymrwymiadau eleni’n cynnwys Showboat

am Cape Town Opera yn Cape Town, Caerdydd,

Manceinion a Birmingham, Sweeney Todd yn

Eisteddfod Llangollen a A Perfect American gan

Philip Glass am Gwyl Brisbane eleni.

By’n enedigol o Ferthyr Tuful, mae Richard yn

fwyaf adnabyddus am ei bortread o DCI Tom

Mathias yn y gyfres dditectif Y Gwyll / Hinterland,

a gafodd ei darlledu ar S4C ac ar y BBC fel rhan

o ymrwymiad i ehangu dramâu Cymreig ar y

teledu ym Mhrydain. Mae ei ymddangosiadau

eraill ar y teledu yn cynnwys Silent Witness,

Hustle, Spooks a drama gyfnod y BBC, Lark

Rise to Candleford. Mae ei rolau ar y llwyfan

yn cynnwys Tullus Audifidius yn Coriolan/us,

National Theatre Wales.

Mae Richard yn athletwr brwd ac eleni fe fydd yn

cymryd rhan yn ras fwyaf heriol y byd, Marathon

de Sables, sy’n ymestyn 156 o filltiroedd ar draws

y Sahara mewn chwe niwrnod.

Richard HarringtonGuest Narrator Storïwr


When I went up to university back in the mid-to-

late 1970s Richard Strauss was a popular, much-

performed and recorded composer: but within

academic circles he was considered romantically

Beyond the Pale in a world still dominated by

the twin stylistic peaks of Schoenberg’s serialism

and Stravinsky’s neo-classicism. I remember

vividly, however, the day when our own college

supervisor turned to my colleague and I and

said -“If either of you chaps wants to see what

being a composer is really about just take down

the full score of any Richard Strauss opera and

study the sheer technique involved on any two

pages - and then look at your own efforts by their

side”. A remarkable lesson, never forgotten and

nicely reinforced in discovering the story that

when composing Peter Grimes in 1944 Benjamin

Britten begged his publisher Mr Hawkes for the

luxury of a full score of Der Rosenkavalier in

order to see how ‘that old magician’ did certain

things! Although born in what must have seemed

a world away during the Wagnerian high-noon of

1864, Strauss wasn’t to die until 1949 and was still

composing right to the end, when Stockhausen

was already fiddling with his electronics. Some

have said that he was an anachronism for half his

life - but those scholastic naysayers now seem

out-of-kilter themselves and one gratifying effect

of this year’s 150th celebrations is the proper

assessment of Strauss as one of the truly great

composers - regardless of period, style or century.

He himself was suitably modest in downplaying

his status; ‘I may not be a first class composer:

but I am a first class second class composer!’

By his own lights he was probably right and we

can easily guess at those special names allowed

into his top category. But I prefer to remember

the moving scene at his funeral when, at his

own request, the final Trio from Rosenkavalier

was performed by three great sopranos. As the

overwhelming music began to build in its beautiful

intensity one voice after another gradually failed,

as each singer was overcome with emotion;

this was a silence more telling than any sound

and with tears covering their faces the orchestra

continued to weave its spell behind them: a

spontaneous ‘farewell’ as it dawned on them that

they were saluting one of the last great masters of

the musical art.

