small nations big sounds festival programme
DESCRIPTION
Concert programme for Sinfonia Cymru's Small Nations Big Sounds.TRANSCRIPT
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
Dora Stouzker Hall, RWCMD
Mon 6 October, 7.30pm
Dora Stouzker Hall, RWCMD
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
www.sinfoniacymru.co.uk Small Nations Big Sounds 5
Small Nations Big Sounds www.sinfoniacymru.co.uk 6
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
www.sinfoniacymru.co.uk Small Nations Big Sounds 7
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.
Small Nations Big Sounds www.sinfoniacymru.co.uk 8
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.
Small Nations Big Sounds: Who’s Who?
www.sinfoniacymru.co.uk Small Nations Big Sounds 9
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.
Cenhedloedd Bach Synau mawr – Pwy yw pwy?
Small Nations Big Sounds www.sinfoniacymru.co.uk 10
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.
Small Nations Big Sounds: Who’s Who?
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)
www.sinfoniacymru.co.uk Small Nations Big Sounds 11
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).
Small Nations Big Sounds www.sinfoniacymru.co.uk 12
Cenhedloedd Bach Synau mawr – Pwy yw pwy?
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).
www.sinfoniacymru.co.uk Small Nations Big Sounds 13
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.
Pille Lill Music Fund
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).
Small Nations Big Sounds www.sinfoniacymru.co.uk 14
Small Nations Big Sounds: Who’s Who?
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).
www.sinfoniacymru.co.uk Small Nations Big Sounds 15
Cenhedloedd Bach Synau mawr – Pwy yw pwy?
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
www.sinfoniacymru.co.uk Small Nations Big Sounds 17
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.”
Small Nations Big Sounds www.sinfoniacymru.co.uk 18
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
www.sinfoniacymru.co.uk Small Nations Big Sounds 19
Swedish Wind Ensemble (Quintet Pumawd)
Flute
Per-Markus Heggestad
Oboe
Eva-Karin Axelsson Hellander
Clarinet
Johan Söderlund
Horn
Anita Andersson
Bassoon
Peter Gullqvist
Pille Lill Music Fund
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
Small Nations Big Sounds www.sinfoniacymru.co.uk 20
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).
www.sinfoniacymru.co.uk Small Nations Big Sounds 21
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.
Small Nations Big Sounds www.sinfoniacymru.co.uk 22
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.
www.sinfoniacymru.co.uk Small Nations Big Sounds 23
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.
Small Nations Big Sounds www.sinfoniacymru.co.uk 24
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
www.sinfoniacymru.co.uk Small Nations Big Sounds 25
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.
Small Nations Big Sounds www.sinfoniacymru.co.uk 26
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.
www.sinfoniacymru.co.uk Small Nations Big Sounds 27
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
Small Nations Big Sounds www.sinfoniacymru.co.uk 28
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
www.sinfoniacymru.co.uk Small Nations Big Sounds 29
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.
Small Nations Big Sounds www.sinfoniacymru.co.uk 30
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.