Strauss Metamorphosen Le Bourgeois Gentilhomme Op. 60 Conductor/Arweinydd: Gareth Jones Narrator/Storïwr: Richard Harrington
Fri 21sth March, 7:30pm Gwe 21ain Mawrth, 7.30yh
Sat 22nd March, 7.30pm Sad 22ain Mawrth, 7.30yh
Sun 23rd March, 3.00pm Sul 23ain Mawrth, 3.00yh
Pontyberem Memorial Hall Neuadd Goffa Pontyberem
Dora Stoutzker Hall, RWCMD, Cardiff Neuadd Dora Stoutzker, CBCDC, Caerdydd
The Riverfront, Newport Glan yr Afon, Casnewydd
Concert Programme £2 Rhaglen Gyngerdd £2
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Sat 29th March, 7pm - 9pm (free entry) Small World Theatre Cardigan Ceredigion, SA43 1JY
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Bach Concerto for Two Violins ‘Britain’s finest period violinist’ in D minor BBC Music Magazine Sally Beamish Seavaigers Various composers Scottish Variations Stout/McKay Sunstone (new material) Company: Scottish Ensemble, directed by Jonathan Morton Chris Stout fiddle Catriona McKay Scottish harp Jonathan Morton violin Tickets | Tocynnau 029 2039 1391
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Strauss Metamorphosen Interval Le Bourgeois Gentilhomme, Op. 60 Conductor Arweinydd Gareth Jones Narrator Stor誰wr Richard Harrington
Musical Director Cyfarwyddydd Cerdd Gareth Jones Guest Leader / Director Arweinydd Gwadd / Cyfarwyddydd Bartosz Woroch Sinfonia Cymru: Curate Curadur Sinfonia Cymru Jonathan Davies Sebastian Pennar James Thomas Simon Howes Charlie MacClure Toks Dada Luc Morris Matthew Green Steffan Morris Trustees Ymddiriedolwyr Lucy Stout Chair Cadeirydd Michael Salter Honorary President Llywydd Anrhydeddus Gareth Cheesman Company Secretary Ysgrfiennydd Cwmni Toks Dada Ian Morris David Jackson Kempton Rees Penny James Gaye Williams Geraint Lewis Management Gweinyddiaeth Sophie Lewis General Manager Rheolwr Cyffredinol sophie@sinfoniacymru.co.uk Matthew Green Orchestra and Special Projects Co-ordinator Cyd-drefnydd y Gerddorfa a Phrosiectau Arbennig matthew@sinfoniacymru.co.uk Luc Morris Marketing & Communications Officer Swyddog Marchnata a Chyfathrebu luc@sinfoniacymru.co.uk Emerald Skeete Administrator Gweinyddydd emerald@sinfoniacymru.co.uk
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Foreword
Rhagair
Welcome to our first ‘Classic Conversation’ of 2014. This year marks the 150th Anniversary of the birth of Richard Strauss and we are taking this opportunity to present to you two of his very finest works for chamber orchestra.
Croeso i ‘Sgwrs Glasurol’ gyntaf 2014. Mae eleni’n nodi pen-blwydd Richard Strauss yn 150 oed ac rydym yn manteisio ar y cyfle hwn i gyflwyno dau o’i gampweithiau cerddorfaol siambr mwyaf cywrain.
Indeed, for this particular series the description ‘Classic Conversation’ has a somewhat different angle in that we are joined by the highly-acclaimed actor Richard Harrington, who will read translated extracts from Moliere’s play, Le Bourgeois Gentilhomme. I think that these interpolated readings will add even further to your enjoyment of what is without doubt one of Strauss’ most brilliant and effervescent scores. Richard will also deliver some background text to the other work in this evening’s concert; his Metamorphosen for 23 solo strings.
Yn wir, ar gyfer y gyfres benodol hon, mae gan y disgrifiad ‘Sgwrs Glasurol’ ystyr wahanol mewn gwirionedd, am fod yr actor nodedig Richard Harrington yn ymuno â ni, a bydd yn darllen cyfieithiad o rannau o ddrama Moliere, Le Bourgeois Gentilhomme. Rwy’n credu y bydd y darlleniadau hyn yn ychwanegu fwy fyth at eich mwynhad o’r hyn sydd, heb os, yn un o gampweithiau mwyaf hynod Strauss.
Over the years Sinfonia Cymru has had a particularly strong association with this piece, having performed it on three previous occasions. For me, it is a piece that despite its relative brevity, always has a shattering impact both for performer and listener alike. It is a piece that, because of its tremendous sense of visual theatre requires an audience to see it performed, every bit as much as to hear it performed.
Bydd Richard hefyd yn darllen testun cefndirol i’r gwaith arall yn y gyngerdd heno, Metamorphosen a gyfansoddwyd ar gyfer 23 o unawdau llinynnol. Dros y blynyddoedd, mae Sinfonia Cymru wedi meithrin perthynas benodol o glos gyda’r darn hwn, ac wedi’i berfformio ar dri achlysur. I mi, mae’n ddarn sydd bob amser yn creu effaith ysgytwol, i’r perfformiwr yn ogystal â’r gwrandäwr, er mai darn cymharol gryno ydyw. Oherwydd yr ymdeimlad o theatr weledol a geir yn y darn, mae’n bwysig bod cynulleidfa yn gweld y perfformiad, yn gymaint â’i glywed.
So, I hope that you will enjoy our very special tribute to this very great composer.
Felly, rwy’n gobeithio y byddwch i gyd yn mwynhau ein teyrnged arbennig iawn i’r cyfansoddwr hynod.