Yn fy nyddiau coleg nol yn y 70au roedd Richard

Strauss yn gyfansoddwr poblogaidd iawn a’i

waith yn mwynhau digonedd o berfformiadau

yn fyw ac ar ddisg: ond o fewn cylchoedd

academaidd cul roedd yn ffigwr gwrthun gor-

ramantaidd mewn byd oedd yn dal i addoli

serialaeth Schoenberg ar un llaw, a neo-

glasuriaeth Stravinsky ar y llall. Ond mae gennyf

gof byw o’r dydd pan drodd ein hathro coleg ein

hun atom a dweud - “If either of you chaps wants

to see what being a composer is really about just

take down the full score of any Richard Strauss

opera and study the sheer technique involved on

any two pages - and then look at your own efforts

by their side”. Gwers werthfawr nas anghofiwyd

ac a ategwyd yn hyfryd o ganfod y stori am

Benjamin Britten yn gofyn i’w gyhoeddwr Ralph

Hawkes am sgor lawn o Der Rosenkavalier pan

yn cyfansoddi Peter Grimes yn 1944 - er mwyn

iddo allu darganfod sut y cyflawnodd ‘yr hen

ddewin’ ei wyrthiau. Er y ganed Strauss yn 1864

mewn byd oedd bellach wedi diflannu - uchel-awr

euraid-oes Wagner - roedd yn dal i gyfansoddi

hyd y diwedd yn 1949, pan oedd Stockhausen

Richard Strauss at 150


Richard Strauss at 150

yn dechrau chwarae gyda’i electronics. Yn wir,

maentumiodd nifer o wybodusion bod Strauss yn

ffigwr anacronistaidd am hanner ei fywyd - ond

erbyn hyn mae’r negyddwyr ysgolheigaidd hynny

wedi colli’r bws eu hunain!

Un peth sy’n barod amlwg wrth i’r byd ddathlu

penblwydd Strauss yn 150 yw ei fod yn ennill

ei haeddiant fel un o’r mawrion - heb feddwl

am gyfnod neu ganrif i’w gaethiwo. Yr oedd yn

ddigon gwylaidd am ei statws ei hun; “efallai

nad wyf yn gyfansoddwr y dosbarth cyntaf: ond

rwyf yn nosbarth cyntaf yr ail ddosbarth yn sicir!”

Roedd yn gywir yn ol ei safonau ei hun a gellid

yn hawdd restri’r enwau cyfrin a berthynai i’w

ddosbarth cyntaf. Ond llawer gwell gennyf gofio

am yr olygfa honno yn angladd Strauss pan

ganodd tair soprano enwog, yn ol ei ddymuniad,

y Triawd sy’n cloi Der Rosenkavalier. Wrth i’r

gerddoriaeth ogoneddus dyfu mewn pwer a

phrydferthwch methodd un llais ar ol y llall; dyma

dawelwch mwy huawdl na’r canu - wrth iddynt

wynebu’r gynulleidfa gyda’i gruddiau’n wlyb

dan ddagrau a’r gerddorfa yn parhau y tu cefn

iddynt: roeddent wedi sylweddoli’n sydyn eu

bont yn ‘ffarwelio’ ac un o gewri olaf y gelfyddyd

gerddorol.


No one can know himself

separate from his inner being.

Yet he tries to do it every day,

That which is clearly from the outside,

What he is and what he was,

What he can do and what he wants to do.

But what happens in the world,

No one actually understands,

And up to the present day,

No one wishes to understand,

Conduct yourself with reason,

As the day is at hand,

Always think: ”It’s gone all right until now,

So it may well continue that way until the end.”

Johann Wolfgang von Goethe

On October 28, 1942 Richard Strauss was present

at the Munich State Opera for the world premiere

of his last opera Capriccio, the last score to which

he allocated an opus number. He considered that

his life’s work was now effectively complete, saying

of the opera’s sublime final scene: “One can only

leave one testament!” On October 2, 1943 this

beloved opera house in Munich - where his father

had been the legendary principal horn and in

which he’d more or less grown up - was destroyed

in an air-raid. Over the course of the next

18-months all the major opera houses of Germany

in which Strauss had conducted his career - Berlin,

Weimar, Dresden, Stuttgart - were also reduced

to rubble, though almost the worst blow for him

was the destruction of Goethe’s old house in

Frankfurt: “I am in despair; the Goethehaus, the

world’s greatest sanctuary, destroyed.” The last

straw, however, came on March 12, 1945 when the

glorious Vienna Opera House finally lay in ruins.

