MetamorphosenLe Bourgeois Gentilhomme Op. 60
Conductor/Arweinydd: Gareth JonesNarrator/Storïwr: Richard Harrington
Fri 21sth March, 7:30pm Gwe 21ain Mawrth, 7.30yh
Pontyberem Memorial Hall Neuadd Goffa Pontyberem
Sat 22nd March, 7.30pm Sad 22ain Mawrth, 7.30yh
Dora Stoutzker Hall, RWCMD, CardiffNeuadd Dora Stoutzker,CBCDC, Caerdydd
Sun 23rd March, 3.00pm Sul 23ain Mawrth, 3.00yh
The Riverfront, NewportGlan yr Afon, Casnewydd
Concert Programme £2Rhaglen Gyngerdd £2
Strauss
InternationalArtistsArtistiaidRhyngwladol
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The Scottish Ensemble Photo by Joanne Green
Bach Concerto for Two Violinsin D minorSally Beamish SeavaigersVarious composers ScottishVariationsStout/McKay Sunstone (new material)Company: Scottish Ensemble,directed by Jonathan MortonChris Stout fiddleCatriona McKay Scottish harpJonathan Morton violin
‘Britain’s finest period violinist’BBC Music Magazine
Tickets | Tocynnau029 2039 1391
Book onlineArchebwch ar-leinwww.rwcmd.ac.uk
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Musical Director Cyfarwyddydd CerddGareth Jones
Guest Leader / Director Arweinydd Gwadd / CyfarwyddyddBartosz Woroch
Sinfonia Cymru: Curate Curadur Sinfonia CymruJonathan Davies James Thomas Charlie MacClure Luc Morris Steffan Morris
Trustees YmddiriedolwyrLucy Stout Michael SalterGareth Cheesman
Toks Dada David Jackson Penny James Geraint Lewis
Management GweinyddiaethSophie Lewis
Matthew Green
Luc Morris
Emerald Skeete
Sebastian PennarSimon HowesToks DadaMatthew Green
Chair CadeiryddHonorary President Llywydd AnrhydeddusCompany Secretary Ysgrfiennydd Cwmni
Ian MorrisKempton ReesGaye Williams
General Manager Rheolwr [email protected] and Special Projects Co-ordinator Cyd-drefnydd y Gerddorfa a Phrosiectau Arbennig [email protected] & Communications Officer Swyddog Marchnata a [email protected] [email protected]
StraussMetamorphosen
Interval
Le Bourgeois Gentilhomme, Op. 60
Conductor ArweinyddGareth Jones
Narrator Storïwr Richard Harrington
www.sinfoniacymru.co.uk March 2014 Mawrth 2014 5
Welcome to our first ‘Classic Conversation’ of
2014. This year marks the 150th Anniversary of
the birth of Richard Strauss and we are taking
this opportunity to present to you two of his
very finest works for chamber orchestra.
Indeed, for this particular series the
description ‘Classic Conversation’ has
a somewhat different angle in that we
are joined by the highly-acclaimed actor
Richard Harrington, who will read translated
extracts from Moliere’s play, Le Bourgeois
Gentilhomme. I think that these interpolated
readings will add even further to your
enjoyment of what is without doubt one of
Strauss’ most brilliant and effervescent scores.
Richard will also deliver some background text
to the other work in this evening’s concert; his
Metamorphosen for 23 solo strings.
Over the years Sinfonia Cymru has had
a particularly strong association with this
piece, having performed it on three previous
occasions. For me, it is a piece that despite its
relative brevity, always has a shattering impact
both for performer and listener alike. It is a
piece that, because of its tremendous sense
of visual theatre requires an audience to see
it performed, every bit as much as to hear it
performed.
So, I hope that you will enjoy our very special
tribute to this very great composer.
Gareth Jones
Musical Director, Sinfonia Cymru
Croeso i ‘Sgwrs Glasurol’ gyntaf 2014. Mae
eleni’n nodi pen-blwydd Richard Strauss yn
150 oed ac rydym yn manteisio ar y cyfle hwn
i gyflwyno dau o’i gampweithiau cerddorfaol
siambr mwyaf cywrain.
Yn wir, ar gyfer y gyfres benodol hon, mae gan
y disgrifiad ‘Sgwrs Glasurol’ ystyr wahanol
mewn gwirionedd, am fod yr actor nodedig
Richard Harrington yn ymuno â ni, a bydd yn
darllen cyfieithiad o rannau o ddrama Moliere,
Le Bourgeois Gentilhomme. Rwy’n credu y
bydd y darlleniadau hyn yn ychwanegu fwy
fyth at eich mwynhad o’r hyn sydd, heb os, yn
un o gampweithiau mwyaf hynod Strauss.