Gareth Jones Musical Director, Sinfonia Cymru
Gareth Jones Cyfarwyddydd Cerdd, Sinfonia Cymru
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Sinfonia Cymru Sinfonia Cymru is an exciting and progressive chamber orchestra from Wales. The orchestra is made up of musicians in the early stages of their careers and is the first and only orchestra of its kind to be revenue-funded by the Arts Council of Wales. Sinfonia Cymru works in partnership with The Royal Welsh College of Music and Drama (RWCMD) through the Professional Pathway Bursary scheme and regular performances at The Dora Stoutzker Hall. Sinfonia Cymru is also resident orchestra at The Riverfront, Newport and performs in venues across Wales. The orchestra works with Young Classical Artists Trust to create opportunities for the next generation of solo artists including the
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orchestra’s current Leader/Director Bartosz Woroch. Sinfonia Cymru has worked with a number of celebrated guest artists including Bryn Terfel, Llŷr Williams, Paul Watkins, Carlo Rizzi, and Alina Ibragimova. The orchestra enjoys a long-standing relationship with Deutsche-Gramophon harpist Catrin Finch. Past projects with Catrin include Classic BRIT nominated album ‘Blessing’ with John Rutter, which reached number one in BBC Radio 3’s classical chart, and a performance at Universal Live ‘Yellow Lounge’. Collaboration forms a key part of Sinfonia Cymru’s work. In 2013 Sinfonia Cymru worked with Ballet Cymru on TIR & Celtic Concerto (featuring Cerys Matthews and Catrin Finch),
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an award-winning production of Romeo and Juliet at The Riverfront, as well as with The Clod Ensemble on ‘Anatomie in Four Quarters’ at Wales Millennium Centre. In 2013 Sinfonia Cymru embarked on a major project to develop and launch a new way of working for chamber orchestras. This included establishing Curate, a group that brings together orchestral musicians, administrators and other young creatives to express their artistic ideas and develop their own projects. 2013 saw the development of UnButtoned at Chapter Arts Centre; a collaboration with BAFTA-Cymru award winning musician Tom Raybould, featuring a score which integrates live and electronic musical performance with live reactive visuals. UnButtoned will
be further developed throughout 2014 with performances planned for later in the year. In 2014 Sinfonia Cymru will be working with actor Richard Harrington (star of S4C Y Gwyll / Hinterland), welcoming back Catrin Finch and Llŷr Williams to perform concerti in June and November respectively and performing Sweeney Todd at Llangollen International Music Eisteddfod featuring Bryn Terfel in the title role, conducted by Sinfonia Cymru founder and Musical Director Gareth Jones. The orchestra will also be taking part in a major European project with partners from across the continent, culminating in a festival featuring music from each participating nation, hosted by Sinfonia Cymru and RWCMD in October this year.
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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
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Ifanc i greu cyfleoedd ar gyfer y genhedlaeth nesaf o artistiaid sy’n unawdwyr gan gynnwys Arweinydd/ Cyfarwyddwr cyfredol y gerddorfa, Bartosz Woroch. Mae Sinfonia Cymru wedi gweithio gyda nifer o artistiaid gwadd enwog gan gynnwys Bryn Terfel, Llŷr Williams, Paul Watkins, Carlo Rizzi, ac Alina Ibragimova. Mae’r gerddorfa’n ymfalchïo yn y berthynas dda sydd ganddi â Catrin Finch, telynores y Deutsche-Gramophon. Ymhlith y prosiectau a wnaed yn y gorffennol gyda Catrin mae’r albwm ‘Blessing’ gyda John Rutter a enwebwyd ar gyfer BRIT Clasurol, ac a gyrhaeddodd rhif un yn siart cerddoriaeth glasurol BBC Radio 3, a pherfformiad yn ‘Yellow Lounge’ Universal Live. Mae cydweithrediadau yn ffurfio rhan allweddol o waith Sinfonia Cymru. Yn ystod 2013, bu Sinfonia Cymru yn gweithio gyda
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Ballet Cymru ar gyfer TIR & Celtic Concerto (gyda Cerys Matthews a Catrin Finch) mewn cynhyrchiad o Romeo and Juliet yng Nglan yr Afon a enillodd wobr, yn ogystal ag ‘Anatomie in Four Quarters’ gan The Clod Ensemble yng Nghanolfan Mileniwm Cymru. Yn ystod 2013, dechreuodd Sinfonia Cymru ar brosiect mawr i ddatblygu a lansio ffordd newydd o weithio ar gyfer cerddorfeydd siambr. Roedd hwn yn cynnwys sefydlu Curadur, grŵp sy’n dod â cherddorion cerddorfaol, gweinyddwyr a phobl greadigol ifanc eraill at ei gilydd i fynegi eu syniadau artistig a datblygu eu prosiectau eu hunain. Yn 2013, datblygwyd UnButtoned yng Nghanolfan Gelfyddydau’r Chapter; cydweithrediad gyda’r cerddor Tom Raybould, sydd wedi ennill gwobr BAFTA Cymru, yn cynnwys sgôr sy’n cyfuno perfformiad electronig a byw gydag adweithiau gweledol byw. Bydd UnButtoned yn cael ei
ddatblygu ymhellach drwy gydol 2014 gyda pherfformiadau wedi’u cynllunio ar gyfer yn hwyrach yn y flwyddyn. Yn 2014, bydd Sinfonia Cymru yn gweithio gyda’r actor Richard Harrington (seren Y Gwyll / Hinterland S4C), yn croesawu Catrin Finch a Llŷr Williams nôl i berfformio cyngherddau ym mis Mehefin a mis Tachwedd ac yn perfformio Sweeney Todd yn Eisteddfod Gerddorol Ryngwladol Llangollen a fydd yn cynnwys Bryn Terfel fel y prif seren ac yn cael ei arwain gan sylfaenydd a Chyfarwyddwr Cerdd Sinfonia Cymru, Gareth Jones. Bydd y gerddorfa hefyd yn cymryd rhan mewn prosiect Ewropeaidd mawr gyda phartneriaid ledled y cyfandir, gan arwain at uchafbwynt mewn gŵyl gerdd a fydd yn cynnwys cerddoriaeth o bob gwlad sy’n cymryd rhan, ac yn cael ei chyflwyno gan Sinfonia Cymru a Choleg Brenhinol Cerdd a Drama Cymru ym mis Hydref eleni.