Strauss had intermittently been sketching some

music for string sextet inspired by his reading of

Goethe’s essays on the scientific process of

‘metamorphosis’ and also considered setting

the poem quoted above. But writing ‘Begun

March 13, 1945’ at the bottom of the first page he

now elaborated these ideas into an unbroken

500-bar flow of nearly half-an-hour’s music

for 23 solo strings, which he completed at his

home in Garmisch on April 12. Hitler committed

suicide on April 30 prompting Strauss to write

the next day: “From 1 May onwards the most

terrible period of human history came to an end,

the twelve year reign of bestiality, ignorance

and anti-culture under the greatest criminals,

during which Germany’s 2,000 years of cultural

evolution met its doom....”

It seems almost too glib to say simply that

Metamorphosen is Strauss’s elegy to this culture.

The work is certainly that, but also so much

more. Rather like Bach working in isolation at the

end of his life on The Art of Fugue Strauss here

provides a profound meditation on the twin arts

of harmony and counterpoint in a continuously

unfolding elaboration of a few fragments of

melodic magic. The structure seems to create

itself with the kind of organic intuition which

Strauss had identified back in the early 1880s

Richard Strauss (1864-1949)

Metamorphosen - study for 23 solo strings / astudiaeth am 23 o linynnau unawdol

(First performed on January 25, 1946 in Zurich conducted by Paul Sacher)

(Perfformiad cyntaf ar Ionawr 25, 1946 yn Zurich dan arweiniad Paul Sacher)


as his true goal and which now continued

to fascinate him metaphorically in Goethe’s

exploration of plant formation. As he worked

on the score Strauss claimed not have noticed

that his main theme was an echo of part of

Beethoven’s Eroica Symphony ‘Funeral March’

- but the penny gradually dropped and on the

last page of all the double-bass sings the tune

properly as the music sinks to extinction with the

inscription underneath ‘IN MEMORIAM!’ - the rest

can only be silence.

Ar Hydref 28, 1942 roedd Strauss yn Nhy Opera

Munich ar gyfer perfformiad cyntaf ei opera

olaf Capriccio, y sgor olaf iddo roi rhif opus

arno. Roedd yn ystyried nawr bod ei waith

wedi’i gyflawni i bob pwrpas, gan ddweud

am yr olygfa hudolus sy’n cloi’r opera; “Dim

ond un testament olaf gall ddyn adael!” Ar

Hydref 2, 1943 bomiwyd y ty opera hwn - lle

bu ei dad yn brif chawaraewr chwedlonol ar y

corn a lle y tyfodd i fyny ei hun. Tros y deunaw

mis nesa fe fomiwyd holl dai opera’r Almaen

- Berlin, Weimar, Dresden, Stuttgart - er mai’r

golled waetha o ran Strauss oedd hen gartref

Goethe yn Frankfurt: “Rwyf mewn gwewyr;

y Goethehaus, cysegrfan mwya’r byd, yn

deilchion”. Ond daeth y diwedd oll ar Fawrth

12, 1945 pan y difethwyd Ty Opera Fienna a’i

adael yn adfeilion. Roedd Strauss wedi bod

yn braslunio syniadau i seithawd llinynnol

dan ysbrydoliaeth ysgrifennu Goethe am yn

broses wyddonol o ‘fetamorffeiddio’ a bu’n

ystyried gosod hefyd yn gerdd uchod. Ond gan

sgrifennu ‘Cychwynwyd Mawrth 13, 1945’ ar

waelod yn dudalen gyntaf, fe ymhelaethodd ar

y syniadau

i greu llif di-dor o 500-bar yn para hanner awr i

23 o linynnau unawdol a’i orffen ar Ebrill 12 yn ei

gartref yn Garmisch. Cymerodd Hitler ei fywyd

ar Ebrill 30 gan dynnu’r geiriau hyn o eiddo

Strauss: “O Fai 1 ymlaen daeth y cyfnod mwyaf

enbyd yn hanes y ddynoliaeth i ben, teyrnasiad

12 mlynedd o fwystfiliaeth, anwybodaeth ac

anwareidd-dra dan y dihirod mwyaf, pryd y

daeth 2,000 mlynedd o ddatblygiad diwyllianol

yr Almaen i’w ddifodiant....”

