Small Nations Big Sounds Festival Programme by Sinfonia Cymru

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An International chamber music festival presented by Sinfonia Cymru 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

Supporters Cefnogwyr a Cyllid

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 Patrons Noddwyr Mr & Mrs G Cheesman Mr & Mrs John Cosslett Geraint & Elizabeth Talfan Davies Marian Evans William & Christine Eynon G Wyn Howells Emyr Wynne Jones Hywel & Marian Jones

Dr & Mrs G Stanley Jones Dafydd & Christine Lewis Susan Holmes & Penny Malec John Minkes Sally Morgan Steven Tyrer & Mike Pierce Kempton & Helene Rees Dr & Mrs John C Rees

Ms. Menna Richards Lucy Stout & Carlo Rizzi Michael & Mary Salter Mr Seligman Roger & Rhian Thomas Mrs. Gaye Williams

Supporting Friends Cyfeillion Cefnogol David Ash Geoff D Atkins Valerie Chance Mona Clark Mr & Mrs Chegwin Rev & Mrs P E N David Dr & Mrs Anthony J Edwards Rhona Elias Wendy Ellis Mr & Mrs J Evans John Foster

Bette L Griffiths Gethin & Jane Griffiths Anna K Jackson Sheila Jeffries Dr D S & S A Jeremiah Mrs Janet Jones Jenny Kendall Meinir Lloyd Lewis Dr & Mrs Colin E Morgan Dr Brian Nelson Eleri Owen

Meg Park Mary Pugh Alban & Rhinedd Rees J M Tanner Corris & Joan Thomas Genevieve Thomas Lynn & Moira Thomas Clive Wales Lady Sarah Waterhouse Anna Williams

Madeleine Hanford Leslie Jones

Emyr Williams

Friends Cyfeillion George & Joyce Davis J Russell Evans

Sinfonia Cymru is a registered Charity (1058196)

Mae Sinfonia Cymru’n elusen gofrestredig (1058196)

Sinfonia Cymru is a Company Limited by Guarantee (03240356)

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

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

MAE SINFONIA CYMRU YN GLEIENT REFENIW CYNGOR CELFYDDYDAU CYMRU

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.

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.

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

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

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Small Nations Big Sounds

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

Small Nations Big Sounds

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Small Nations Big Sounds

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’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

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.

Small Nations Big Sounds

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

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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.

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Small Nations Big Sounds

Small Nations Big Sounds: Who’s Who? 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

Small Nations Big Sounds

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.

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Cenhedloedd Bach Synau mawr – Pwy yw pwy? Bartosz Woroch Cyfarwyddydd Artistig

Fel unawdydd cyngerdd, ymddangosodd Bartosz

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.

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.

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Small Nations Big Sounds: Who’s Who? RWCMD

Camerata Nordica

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.

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.

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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)

Small Nations Big Sounds

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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).

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Small Nations Big Sounds

Cenhedloedd Bach Synau mawr – Pwy yw pwy? CBCDC

Camerata Nordica

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.

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).

Small Nations Big Sounds

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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).

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Small Nations Big Sounds

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.

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).

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.

Small Nations Big Sounds

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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.

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).

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.

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Bartosz Woroch

Commissions Tina Andersson

Tina Andersson

“Five Poems of Sara Teasdale”

Commision for Pille Lill (soprano), Oksana SInkova (flute) &Camerata Nordica

Comisiwn ar gyfer Pille Lill (soprano), Oksana Sinkova (ffliwt) a Camerata Nordica

I But Not To Me II Child, Child III Joy IV After Love / Ebb Tide

I Ond Ddim i Mi II Plentyn, Plentyn III Llawenydd IV Wedi Cariad / Trai

Daniela Terranova

“Asleep Landscape” For soprano, saxophone and string orchestra

“Asleep Landscape” Ar gyfer soprano, sacsoffon a gerddorfa llinynnol

Commission for Amy Elizabeth Corkery (soprano), Virgo Veldi (saxophone) & Camerata Nordica

Comisiwn ar gyfer Amy Elizabeth Corkery (soprano), Virgo Veldi (saxophone) & Camerata Nordica

Mark David Boden (GB)

“Murmurations” for double string orchestra

“Murmurations” ar gyfer cerddorfa llinynnol dwbl

Commissioned by Ty Cerdd & Sinfonia Cymru for the string orchestras of Sinfonia Cymru & Camerata Nordica

Comisiynwyd gan Ty Cerdd a Sinfonia Cymru ar gyfer y gerddorfeydd llinynnol o Sinfonia Cymru a 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”.