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Gareth Jones Musical Director & Conductor Cyfarwyddydd Cerddoriaeth & Arweinydd
Gareth Jones began his conducting career as a member of Music Staff of Welsh National Opera, which he joined in 1990. While there he conducted an extensive range of repertoire including Un Ballo in Maschera, Il Barbiere di Siviglia, Turandot, Nabucco, La Traviata, Ernani, Die Fledermaus, Eugene, La Boheme, Fidelio, Billy Budd, The Carmelites, Carmen, Katya Kabanova, The Cunning Little Vixen, Jenufa, Le Nozze di Figaro, Madama Butterfly, The Magic Flute and Hansel and Gretel. In 2009 and 2010, Gareth conducted Aida at the Bregenz Festival.
Philharmonic Orchestra, the Philharmonia Orchestra, the Ulster Orchestra, English Chamber Orchestra and the Manchester Camerata.
In addition, Gareth has conducted many concerts worldwide with Bryn Terfel, including the disc “We’ll Keep a Welcome”, opera galas at the Faenol, Henley and Hampton Court Festivals and an S4C recording of Handel’s “Messiah”. In addition Gareth has conducted more than sixty concerts worldwide with Bryn, including his own BBC Proms debut with Renee Fleming and Bryn in works by Wagner and Strauss. Gareth has also conducted at the Faenol Festival where he has worked with international singers such as Andrea Bocelli, Angela Gheorghiu, Rolando Villazon, Renee Fleming, Carlos Alvarez and Diana Damrau.
Dechreuodd Gareth Jones ar ei yrfa arweinydd fel aelod o Staff Cerddorol Opera Cenedlaethol Cymru, yr ymunodd ag ef yn 1990. Tra ei fod yno, arweiniodd amrywiaeth eang o repertoire gan gynnwys Un Ballo in Maschera, Il Barbiere di Siviglia, Turandot, Nabucco, La Traviata, Ernani, Die Fledermaus, Eugene, La Boheme, Fidelio, Billy Budd, The Carmelites, Carmen, Katya Kabanova, The Cunning Little Vixen, Jenufa, Le Nozze di Figaro, Madama Butterfly, The Magic Flute a Hansel and Gretel. Yn 2009 a 2010, arweiniodd Gareth Aida yng Ngŵyl Bregenz.
Concert work in the United Kingdom has included appearances with the Halle Orchestra, Scottish Chamber Orchestra, the Orchestra of Welsh National Opera, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Royal Liverpool Philharmonic Orchestra, Royal
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Engagements for 2014 include Showboat for Cape Town Opera in Cape Town, Cardiff, Manchester and Birmingham, Sweeney Todd at the Llangollen Eisteddfod and Philip Glass’ A Perfect American for this year’s Brisbane Festival.
Yn ogystal â hyn, mae Gareth wedi arwain llawer iawn o cyngerddau ledled y byd gyda Bryn Terfel, gan gynnwys y recordiad “We’ll Keep a Welcome”, operau mawreddog yng ngwyliau’r Faenol, Henley a Llys Hampton a recordiad S4C o “Messiah” Handel. Yn ogystal, mae Gareth wedi arwain mwy na chwe deg
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cyngerdd ledled y byd gyda Bryn, gan gynnwys ei ymddangosiad cyntaf yn Proms y BBC gyda Renee Fleming a Bryn mewn gweithiau gan Wagner a Strauss. Mae Gareth hefyd wedi arwain yng Ngŵyl y Faenol lle mae wedi gweithio gyda chantorion rhyngwladol fel Andrea Bocelli, Angela Gheorghiu, Rolando Villazon, Renee Fleming, Carlos Alvarez a Diana Damrau. Mae gwaith cyngherddau yn y Deyrnas Unedig wedi cynnwys ymddangosiadau gyda
Cherddorfa Hallé, Cerddorfa Siambr yr Alban, Cerddorfa Opera Cenedlaethol Cymru, Opera Cenedlaethol Brenhinol yr Alban, Cerddorfa Genedlaethol Cymru’r BBC, Cerddorfa Ffilharmonig Frenhinol Lerpwl, y Gerddorfa Ffilharmonig, Cerddorfa Wlster, Cerddorfa Siambr Lloegr a Camerata Manceinion. Mae ymrwymiadau eleni’n cynnwys Showboat am Cape Town Opera yn Cape Town, Caerdydd, Manceinion a Birmingham, Sweeney Todd yn Eisteddfod Llangollen a A Perfect American gan Philip Glass am Gwyl Brisbane eleni.
Richard Harrington Guest Narrator Storïwr
Born in Merthyr Tydfil, Richard is best known for his recent portrayal of DCI Tom Mathias in the acclaimed Welsh detective series Y Gwyll / Hinterland, which aired on both S4C and BBC Wales as part of a commitment to broadening the reach of Welsh language drama on British TV. Other television appearances include Silent Witness, Hustle, Spooks and BBC costume drama Lark Rise to Candleford. Stage roles include Tullus Audifidius in National Theatre Wales’ Coriolan/us.