Ymddengys yn rhy rhwydd i ddweud yn syml

mai Metamorphosen yw marwnad Strauss

i’r diwylliant hwnnw. Mae’r gwaith yn sicr yn

ymgorfforiad o hynny, ond mae’n gymaint

mwy hefyd. Yn ysbryd Bach yn gweithio

ar ei Gelfyddyd Ffiwg tua diwedd ei oes

dyma Strauss yn cyflwyno myfyrdod dwys

ar ddisgyblaethau ymgysylltiedig harmoni

a gwrthbwynt sy’n ymestyn o’n blaenau fel

ymgyfoethogiad ar ddwy neu dair llinell sy’n

aros yn gelfydd yn y cof. Mae’r bensaerniaeth

fel petai yn creu’i hun wrth esblygu yn organig

naturiol yn y modd y nododd Strauss nol yn

yr 1880au fel ei nod a sy’n dal i’w swyno nawr

wrth astudio Goethe yn esbonio sut y mae

planhigion yn tyfu fel undod. Oedd, mi oedd

yn gadael ‘testament’ arall yn ddiarwybod

ac un sy’n ymgorffori’r paradocs mai rhai o’r

amgylchiadau mwyaf erchyll sy’n esgor ar y

gelfyddyd fwyaf. Wrth iddo weithio ar y sgor

dywedodd Strauss na sylweddolodd taw rhan

o’r ‘Ymdeithgan Angladd’ o Symffoni Eroica

Beethoven sy’n gysgod i’w brif thema - ond

wrth i’r ymwybyddiaeth wawrio mae’n gadael i’r

celli a’r basau-dwbwl ganu’r alaw yn y dyfnder

wrth i’r gerddoriaeth ddiflannu dros y geiriau ‘IN

MEMORIAM!’ a dim ond tawelwch all ddilyn.


Metamorphosen - study for 23 solo strings / astudiaeth am 23 o linynnau unawdol

(First performed on January 25, 1946 in Zurich conducted by Paul Sacher)

(Perfformiad cyntaf ar Ionawr 25, 1946 yn Zurich dan arweiniad Paul Sacher)


Strauss worked with poet and dramatist Hugo

von Hofmannsthal (1874-1929) on the operas

Elektra and Der Rosenkavalier between 1905

and 1911 and was looking forward to their next

collaboration which was to be the extraordinary

Die Frau ohne Schatten. But Hofmannsthal in the

interim proposed what he thought would be a

delightful divertissement as a special present for

the theatre director Max Reinhardt (1873-1943)

who’d played a vital part in Strauss’s operatic

life as well as a major role in Hofmannsthal’s

dramatic career, and who had just rescued

the production of Rosenkavalier in Dresden

at the last minute. This treat was to involve

a presentation of Moliere’s Le Bourgeois

Gentilhomme with incidental music - and in

place of the play’s Turkish finale Hofmannsthal

proposed a short(ish) operatic version of the

mythological tale of Ariadne and Bacchus on

Naxos. Strauss was initially bemused rather

than enthusiastic and wondered how on earth

the two ‘entertainments’ could be linked.

Hofmannsthal then proposed an extra spoken

section and the whole farrago was produced by

Reinhardt with Strauss conducting, in Stuttgart

on October 25, 1912. It was a disaster!