Bydd Richard hefyd yn darllen testun
cefndirol i’r gwaith arall yn y gyngerdd heno,
Metamorphosen a gyfansoddwyd ar gyfer
23 o unawdau llinynnol. Dros y blynyddoedd,
mae Sinfonia Cymru wedi meithrin perthynas
benodol o glos gyda’r darn hwn, ac wedi’i
berfformio ar dri achlysur. I mi, mae’n ddarn
sydd bob amser yn creu effaith ysgytwol,
i’r perfformiwr yn ogystal â’r gwrandäwr, er
mai darn cymharol gryno ydyw. Oherwydd yr
ymdeimlad o theatr weledol a geir yn y darn,
mae’n bwysig bod cynulleidfa yn gweld y
perfformiad, yn gymaint â’i glywed.
Felly, rwy’n gobeithio y byddwch i gyd yn
mwynhau ein teyrnged arbennig iawn i’r
cyfansoddwr hynod.
Gareth Jones
Cyfarwyddydd Cerdd, Sinfonia Cymru
Foreword Rhagair
March 2014 Mawrth 2014 www.sinfoniacymru.co.uk 6
Sinfonia Cymru
Sinfonia Cymru is an exciting and progressive
chamber orchestra from Wales. The orchestra
is made up of musicians in the early stages of
their careers and is the first and only orchestra
of its kind to be revenue-funded by the Arts
Council of Wales.
Sinfonia Cymru works in partnership with The
Royal Welsh College of Music and Drama
(RWCMD) through the Professional Pathway
Bursary scheme and regular performances at
The Dora Stoutzker Hall. Sinfonia Cymru is also
resident orchestra at The Riverfront, Newport
and performs in venues across Wales.
The orchestra works with Young Classical
Artists Trust to create opportunities for the
next generation of solo artists including the
orchestra’s current Leader/Director Bartosz
Woroch. Sinfonia Cymru has worked with a
number of celebrated guest artists including
Bryn Terfel, Llŷr Williams, Paul Watkins, Carlo
Rizzi, and Alina Ibragimova.
The orchestra enjoys a long-standing
relationship with Deutsche-Gramophon harpist
Catrin Finch. Past projects with Catrin include
Classic BRIT nominated album ‘Blessing’
with John Rutter, which reached number
one in BBC Radio 3’s classical chart, and a
performance at Universal Live ‘Yellow Lounge’.
Collaboration forms a key part of Sinfonia
Cymru’s work. In 2013 Sinfonia Cymru worked
with Ballet Cymru on TIR & Celtic Concerto
(featuring Cerys Matthews and Catrin Finch),
www.sinfoniacymru.co.uk March 2014 Mawrth 2014 7
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.
March 2014 Mawrth 2014 www.sinfoniacymru.co.uk 8
Sinfonia Cymru
Mae Sinfonia Cymru yn gerddorfa siambr
gyffrous a blaengar o Gymru. Mae’r gerddorfa
yn cynnwys cerddorion ar ddechrau eu
gyrfaoedd a dyma’r gerddorfa gyntaf, a’r unig
un gerddorfa siambr i gael cyllid refeniw gan
Gyngor Celfyddydau Cymru.
Mae Sinfonia Cymru yn gweithio mewn
partneriaeth â Choleg Brenhinol Cerdd a
Drama Cymru drwy gynllun Bwrsari Llwybrau
Proffesiynol ac yn perfformio’n rheolaidd
yn Neuadd Dora Stoutzker. Sinfonia Cymru
yw’r gerddorfa breswyl yng Nglan-yr-Afon,
Casnewydd ac mae’n perfformio mewn nifer o
leoliadau ledled Cymru.
Mae’r gerddorfa’n gweithio gyda’r
Ymddiriedolaeth ar gyfer Artistiaid Clasurol
Ifanc i greu cyfleoedd ar gyfer y genhedlaeth
nesaf o artistiaid sy’n unawdwyr gan gynnwys
Arweinydd/ Cyfarwyddwr cyfredol y gerddorfa,
Bartosz Woroch. Mae Sinfonia Cymru wedi
gweithio gyda nifer o artistiaid gwadd enwog
gan gynnwys Bryn Terfel, Llŷr Williams, Paul
Watkins, Carlo Rizzi, ac Alina Ibragimova.