By’n enedigol o Ferthyr Tuful, mae Richard yn fwyaf adnabyddus am ei bortread o DCI Tom Mathias yn y gyfres dditectif Y Gwyll / Hinterland, a gafodd ei darlledu ar S4C ac ar y BBC fel rhan o ymrwymiad i ehangu dramâu Cymreig ar y teledu ym Mhrydain. Mae ei ymddangosiadau eraill ar y teledu yn cynnwys Silent Witness, Hustle, Spooks a drama gyfnod y BBC, Lark Rise to Candleford. Mae ei rolau ar y llwyfan yn cynnwys Tullus Audifidius yn Coriolan/us, National Theatre Wales.
Richard is a keen athlete and this year will be taking part in the ‘hardest race on earth’; the gruelling Marathon de Sables, covering 156 miles of the Sahara desert in six days.
Mae Richard yn athletwr brwd ac eleni fe fydd yn cymryd rhan yn ras fwyaf heriol y byd, Marathon de Sables, sy’n ymestyn 156 o filltiroedd ar draws y Sahara mewn chwe niwrnod.
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Richard Strauss at 150 When I went up to university back in the mid-tolate 1970s Richard Strauss was a popular, muchperformed and recorded composer: but within academic circles he was considered romantically Beyond the Pale in a world still dominated by the twin stylistic peaks of Schoenberg’s serialism and Stravinsky’s neo-classicism. I remember vividly, however, the day when our own college supervisor turned to my colleague and I and said -“If either of you chaps wants to see what being a composer is really about just take down the full score of any Richard Strauss opera and study the sheer technique involved on any two pages - and then look at your own efforts by their side”. A remarkable lesson, never forgotten and nicely reinforced in discovering the story that when composing Peter Grimes in 1944 Benjamin Britten begged his publisher Mr Hawkes for the luxury of a full score of Der Rosenkavalier in order to see how ‘that old magician’ did certain things! Although born in what must have seemed a world away during the Wagnerian high-noon of 1864, Strauss wasn’t to die until 1949 and was still composing right to the end, when Stockhausen was already fiddling with his electronics. Some have said that he was an anachronism for half his life - but those scholastic naysayers now seem out-of-kilter themselves and one gratifying effect of this year’s 150th celebrations is the proper assessment of Strauss as one of the truly great composers - regardless of period, style or century. He himself was suitably modest in downplaying his status; ‘I may not be a first class composer: but I am a first class second class composer!’ By his own lights he was probably right and we can easily guess at those special names allowed into his top category. But I prefer to remember the moving scene at his funeral when, at his
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own request, the final Trio from Rosenkavalier was performed by three great sopranos. As the overwhelming music began to build in its beautiful intensity one voice after another gradually failed, as each singer was overcome with emotion; this was a silence more telling than any sound and with tears covering their faces the orchestra continued to weave its spell behind them: a spontaneous ‘farewell’ as it dawned on them that they were saluting one of the last great masters of the musical art.
Yn fy nyddiau coleg nol yn y 70au roedd Richard Strauss yn gyfansoddwr poblogaidd iawn a’i waith yn mwynhau digonedd o berfformiadau yn fyw ac ar ddisg: ond o fewn cylchoedd academaidd cul roedd yn ffigwr gwrthun gorramantaidd mewn byd oedd yn dal i addoli serialaeth Schoenberg ar un llaw, a neoglasuriaeth Stravinsky ar y llall. Ond mae gennyf gof byw o’r dydd pan drodd ein hathro coleg ein hun atom a dweud - “If either of you chaps wants to see what being a composer is really about just take down the full score of any Richard Strauss opera and study the sheer technique involved on any two pages - and then look at your own efforts by their side”. Gwers werthfawr nas anghofiwyd ac a ategwyd yn hyfryd o ganfod y stori am Benjamin Britten yn gofyn i’w gyhoeddwr Ralph Hawkes am sgor lawn o Der Rosenkavalier pan yn cyfansoddi Peter Grimes yn 1944 - er mwyn iddo allu darganfod sut y cyflawnodd ‘yr hen ddewin’ ei wyrthiau. Er y ganed Strauss yn 1864 mewn byd oedd bellach wedi diflannu - uchel-awr euraid-oes Wagner - roedd yn dal i gyfansoddi hyd y diwedd yn 1949, pan oedd Stockhausen
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yn dechrau chwarae gyda’i electronics. Yn wir, maentumiodd nifer o wybodusion bod Strauss yn ffigwr anacronistaidd am hanner ei fywyd - ond erbyn hyn mae’r negyddwyr ysgolheigaidd hynny wedi colli’r bws eu hunain! Un peth sy’n barod amlwg wrth i’r byd ddathlu penblwydd Strauss yn 150 yw ei fod yn ennill ei haeddiant fel un o’r mawrion - heb feddwl am gyfnod neu ganrif i’w gaethiwo. Yr oedd yn ddigon gwylaidd am ei statws ei hun; “efallai nad wyf yn gyfansoddwr y dosbarth cyntaf: ond rwyf yn nosbarth cyntaf yr ail ddosbarth yn sicir!” Roedd yn gywir yn ol ei safonau ei hun a gellid yn hawdd restri’r enwau cyfrin a berthynai i’w ddosbarth cyntaf. Ond llawer gwell gennyf gofio am yr olygfa honno yn angladd Strauss pan ganodd tair soprano enwog, yn ol ei ddymuniad, y Triawd sy’n cloi Der Rosenkavalier. Wrth i’r gerddoriaeth ogoneddus dyfu mewn pwer a phrydferthwch methodd un llais ar ol y llall; dyma dawelwch mwy huawdl na’r canu - wrth iddynt wynebu’r gynulleidfa gyda’i gruddiau’n wlyb dan ddagrau a’r gerddorfa yn parhau y tu cefn iddynt: roeddent wedi sylweddoli’n sydyn eu bont yn ‘ffarwelio’ ac un o gewri olaf y gelfyddyd gerddorol.