Hofmannsthal immediately began several

salvage operations, all of which involved Strauss

in additional composing. The evening’s two

‘halves’ were now decoupled and we finally

get the definitive opera Ariadne auf Naxos with

new Prologue (premiered triumphantly in Vienna

in 1916) as well as an extended attempt at Le

Bourgeois Gentilhomme with extra music as

produced in Berlin in 1918. But this was another

flop!! Strauss by now had lost interest in the

whole attempt to dramatise Moliere and by-

passing Hofmannsthal’s attempts at yet another

revision he made his own nine-movement

Concert Suite from the incidental music and

happily left it at that. His instincts were entirely

right, in that sheer brilliance of invention enables

these pre-Stravinsky neo-classical gems for

37-piece orchestra (the size to which he was

restricted by theatre space for the original

Ariadne) to stand alone vividly just as music,

without any need of dramatic elaboration. For

once, the ‘incidental’ music rendered the drama

itself incidental! But tonight’s performance will

look back to Hofmannsthal’s original intention

by interpolating a narration which will flesh out

the enchanting musical recreation of the gilded

baroque glories of Louis XVI’s Versailles with

Lully as its presiding genius.

Rhwng 1906 a 1911 cydweithiodd Strauss

gyda’r bardd a’r dramodydd Hugo von

Hofmannsthal (1874-1929) ar yr operau Elektra

a Der Rosenkavalier gan edrych ymlaen at eu

cywaith nesaf sef yr eithriadol Die Frau ohne


Le Bourgeois Gentilhomme - suite, op.60, with narration cyfres, op.60, gydag adroddiad

(First performed as a suite, January 31, 1920 in Vienna conducted by Richard Strauss)

(Perfformiad cyntaf fel cyfres ar Ionawr 31, 1920 yn Vienna dan arweiniad Richard Strauss)

1. Overture. 2. Jourdain’s Minuet. 3. The Fencing Master. 4. Entry and Dance of the Tailors.

5. Lully’s Minuet. 6. Courante. 7. Entry of Cleonte (after Lully). 8. Intermezzo. 9. The Dinner.


Schatten. Yn sydyn reit dyma Hofmannsthal yn

awgrymu creu difyrraeth ‘fechan’ fel anrheg i’r

cyfarwyddwr Max Reinhardt (1873-1943) a fu mor

allweddol yn eu gyrfaoedd ill dau ac a ddaeth

i’r adwy i achub Rosenkavalier yn Nresden

ar y funud olaf. Roedd yr ‘anrheg’ i gynnwys

cyflwyniad o ddrama Moliere Le Bourgeois

Gentilhomme gyda cherddoriaeth gefndirol

- ond yn lle diweddglo Twrcaidd y ddrama

wreiddiol syniad Hofmannsthal oedd cyflwyniad

operatig o stori Ariadne a Bacchus ar ynys

Naxos. Nid oedd Strauss yn gweld i gychwyn sut

yn y byd y gellid cysylltu’r gwahanol syniadau

hyn yn effeithiol felly dyma Hofmannsthal yn

awgrymu ychwanegu dramodig rhwng y ddau

i esbonio. Cyflwynwyd y cyfan o flaen Brenin

Wurttemberg yn Stuttgart ar Hydref 25, 1912 ond

er bod Strauss bellach yn cefnogi’r cyfan yn

frwdfdrydig methiant llwyr oedd y noson!