“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.”

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Musicians Cerddorion Sinfonia Cymru Quartet Bartosz Woroch Charlie MacClure Tetsuumi Nagata Steffan Morris

Violin II Kirsty Lovie Charlie MacClure Kana Ohashi Catherine Landen

Double Bass David Johnson

Violin I Bartosz Woroch Ricky Gore Agata Darashkaite Simran Singh Georgie Leo

Viola Tetsuumi Nagata Elizabeth Boyce Miguel Angel Laurie Anderson

Piano Robin Green

Clarinet Benjamin Mellefont Rhodri Taylor

Timpani Rhys Matthews

Cello Steffan Morris Ali Howes Gemma Johnson

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

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Cello Per Nyström Sabina Sandri Olsson Double Bass Barbro Lennstam

Swedish Wind Ensemble (Quintet Pumawd) Flute Per-Markus Heggestad Oboe Eva-Karin Axelsson Hellander Clarinet Johan Sรถderlund

Horn Anita Andersson Bassoon Peter Gullqvist

Pille Lill Music Fund Saxophone Virgo Veldi Cello Andreas Lend

Flute Oksana Sinkova Soprano Pille Lill

Fondazione Paolo Grassi Soprano Amy Elizabeth Corkery Mezzo Soprano Angela Giovio

Baritone Joonas Antti Ilari Asikainen

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Saturday 4 October, 7.30pm Central European Influences Sadwrn 4 Hydref, 7.30yh Dylanwadau Canol Ewrop Grieg

Holberg Suite, Op. 40

Camerata Nordica

Foote

‘A Night Piece’ for flute & string quartet Sinfonia Cymru String Quartet Darn y Nos’ ar gyfer ffliwt a phedwarawd llinynol & Oksana Sinkova

Fernström

Wind Quintet, Op. 59 Pumawd Chwyth, Op. 59

Swedish Wind Ensemble

Nordgren

Hate-Love, Op. 71

Andreas Lend & Camerata Nordica

Interval Tina Andersson

UK PREMIERE: Five Poems of Sara Teasdale PERFFORMIAD CYNTAF Y DU: Bump o Gerddi gan Sara Teasdale

Pille Lill (soprano), Oksana Sinkova (flute) & Camerata Nordica

Berg

An Leukon

Pille Lill & Camerata Nordica

Hindemith

Five pieces for string orchestra, Op. 44 Pum darn ar gyfer gerddorfa llinynol Op. 44

Camerata Nordica

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

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

‘Molière of the North’. Grieg captured Holberg’s spirit by recreating five Baroque dances: Prelude, Sarabande, Gavotte and Musette, Air and Rigaudon.

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).

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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.

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’

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

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.

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 highRomantic 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.

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.

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

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Cafodd John Fernström (1897-1961) ei eni yn

Fe ysgrifennodd Paul Hindemith ei Pum Ddarn

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.

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.

Roedd Pehr Hendrik Nordgren (19442008) yn by yn Kaustinen, yng ngogleddorllewin 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.