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Richard Strauss (1864-1949) Metamorphosen - study for 23 solo strings / astudiaeth am 23 o linynnau unawdol (First performed on January 25, 1946 in Zurich conducted by Paul Sacher) (Perfformiad cyntaf ar Ionawr 25, 1946 yn Zurich dan arweiniad Paul Sacher) No one can know himself separate from his inner being. Yet he tries to do it every day, That which is clearly from the outside, What he is and what he was, What he can do and what he wants to do. But what happens in the world, No one actually understands, And up to the present day, No one wishes to understand, Conduct yourself with reason, As the day is at hand, Always think: ”It’s gone all right until now, So it may well continue that way until the end.” Johann Wolfgang von Goethe
On October 28, 1942 Richard Strauss was present at the Munich State Opera for the world premiere of his last opera Capriccio, the last score to which he allocated an opus number. He considered that his life’s work was now effectively complete, saying of the opera’s sublime final scene: “One can only leave one testament!” On October 2, 1943 this beloved opera house in Munich - where his father had been the legendary principal horn and in which he’d more or less grown up - was destroyed in an air-raid. Over the course of the next 18-months all the major opera houses of Germany in which Strauss had conducted his career - Berlin, Weimar, Dresden, Stuttgart - were also reduced to rubble, though almost the worst blow for him
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was the destruction of Goethe’s old house in Frankfurt: “I am in despair; the Goethehaus, the world’s greatest sanctuary, destroyed.” The last straw, however, came on March 12, 1945 when the glorious Vienna Opera House finally lay in ruins. Strauss had intermittently been sketching some music for string sextet inspired by his reading of Goethe’s essays on the scientific process of ‘metamorphosis’ and also considered setting the poem quoted above. But writing ‘Begun March 13, 1945’ at the bottom of the first page he now elaborated these ideas into an unbroken 500-bar flow of nearly half-an-hour’s music for 23 solo strings, which he completed at his home in Garmisch on April 12. Hitler committed suicide on April 30 prompting Strauss to write the next day: “From 1 May onwards the most terrible period of human history came to an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany’s 2,000 years of cultural evolution met its doom....” It seems almost too glib to say simply that Metamorphosen is Strauss’s elegy to this culture. The work is certainly that, but also so much more. Rather like Bach working in isolation at the end of his life on The Art of Fugue Strauss here provides a profound meditation on the twin arts of harmony and counterpoint in a continuously unfolding elaboration of a few fragments of melodic magic. The structure seems to create itself with the kind of organic intuition which Strauss had identified back in the early 1880s
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as his true goal and which now continued to fascinate him metaphorically in Goethe’s exploration of plant formation. As he worked on the score Strauss claimed not have noticed that his main theme was an echo of part of Beethoven’s Eroica Symphony ‘Funeral March’ - but the penny gradually dropped and on the last page of all the double-bass sings the tune properly as the music sinks to extinction with the inscription underneath ‘IN MEMORIAM!’ - the rest can only be silence.
Ar Hydref 28, 1942 roedd Strauss yn Nhy Opera Munich ar gyfer perfformiad cyntaf ei opera olaf Capriccio, y sgor olaf iddo roi rhif opus arno. Roedd yn ystyried nawr bod ei waith wedi’i gyflawni i bob pwrpas, gan ddweud am yr olygfa hudolus sy’n cloi’r opera; “Dim ond un testament olaf gall ddyn adael!” Ar Hydref 2, 1943 bomiwyd y ty opera hwn - lle bu ei dad yn brif chawaraewr chwedlonol ar y corn a lle y tyfodd i fyny ei hun. Tros y deunaw mis nesa fe fomiwyd holl dai opera’r Almaen - Berlin, Weimar, Dresden, Stuttgart - er mai’r golled waetha o ran Strauss oedd hen gartref Goethe yn Frankfurt: “Rwyf mewn gwewyr; y Goethehaus, cysegrfan mwya’r byd, yn deilchion”. Ond daeth y diwedd oll ar Fawrth 12, 1945 pan y difethwyd Ty Opera Fienna a’i adael yn adfeilion. Roedd Strauss wedi bod yn braslunio syniadau i seithawd llinynnol dan ysbrydoliaeth ysgrifennu Goethe am yn broses wyddonol o ‘fetamorffeiddio’ a bu’n ystyried gosod hefyd yn gerdd uchod. Ond gan sgrifennu ‘Cychwynwyd Mawrth 13, 1945’ ar waelod yn dudalen gyntaf, fe ymhelaethodd ar y syniadau
i greu llif di-dor o 500-bar yn para hanner awr i 23 o linynnau unawdol a’i orffen ar Ebrill 12 yn ei gartref yn Garmisch. Cymerodd Hitler ei fywyd ar Ebrill 30 gan dynnu’r geiriau hyn o eiddo Strauss: “O Fai 1 ymlaen daeth y cyfnod mwyaf enbyd yn hanes y ddynoliaeth i ben, teyrnasiad 12 mlynedd o fwystfiliaeth, anwybodaeth ac anwareidd-dra dan y dihirod mwyaf, pryd y daeth 2,000 mlynedd o ddatblygiad diwyllianol yr Almaen i’w ddifodiant....” Ymddengys yn rhy rhwydd i ddweud yn syml mai Metamorphosen yw marwnad Strauss i’r diwylliant hwnnw. Mae’r gwaith yn sicr yn ymgorfforiad o hynny, ond mae’n gymaint mwy hefyd. Yn ysbryd Bach yn gweithio ar ei Gelfyddyd Ffiwg tua diwedd ei oes dyma Strauss yn cyflwyno myfyrdod dwys ar ddisgyblaethau ymgysylltiedig harmoni a gwrthbwynt sy’n ymestyn o’n blaenau fel ymgyfoethogiad ar ddwy neu dair llinell sy’n aros yn gelfydd yn y cof. Mae’r bensaerniaeth fel petai yn creu’i hun wrth esblygu yn organig naturiol yn y modd y nododd Strauss nol yn yr 1880au fel ei nod a sy’n dal i’w swyno nawr wrth astudio Goethe yn esbonio sut y mae planhigion yn tyfu fel undod. Oedd, mi oedd yn gadael ‘testament’ arall yn ddiarwybod ac un sy’n ymgorffori’r paradocs mai rhai o’r amgylchiadau mwyaf erchyll sy’n esgor ar y gelfyddyd fwyaf. Wrth iddo weithio ar y sgor dywedodd Strauss na sylweddolodd taw rhan o’r ‘Ymdeithgan Angladd’ o Symffoni Eroica Beethoven sy’n gysgod i’w brif thema - ond wrth i’r ymwybyddiaeth wawrio mae’n gadael i’r celli a’r basau-dwbwl ganu’r alaw yn y dyfnder wrth i’r gerddoriaeth ddiflannu dros y geiriau ‘IN MEMORIAM!’ a dim ond tawelwch all ddilyn.