Aeth Hofmannsthal ati’n syth i geisio adfer y

sefyllfa - a’i gynlluniau i gyd yn golygu mwy

o gyfansoddi i Strauss er mwyn anelu at

lwyddiant. Datgysylltwyd dau gymal y noson

i greu yr opera berffaith Ariadne auf Naxos

yn cynnwys Prolog newydd sbon (llwyddiant

ysgubol yn Fienna yn 1916) yn ogystal ac

ymestyniad o Le Bourgeois Gentilhomme

gyda mwy o gerddoriaeth fel a gynhyrchwyd

ym merlin yn 1918. Ond fflop oedd hwn

eto!! Erbyn hyn collodd Strauss unrhyw

ddiddordeb yn y syniad o ddramateiddio

Moliere a gan anwybyddu mwy o ail-wampio

gan Hofmannsthal fe aeth ati i greu Cyfres

Gyngerdd naw-symudiad o’r gerddoriaeth

gefndirol neu ‘achlysurol’ gan ganu’n iach i’r

cyfan wrth wneud. Ac yr oedd ei reddf yn hollol

gywir gan mai cynnwys cerddorol disglair y

gerddoriaeth sy’n trechu ac yn galluogi i’r

darnau sefyll ar eu traed eu hunain heb angen

y cyd-destun dramatig. Dyma neo-glasuriaeth

ddeheuig cyn i Stravinsky droi at y syniad ac

wedi’i saernio’n gelfydd i gerddorfa fechan o

37, sef yn cyfyngiad lle oedd yn orfodedig ar

Strauss reit o’r cychwyn. Am unwaith dyma’r

gerddoriaeth gefndirol yn troi’r ei hun cefndir yn

ddi-anghenrhaid! Ond ym mherfformiad heno

bydd adroddiad o grynswth y cefndir yn ein

tywys yn ol at syniad gwreiddiol Hofmannsthal

ac yn bwydo’r dychymyg wrth wrando hefyd

ar athrylith Strauss yn peintio darluniau sain

hudolus o ogoniannau euraidd Versailles yng

nghyfnod Louis XIV pan oedd Moliere a Lully yn

cyniwair eu gwyrthiau.

Notes by Geraint Lewis 2014


Violin

Benjamin Baker

Caroline Pether

Christina Knox

Catherine Landen

Kana Ohashi

Charlie MacClure

Hugh Blogg

Simran Singh

Luke Coomber

Lydia Marshall

Viola

Kay Stephen

Lucy Nolan

Charlotte Bonneton

Elitsa Bogdanova

Rhiannon James

Cello

Christopher Graves

Peggy Nolan

Jonathan Pether

Alistair Howes

Anna Menzies

Double Bass

Stewart Wilson

Mark O’Leary

Enric Boixados Gómez

Metamorphosen


Violin

Benjamin Baker

Caroline Pether

Catherine Landen

Christina Knox

Charlie MacClure

Simran Singh

Viola

Kay Stephen

Lucy Nolan

Charlotte Bonneton

Elitsa Bogdanova

Cello

Christopher Graves

Peggy Nolan

Jonathan Pether

Anna Menzies

Double Bass

Stewart Wilson

Mark O’Leary

Flute

Katie Williams

Jack Welch

Oboe

Mary Noden

Alice McArthur

Clarinet

Benjamin Mellifont

Rhodri Taylor

Bassoon

James Thomas

Gareth Humphreys

Horn

Hugh Sisley

Phillippa Slack

Trumpet

Jason Lewis

Bass Trombone

Barry Clements

Piano

Robin Green

Harp

Hannah Stone

Timpani

Rhys Matthews

Percussion

Matthew Hardy

Richard Cartlidge

Phil Hughes

Rhydian Griffiths

Alun McNeil-Watson

Le Bourgeois Gentilhomme


Sinfonia Cymru: Curate

Curate was established in 2013 with the

aim of bringing together the young creative

minds of the orchestra and providing them

with an opportunity to express their artistic

knowledge and ideas. Last year, Curate

played a huge part in programming the

orchestra’s annual recitals and Summer

series, but they also developed the flagship

UnButtoned events at Chapter Arts Centre to

huge success.

Curate embodies Sinfonia Cymru’s

commitment to young musicians and

recognises the changing demands of the

industry for musicians to have the ability to

maintain the highest possible performance

standards alongside a whole host of other

skills on and off the concert platform. Curate

also highlights the diversity of thought and

imagination among Sinfonia Cymru musicians

and their constant enthusiasm and exuberant

approach.

“Curate has given me the chance to create

and express ideas without limitations” –

Charlie MacClure, Curate member.