Mae’r gerddorfa’n ymfalchïo yn y berthynas
dda sydd ganddi â Catrin Finch, telynores y
Deutsche-Gramophon. Ymhlith y prosiectau
a wnaed yn y gorffennol gyda Catrin
mae’r albwm ‘Blessing’ gyda John Rutter
a enwebwyd ar gyfer BRIT Clasurol, ac a
gyrhaeddodd rhif un yn siart cerddoriaeth
glasurol BBC Radio 3, a pherfformiad yn
‘Yellow Lounge’ Universal Live.
Mae cydweithrediadau yn ffurfio rhan
allweddol o waith Sinfonia Cymru. Yn ystod
2013, bu Sinfonia Cymru yn gweithio gyda
www.sinfoniacymru.co.uk March 2014 Mawrth 2014 9
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.
March 2014 Mawrth 2014 www.sinfoniacymru.co.uk 10
Gareth Jones began his conducting career
as a member of Music Staff of Welsh National
Opera, which he joined in 1990. While there he
conducted an extensive range of repertoire
including Un Ballo in Maschera, Il Barbiere di
Siviglia, Turandot, Nabucco, La Traviata, Ernani,
Die Fledermaus, Eugene, La Boheme, Fidelio,
Billy Budd, The Carmelites, Carmen, Katya
Kabanova, The Cunning Little Vixen, Jenufa, Le
Nozze di Figaro, Madama Butterfly, The Magic
Flute and Hansel and Gretel. In 2009 and 2010,
Gareth conducted Aida at the Bregenz Festival.
In addition, Gareth has conducted many
concerts worldwide with Bryn Terfel, including
the disc “We’ll Keep a Welcome”, opera galas at
the Faenol, Henley and Hampton Court Festivals
and an S4C recording of Handel’s “Messiah”. In
addition Gareth has conducted more than sixty
concerts worldwide with Bryn, including his own
BBC Proms debut with Renee Fleming and Bryn
in works by Wagner and Strauss. Gareth has
also conducted at the Faenol Festival where
he has worked with international singers such
as Andrea Bocelli, Angela Gheorghiu, Rolando
Villazon, Renee Fleming, Carlos Alvarez and
Diana Damrau.
Concert work in the United Kingdom has
included appearances with the Halle Orchestra,
Scottish Chamber Orchestra, the Orchestra of
Welsh National Opera, Royal Scottish National
Orchestra, BBC National Orchestra of Wales,
Royal Liverpool Philharmonic Orchestra, Royal
Gareth JonesMusical Director & Conductor
Cyfarwyddydd Cerddoriaeth & Arweinydd
Philharmonic Orchestra, the Philharmonia
Orchestra, the Ulster Orchestra, English
Chamber Orchestra and the Manchester
Camerata.
Engagements for 2014 include Showboat
for Cape Town Opera in Cape Town, Cardiff,
Manchester and Birmingham, Sweeney Todd
at the Llangollen Eisteddfod and Philip Glass’
A Perfect American for this year’s Brisbane
Festival.
Dechreuodd Gareth Jones ar ei yrfa arweinydd
fel aelod o Staff Cerddorol Opera Cenedlaethol
Cymru, yr ymunodd ag ef yn 1990. Tra ei fod
yno, arweiniodd amrywiaeth eang o repertoire
gan gynnwys Un Ballo in Maschera, Il Barbiere
di Siviglia, Turandot, Nabucco, La Traviata,
Ernani, Die Fledermaus, Eugene, La Boheme,
Fidelio, Billy Budd, The Carmelites, Carmen,
Katya Kabanova, The Cunning Little Vixen,
Jenufa, Le Nozze di Figaro, Madama Butterfly,
The Magic Flute a Hansel and Gretel. Yn 2009
a 2010, arweiniodd Gareth Aida yng Ngŵyl
Bregenz.
Yn ogystal â hyn, mae Gareth wedi arwain
llawer iawn o cyngerddau ledled y byd gyda
Bryn Terfel, gan gynnwys y recordiad “We’ll
Keep a Welcome”, operau mawreddog yng
ngwyliau’r Faenol, Henley a Llys Hampton a
recordiad S4C o “Messiah” Handel. Yn ogystal,
mae Gareth wedi arwain mwy na chwe deg
www.sinfoniacymru.co.uk March 2014 Mawrth 2014 11
Born in Merthyr Tydfil, Richard is best known
for his recent portrayal of DCI Tom Mathias in
the acclaimed Welsh detective series Y Gwyll /
Hinterland, which aired on both S4C and BBC
Wales as part of a commitment to broadening
the reach of Welsh language drama on British
TV. Other television appearances include
Silent Witness, Hustle, Spooks and BBC
costume drama Lark Rise to Candleford. Stage
roles include Tullus Audifidius in National
Theatre Wales’ Coriolan/us.