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Richard Strauss (1864-1949) Le Bourgeois Gentilhomme - suite, op.60, with narration cyfres, op.60, gydag adroddiad (First performed as a suite, January 31, 1920 in Vienna conducted by Richard Strauss) (Perfformiad cyntaf fel cyfres ar Ionawr 31, 1920 yn Vienna dan arweiniad Richard Strauss) 1. Overture. 2. Jourdain’s Minuet. 3. The Fencing Master. 4. Entry and Dance of the Tailors. 5. Lully’s Minuet. 6. Courante. 7. Entry of Cleonte (after Lully). 8. Intermezzo. 9. The Dinner. Strauss worked with poet and dramatist Hugo von Hofmannsthal (1874-1929) on the operas Elektra and Der Rosenkavalier between 1905 and 1911 and was looking forward to their next collaboration which was to be the extraordinary Die Frau ohne Schatten. But Hofmannsthal in the interim proposed what he thought would be a delightful divertissement as a special present for the theatre director Max Reinhardt (1873-1943) who’d played a vital part in Strauss’s operatic life as well as a major role in Hofmannsthal’s dramatic career, and who had just rescued the production of Rosenkavalier in Dresden at the last minute. This treat was to involve a presentation of Moliere’s Le Bourgeois Gentilhomme with incidental music - and in place of the play’s Turkish finale Hofmannsthal proposed a short(ish) operatic version of the mythological tale of Ariadne and Bacchus on Naxos. Strauss was initially bemused rather than enthusiastic and wondered how on earth the two ‘entertainments’ could be linked. Hofmannsthal then proposed an extra spoken section and the whole farrago was produced by Reinhardt with Strauss conducting, in Stuttgart on October 25, 1912. It was a disaster! Hofmannsthal immediately began several salvage operations, all of which involved Strauss in additional composing. The evening’s two ‘halves’ were now decoupled and we finally
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get the definitive opera Ariadne auf Naxos with new Prologue (premiered triumphantly in Vienna in 1916) as well as an extended attempt at Le Bourgeois Gentilhomme with extra music as produced in Berlin in 1918. But this was another flop!! Strauss by now had lost interest in the whole attempt to dramatise Moliere and bypassing Hofmannsthal’s attempts at yet another revision he made his own nine-movement Concert Suite from the incidental music and happily left it at that. His instincts were entirely right, in that sheer brilliance of invention enables these pre-Stravinsky neo-classical gems for 37-piece orchestra (the size to which he was restricted by theatre space for the original Ariadne) to stand alone vividly just as music, without any need of dramatic elaboration. For once, the ‘incidental’ music rendered the drama itself incidental! But tonight’s performance will look back to Hofmannsthal’s original intention by interpolating a narration which will flesh out the enchanting musical recreation of the gilded baroque glories of Louis XVI’s Versailles with Lully as its presiding genius.
Rhwng 1906 a 1911 cydweithiodd Strauss gyda’r bardd a’r dramodydd Hugo von Hofmannsthal (1874-1929) ar yr operau Elektra a Der Rosenkavalier gan edrych ymlaen at eu cywaith nesaf sef yr eithriadol Die Frau ohne
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Schatten. Yn sydyn reit dyma Hofmannsthal yn awgrymu creu difyrraeth ‘fechan’ fel anrheg i’r cyfarwyddwr Max Reinhardt (1873-1943) a fu mor allweddol yn eu gyrfaoedd ill dau ac a ddaeth i’r adwy i achub Rosenkavalier yn Nresden ar y funud olaf. Roedd yr ‘anrheg’ i gynnwys cyflwyniad o ddrama Moliere Le Bourgeois Gentilhomme gyda cherddoriaeth gefndirol - ond yn lle diweddglo Twrcaidd y ddrama wreiddiol syniad Hofmannsthal oedd cyflwyniad operatig o stori Ariadne a Bacchus ar ynys Naxos. Nid oedd Strauss yn gweld i gychwyn sut yn y byd y gellid cysylltu’r gwahanol syniadau hyn yn effeithiol felly dyma Hofmannsthal yn awgrymu ychwanegu dramodig rhwng y ddau i esbonio. Cyflwynwyd y cyfan o flaen Brenin Wurttemberg yn Stuttgart ar Hydref 25, 1912 ond er bod Strauss bellach yn cefnogi’r cyfan yn frwdfdrydig methiant llwyr oedd y noson! Aeth Hofmannsthal ati’n syth i geisio adfer y sefyllfa - a’i gynlluniau i gyd yn golygu mwy o gyfansoddi i Strauss er mwyn anelu at lwyddiant. Datgysylltwyd dau gymal y noson i greu yr opera berffaith Ariadne auf Naxos yn cynnwys Prolog newydd sbon (llwyddiant ysgubol yn Fienna yn 1916) yn ogystal ac ymestyniad o Le Bourgeois Gentilhomme gyda mwy o gerddoriaeth fel a gynhyrchwyd ym merlin yn 1918. Ond fflop oedd hwn eto!! Erbyn hyn collodd Strauss unrhyw ddiddordeb yn y syniad o ddramateiddio Moliere a gan anwybyddu mwy o ail-wampio gan Hofmannsthal fe aeth ati i greu Cyfres Gyngerdd naw-symudiad o’r gerddoriaeth gefndirol neu ‘achlysurol’ gan ganu’n iach i’r cyfan wrth wneud. Ac yr oedd ei reddf yn hollol gywir gan mai cynnwys cerddorol disglair y gerddoriaeth sy’n trechu ac yn galluogi i’r