Cafodd Curadur ei sefydlu yn 2013 gyda’r

nod o ddod â meddyliau creadigol ifanc

y gerddorfa ynghyd a rhoi’r cyfle iddynt

fynegi eu gwybodaeth a’u syniadau artistig.

Y llynedd, roedd gan Curadur ran bwysig

iawn wrth greu rhaglen ar gyfer datganiadau

blynyddol y gerddorfa a thymor yr haf, ond

gwnaethant hefyd ddatblygu digwyddiadau

blaenllaw UnButtoned yng Nghanolfan

Gelfyddydau’r Chapter a sicrhau ei fod yn

llwyddiant ysgubol.

Mae Curadur yn tanlinellu ymrwymiad Sinfonia

Cymru i gerddorion ifanc ac yn cydnabod

gofynion y diwydiant sy’n newid yn barhaus er

mwyn i gerddorion lwyddo i gynnal y safonau

uchaf posibl yn eu perfformiad ynghyd â

thoreth o sgiliau eraill sy’n ymestyn tu hwnt

i lwyfan y gyngerdd. Mae Curadur hefyd yn

tanlinellu amrywiaeth y gwaith meddwl a’r

dychymyg ymhlith cerddorion Sinfonia Cymru

a’u brwdfrydedd parhaus a’u hymagwedd

hwyliog.

“Mae Curadur wedi rhoi’r cyfle i mi greu a

mynegi syniadau heb gyfyngiadau”

Charlie MacClure, aelod Curadur.


Please help us to support young musicians at the

start of their careers.

Sinfonia Cymru can only thrive as an ambitious

orchestra committed to supporting young musical

talent in Wales with the dedicated support of our

audiences, funders, donors, Friends, Patrons and

partner organisations. We would like to thank all of

you for your empowering support, as we continue on

our musical journey throughout Wales and beyond.

There are a number of different ways you can get

involved with Sinfonia Cymru:

You can join the Supporting Friends of Sinfonia

Cymru for just £30 per individual or £50 per

household per year or the Patrons of Sinfonia Cymru

for £100, £240 or £600+ per year.

You can pay monthly or annually by cheque or

standing order. As a Friend or Patron you will receive

regular newsletters and a discount of £1 off full and

concession ticket prices for the orchestra’s main

orchestral concerts each year.

You can support a Professional Pathway Award for

the 2014/2015 academic year either individually or as

member of a syndicate.

Or simply join our mailing list and receive information

only about all our forthcoming concerts and events

by post or email.

You can find out more about the orchestra and how

to get involved at our website www.sinfoniacymru.

co.uk or contact us directly by phone (02920 754

556) or email ([email protected]).

Helpwch ni i cefnogi gerddorion ifanc ar ddechrau eu

gyrfaoedd.

Gall Sinfonia Cymru ond ffynnu fel cerddorfa

uchelgeisiol sydd wedi ymrwymo i gefnogi talent

gerddorol ifanc yng Nghymru gyda chefnogaeth

ymroddedig ein cynulleidfaoedd, cyllidwyr, rhoddwyr,

Cyfeillion, Noddwyr a sefydliadau partner. Hoffem

ddiolch i chi i gyd am eich cefnogaeth frwd wrth inni

barhau â’n taith gerddorol drwy Gymru a thu hwnt.

Mae sawl ffordd y gallwch gymryd rhan gyda Sinfonia

Cymru:

Gallwch ymuno â Chyfeillion Cefnogol Sinfonia Cymru

am ddim ond £30 yr unigolyn neu £50 yr aelwyd y

flwyddyn neu Noddwyr Sinfonia Cymru am £100, £240

neu £600+ y flwyddyn.

Gallwch dalu’n fisol neu’n flynyddol drwy siec neu

archeb sefydlog. Fel Cyfaill neu Noddwr byddwch yn

derbyn cylchlythyrau rheolaidd a disgownt o £1 oddi

ar brisiau llawn tocynnau a chonsesiynau ar gyfer prif

gyngherddau’r gerddorfa bob blwyddyn.