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Sunday 5 October, 7.30pm Italian Moods Through Time Sul 5 Hydref, 7.30yh Teimladau Eidaleg Drwy Amser Rota

Small Musical Offering for Wind Quintet

Swedish Wind Ensemble

‘Rhodd Fach Gerddorol’ ar gyfer pumawd chwyth Rota

‘Nonet’ for Wind Quintet and String Quartet Nonet ar gyfer pumawd chwyth a bedwarawd llinynol

Swedish Wind Ensemble & Sinfonia Cymru String Quartet

Daniela Terranova

UK PREMIERE: Asleep Landscape PERFFORMIAD CYNTAF Y DU: Asleep Landscape

Amy Corkery, Virgo Veldi & Camerata Nordica

Interval Respighi

Il Tramonto for mezzo & string quartet Il Tramonto ar gyfer mezzo & pedwarawd llinynol

Sciarrino

Due arie notturne dal campo, arr. of Two Arias by A. Scarlatti Amy Corkery Due arie notturne dal campo, tref. o ddau Aria gan A. Scarlatti & Sinfonia Cymru String Quartet

Respighi

Antique Airs and Dances

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

Angela Giovio & Sinfonia Cymru String Quartet

Camerata Nordica

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.

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There’s a popular misconception that while the

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

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.

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

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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

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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.

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Monday 6 October, 7.30pm Small Nations Big Sounds Llun 6 Hydref, 7.30yh Cenhedloedd Bach Synau Mawr Watkins

Three Welsh Songs for strings Tair Cân Gymreig ar gyfer llinynau

Sinfonia Cymru

Sibelius

Kuolema

Boden

WORLD PREMIERE: Murmurations for double string orchestra Sinfonia Cymru PERFFORMIAD CYNTAF: Murmurations ar gyfer dwy gerddorfa llinynol & Camerata Nordica

Joonas Asikainen, Amy Corkery & Sinfonia Cymru

Interval Haas

String Quartet No. 2, Op. 7 Pedwarawd Llinynol rhif 2, Op. 7

Camerata Nordica

Grigorjeva ‘Prayer’ Martinů

Camerata Nordica

Double Concerto for Two String Orchestras, Piano and Timpani. Camerata Nordica Concerto Dwbl ar gyfer Dwy Gerddorfa Llinynol, Piano a Timpani & Sinfonia Cymru

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

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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.

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

some forty miles outside Prague: for some

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.

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.

Pavel Haas (1899–1944) gained posthumous fame as one of the composers incarcerated in the garrison-ghetto of Terezín (Theresienstadt),

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

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and strings from 2011 is one of a number of

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

subsequent adaptations.

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.

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

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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

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recordio o gerddoriaeth Sibelius gan y label

e’n ei phriodi), a cerddoriaeth o golygfeydd

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

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.

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Small Nations Big Sounds

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

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Friday • Gwener 07.11.14 7.30pm Conductor • Arweinydd Mark Wigglesworth Mezzo Anna Larsson Bass • Baswr Peter Rose

0800 052 1812 bbc.co.uk/now BBC NOW_SinfoniaCymru.indd 1

Cerddorfa a Chorws Cenedlaethol Cymreig y BBC

THE DREAM OF GERONTIUS

BBC National Orchestra and Chorus of Wales

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

19/09/2014 15:55

Chamber Music Weekend Penwythnos Cerddoriaeth Siambr

Robert Schumann: Inner Voices, Outer Worlds 17–19 Oct | Hyd 2014 Featuring the Gould Piano Trio Yn cynnwys y Triawd Piano Gould ‘I have been composing so much that it seems uncanny at times.’ Robert Schumann

Tickets | Tocynnau 029 2039 1391 www.rwcmd.ac.uk

Supported by Philip and Christine Carne and The Radcliffe Trust

Gyda chefnogaeth Philip a Christine Carne ac Ymddiriedol aeth Radcliffe

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.491 Schubert: Symphony No. 5 in Bb, D. 485 Mendelssohn: Piano Concerto No. 1 in G minor, Op. 25 Friday 21 November, 7.30pm Pontyberem Memorial Hall

Sunday 23 November, 3.00pm The Riverfront, Newport

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, 1pm Riverfront, Newport

Tuesday 11 November, 1pm St David’s Hall, Cardiff

Saturday 8 November, 1pm Ffwrnes, Llanelli

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

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