darnau sefyll ar eu traed eu hunain heb angen y cyd-destun dramatig. Dyma neo-glasuriaeth ddeheuig cyn i Stravinsky droi at y syniad ac wedi’i saernio’n gelfydd i gerddorfa fechan o 37, sef yn cyfyngiad lle oedd yn orfodedig ar Strauss reit o’r cychwyn. Am unwaith dyma’r gerddoriaeth gefndirol yn troi’r ei hun cefndir yn ddi-anghenrhaid! Ond ym mherfformiad heno bydd adroddiad o grynswth y cefndir yn ein tywys yn ol at syniad gwreiddiol Hofmannsthal ac yn bwydo’r dychymyg wrth wrando hefyd ar athrylith Strauss yn peintio darluniau sain hudolus o ogoniannau euraidd Versailles yng nghyfnod Louis XIV pan oedd Moliere a Lully yn cyniwair eu gwyrthiau.
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Metamorphosen Violin Benjamin Baker Caroline Pether Christina Knox Catherine Landen Kana Ohashi Charlie MacClure Hugh Blogg Simran Singh Luke Coomber Lydia Marshall
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Viola Kay Stephen Lucy Nolan Charlotte Bonneton Elitsa Bogdanova Rhiannon James
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Cello Christopher Graves Peggy Nolan Jonathan Pether Alistair Howes Anna Menzies Double Bass Stewart Wilson Mark O’Leary Enric Boixados Gómez
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Le Bourgeois Gentilhomme Violin Benjamin Baker Caroline Pether Catherine Landen Christina Knox Charlie MacClure Simran Singh
Flute Katie Williams Jack Welch
Viola Kay Stephen Lucy Nolan Charlotte Bonneton Elitsa Bogdanova
Clarinet Benjamin Mellifont Rhodri Taylor
Cello Christopher Graves Peggy Nolan Jonathan Pether Anna Menzies Double Bass Stewart Wilson Mark O’Leary
Oboe Mary Noden Alice McArthur
Bassoon James Thomas Gareth Humphreys Horn Hugh Sisley Phillippa Slack
Bass Trombone Barry Clements Piano Robin Green Harp Hannah Stone Timpani Rhys Matthews Percussion Matthew Hardy Richard Cartlidge Phil Hughes Rhydian Griffiths Alun McNeil-Watson
Trumpet Jason Lewis
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Sinfonia Cymru: Curate Curate was established in 2013 with the aim of bringing together the young creative minds of the orchestra and providing them with an opportunity to express their artistic knowledge and ideas. Last year, Curate played a huge part in programming the orchestra’s annual recitals and Summer series, but they also developed the flagship UnButtoned events at Chapter Arts Centre to huge success. Curate embodies Sinfonia Cymru’s commitment to young musicians and recognises the changing demands of the industry for musicians to have the ability to maintain the highest possible performance standards alongside a whole host of other skills on and off the concert platform. Curate also highlights the diversity of thought and imagination among Sinfonia Cymru musicians and their constant enthusiasm and exuberant approach. “Curate has given me the chance to create and express ideas without limitations” –
Cafodd Curadur ei sefydlu yn 2013 gyda’r nod o ddod â meddyliau creadigol ifanc y gerddorfa ynghyd a rhoi’r cyfle iddynt fynegi eu gwybodaeth a’u syniadau artistig. Y llynedd, roedd gan Curadur ran bwysig iawn wrth greu rhaglen ar gyfer datganiadau blynyddol y gerddorfa a thymor yr haf, ond gwnaethant hefyd ddatblygu digwyddiadau blaenllaw UnButtoned yng Nghanolfan Gelfyddydau’r Chapter a sicrhau ei fod yn llwyddiant ysgubol. Mae Curadur yn tanlinellu ymrwymiad Sinfonia Cymru i gerddorion ifanc ac yn cydnabod gofynion y diwydiant sy’n newid yn barhaus er mwyn i gerddorion lwyddo i gynnal y safonau uchaf posibl yn eu perfformiad ynghyd â thoreth o sgiliau eraill sy’n ymestyn tu hwnt i lwyfan y gyngerdd. Mae Curadur hefyd yn tanlinellu amrywiaeth y gwaith meddwl a’r dychymyg ymhlith cerddorion Sinfonia Cymru a’u brwdfrydedd parhaus a’u hymagwedd hwyliog. “Mae Curadur wedi rhoi’r cyfle i mi greu a mynegi syniadau heb gyfyngiadau”
Charlie MacClure, Curate member. Charlie MacClure, aelod Curadur.
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How can you help?
Sut gallwch chi helpu?
Please help us to support young musicians at the start of their careers.
Helpwch ni i cefnogi gerddorion ifanc ar ddechrau eu gyrfaoedd.
Sinfonia Cymru can only thrive as an ambitious orchestra committed to supporting young musical talent in Wales with the dedicated support of our audiences, funders, donors, Friends, Patrons and partner organisations. We would like to thank all of you for your empowering support, as we continue on our musical journey throughout Wales and beyond.