Gallwch gefnogi Dyfarniad Llwybr Proffesiynol ar gyfer

blwyddyn academaidd 2014/15 naill ai’n unigol neu fel

aelod o syndicet.

Neu ymunwch â’n rhestr bostio a dim ond derbyn

gwybodaeth am ein holl gyngherddau a digwyddiadau

sydd ar y gweill drwy’r post neu dros yr e-bost.

Gallwch gael rhagor o wybodaeth am y gerddorfa a sut

i gymryd rhan ar ein gwefan www. sinfoniacymru.co.uk

neu cysylltwch â ni yn uniongyrchol dros y ffôn (02920

754 556) neu e-bost ([email protected]).

How can you help? Sut gallwch chi helpu?


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

Emyr WilliamsGeorge & Joyce Davis

J Russell Evans Leslie Jones

Friends Cyfeillion

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

Media Centre, S4C, Parc Tŷ Glas, Llanishen, Cardiff, CF14 5DU

02920 754556 @sinfoniacymru /sinfoniacymru

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

DANCE TOURING PARTNERSHIP PRESENTS AWARD-WINNING IRISH COMPANY

Fabulous Beast Dance TheatreThe Rite of Spring+ PetrushkaA thrilling dance theatre double billdirected by Michael Keegan-Dolan

“There’s no doubting the spell ofKeegan-Dolan’s imagination”THE GUARDIAN ****

www.fabulousbeast.co.uk

Tuesday 8 & Wednesday 9 AprilTicket office 029 2064 6900 www.shermancymru.co.ukAge guidance 16+ (contains nudity, sexual imagery and smoking)

FB ad Sinfonia 105x148mm:Layout 1 6/3/14 12:56 Page 1

May:

3

31

June:

5

6

7

8

July:

7

14 - 18

19 - 24

October:

1

4

5

6

7 - 14

November:

5

21

22

23

Llanelli Music Society | Llanelli

Big Splash | Newport

Sinfonia Cymru & Catrin Finch | Harlech

Sinfonia Cymru & Catrin Finch | Llanelli

Sinfonia Cymru & Catrin Finch | Cardiff

Sinfonia Cymru & Catrin Finch | Newport

Bryn Terfel in Sweeney Todd | Llangollen

Small Nations Big Sounds | Italy

Small Nations Big Sounds | Estonia

First Wednesday | Newport

Small Nations Big Sounds | Cardiff



Small Nations Big Sounds | Sweden

First Wednesday | Newport

Sinfonia Cymru & Llŷr Williams | Pontyberem

Sinfonia Cymru & Llŷr Williams | Aberystwyth

Sinfonia Cymru & Llŷr Williams | Newport

See our 2014 brochure for details of upcoming events


Sinfonia Cymru& Catrin Finch

Harp: Catrin Finch

Conductor: Ben Gernon

Ravel: Introduction and Allegro, Op. 46

Debussy: Danse Sacrée et Profane

Mathias: Melos, Op. 73

Ibert: Divertissement

Copland: Appalachian Spring

Thurs 5th June, 7:30pm Iau 5ed Mehefin, 7.30yh

Theatr Ardudwy,Harlech

Fri 6th June, 7.30pm Gwen 6ed Mehefin, 7.30yh

Y Ffwrness, Llanelli

Sat 7th June, 7.30pm Sad 7ed Mehefin, 7.30yh

Dora Stoutzker Hall, RWCMD, CardiffNeuadd Dora Stoutzker,CBCDC, Caerdydd

Sun 8th June, 3.00pm Sul 8ed Mehefin, 3.00yh

The Riverfront, NewportGlan yr Afon, Casnewydd

Tickets/Tocynnau: £4 - £12 Under 27s/Dan 27: £4

sinfoniacymru.co.uk /sinfoniacymru @sinfoniacymru

sinfonia cymru: strauss, march 2014

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