Gall Sinfonia Cymru ond ffynnu fel cerddorfa uchelgeisiol sydd wedi ymrwymo i gefnogi talent gerddorol ifanc yng Nghymru gyda chefnogaeth ymroddedig ein cynulleidfaoedd, cyllidwyr, rhoddwyr, Cyfeillion, Noddwyr a sefydliadau partner. Hoffem ddiolch i chi i gyd am eich cefnogaeth frwd wrth inni barhau â’n taith gerddorol drwy Gymru a thu hwnt.
There are a number of different ways you can get involved with Sinfonia Cymru:
Mae sawl ffordd y gallwch gymryd rhan gyda Sinfonia Cymru:
You can join the Supporting Friends of Sinfonia Cymru for just £30 per individual or £50 per household per year or the Patrons of Sinfonia Cymru for £100, £240 or £600+ per year.
Gallwch ymuno â Chyfeillion Cefnogol Sinfonia Cymru am ddim ond £30 yr unigolyn neu £50 yr aelwyd y flwyddyn neu Noddwyr Sinfonia Cymru am £100, £240 neu £600+ y flwyddyn.
You can pay monthly or annually by cheque or standing order. As a Friend or Patron you will receive regular newsletters and a discount of £1 off full and concession ticket prices for the orchestra’s main orchestral concerts each year.
Gallwch dalu’n fisol neu’n flynyddol drwy siec neu archeb sefydlog. Fel Cyfaill neu Noddwr byddwch yn derbyn cylchlythyrau rheolaidd a disgownt o £1 oddi ar brisiau llawn tocynnau a chonsesiynau ar gyfer prif gyngherddau’r gerddorfa bob blwyddyn.
You can support a Professional Pathway Award for the 2014/2015 academic year either individually or as member of a syndicate.
Gallwch gefnogi Dyfarniad Llwybr Proffesiynol ar gyfer blwyddyn academaidd 2014/15 naill ai’n unigol neu fel aelod o syndicet.
Or simply join our mailing list and receive information only about all our forthcoming concerts and events by post or email.
Neu ymunwch â’n rhestr bostio a dim ond derbyn gwybodaeth am ein holl gyngherddau a digwyddiadau sydd ar y gweill drwy’r post neu dros yr e-bost.
You can find out more about the orchestra and how to get involved at our website www.sinfoniacymru. co.uk or contact us directly by phone (02920 754 556) or email (contact@sinfoniacymru.co.uk).
Gallwch gael rhagor o wybodaeth am y gerddorfa a sut i gymryd rhan ar ein gwefan www. sinfoniacymru.co.uk neu cysylltwch â ni yn uniongyrchol dros y ffôn (02920 754 556) neu e-bost (contact@sinfoniacymru.co.uk).
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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
J Russell Evans
Leslie Jones
Friends Cyfeillion Emyr Williams George & Joyce Davis
Supporters Cefnogwyr a Cyllid
Partners Partneriaid
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
Media Centre, S4C, Parc Tŷ Glas, Llanishen, Cardiff, CF14 5DU 02920 754556
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DANCE TOURING PARTNERSHIP PRESENTS AWARD-WINNING IRISH COMPANY
Fabulous Beast Dance Theatre
The Rite of Spring + Petrushka A thrilling dance theatre double bill directed by Michael Keegan-Dolan “There’s no doubting the spell of Keegan-Dolan’s imagination” THE GUARDIAN ****
www.fabulousbeast.co.uk Tuesday 8 & Wednesday 9 April
Ticket office 029 2064 6900 www.shermancymru.co.uk Age guidance 16+ (contains nudity, sexual imagery and smoking)
May: 3 31
Llanelli Music Society | Llanelli Big Splash | Newport
June: 5 6 7 8
Sinfonia Cymru & Catrin Finch | Harlech Sinfonia Cymru & Catrin Finch | Llanelli Sinfonia Cymru & Catrin Finch | Cardiff Sinfonia Cymru & Catrin Finch | Newport
July: 7 14 - 18 19 - 24
Bryn Terfel in Sweeney Todd | Llangollen Small Nations Big Sounds | Italy Small Nations Big Sounds | Estonia
October: First Wednesday | Newport 1 Small Nations Big Sounds | Cardiff 4 Small Nations Big Sounds | Cardiff 5 Small Nations Big Sounds | Cardiff 6 Small Nations Big Sounds | Sweden 7 - 14
See our 2014 brochure for details of upcoming events
November: First Wednesday | Newport 5 Sinfonia Cymru & Llŷr Williams | Pontyberem 21 Sinfonia Cymru & Llŷr Williams | Aberystwyth 22 Sinfonia Cymru & Llŷr Williams | Newport 23
Sinfonia Cymru & Catrin Finch Harp: Catrin Finch Conductor: Ben Gernon Ravel: Introduction and Allegro, Op. 46 Debussy: Danse Sacrée et Profane Mathias: Melos, Op. 73 Ibert: Divertissement Copland: Appalachian Spring
Thurs 5th June, 7:30pm Iau 5ed Mehefin, 7.30yh
Fri 6th June, 7.30pm Gwen 6ed Mehefin, 7.30yh
Sat 7th June, 7.30pm Sad 7ed Mehefin, 7.30yh
Sun 8th June, 3.00pm Sul 8ed Mehefin, 3.00yh
Theatr Ardudwy, Harlech
Y Ffwrness, Llanelli
Dora Stoutzker Hall, RWCMD, Cardiff Neuadd Dora Stoutzker, CBCDC, Caerdydd
The Riverfront, Newport Glan yr Afon, Casnewydd
Tickets/Tocynnau: £4 - £12 Under 27s/Dan 27: £4 sinfoniacymru.co.uk
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