Richard is a keen athlete and this year will be
taking part in the ‘hardest race on earth’; the
gruelling Marathon de Sables, covering 156
miles of the Sahara desert in six days.
cyngerdd ledled y byd gyda Bryn, gan gynnwys
ei ymddangosiad cyntaf yn Proms y BBC gyda
Renee Fleming a Bryn mewn gweithiau gan
Wagner a Strauss. Mae Gareth hefyd wedi
arwain yng Ngŵyl y Faenol lle mae wedi
gweithio gyda chantorion rhyngwladol fel
Andrea Bocelli, Angela Gheorghiu, Rolando
Villazon, Renee Fleming, Carlos Alvarez a Diana
Damrau.
Mae gwaith cyngherddau yn y Deyrnas
Unedig wedi cynnwys ymddangosiadau gyda
Cherddorfa Hallé, Cerddorfa Siambr yr Alban,
Cerddorfa Opera Cenedlaethol Cymru, Opera
Cenedlaethol Brenhinol yr Alban, Cerddorfa
Genedlaethol Cymru’r BBC, Cerddorfa
Ffilharmonig Frenhinol Lerpwl, y Gerddorfa
Ffilharmonig, Cerddorfa Wlster, Cerddorfa
Siambr Lloegr a Camerata Manceinion.
Mae ymrwymiadau eleni’n cynnwys Showboat
am Cape Town Opera yn Cape Town, Caerdydd,
Manceinion a Birmingham, Sweeney Todd yn
Eisteddfod Llangollen a A Perfect American gan
Philip Glass am Gwyl Brisbane eleni.
By’n enedigol o Ferthyr Tuful, mae Richard yn
fwyaf adnabyddus am ei bortread o DCI Tom
Mathias yn y gyfres dditectif Y Gwyll / Hinterland,
a gafodd ei darlledu ar S4C ac ar y BBC fel rhan
o ymrwymiad i ehangu dramâu Cymreig ar y
teledu ym Mhrydain. Mae ei ymddangosiadau
eraill ar y teledu yn cynnwys Silent Witness,
Hustle, Spooks a drama gyfnod y BBC, Lark
Rise to Candleford. Mae ei rolau ar y llwyfan
yn cynnwys Tullus Audifidius yn Coriolan/us,
National Theatre Wales.
Mae Richard yn athletwr brwd ac eleni fe fydd yn
cymryd rhan yn ras fwyaf heriol y byd, Marathon
de Sables, sy’n ymestyn 156 o filltiroedd ar draws
y Sahara mewn chwe niwrnod.
Richard HarringtonGuest Narrator Storïwr
March 2014 Mawrth 2014 www.sinfoniacymru.co.uk 12
When I went up to university back in the mid-to-
late 1970s Richard Strauss was a popular, much-
performed and recorded composer: but within
academic circles he was considered romantically
Beyond the Pale in a world still dominated by
the twin stylistic peaks of Schoenberg’s serialism
and Stravinsky’s neo-classicism. I remember
vividly, however, the day when our own college
supervisor turned to my colleague and I and
said -“If either of you chaps wants to see what
being a composer is really about just take down
the full score of any Richard Strauss opera and
study the sheer technique involved on any two
pages - and then look at your own efforts by their
side”. A remarkable lesson, never forgotten and
nicely reinforced in discovering the story that
when composing Peter Grimes in 1944 Benjamin
Britten begged his publisher Mr Hawkes for the
luxury of a full score of Der Rosenkavalier in
order to see how ‘that old magician’ did certain
things! Although born in what must have seemed
a world away during the Wagnerian high-noon of
1864, Strauss wasn’t to die until 1949 and was still
composing right to the end, when Stockhausen
was already fiddling with his electronics. Some
have said that he was an anachronism for half his
life - but those scholastic naysayers now seem
out-of-kilter themselves and one gratifying effect
of this year’s 150th celebrations is the proper
assessment of Strauss as one of the truly great
composers - regardless of period, style or century.
He himself was suitably modest in downplaying
his status; ‘I may not be a first class composer:
but I am a first class second class composer!’
By his own lights he was probably right and we
can easily guess at those special names allowed
into his top category. But I prefer to remember
the moving scene at his funeral when, at his
own request, the final Trio from Rosenkavalier
was performed by three great sopranos. As the
overwhelming music began to build in its beautiful
intensity one voice after another gradually failed,
as each singer was overcome with emotion;
this was a silence more telling than any sound
and with tears covering their faces the orchestra
continued to weave its spell behind them: a
spontaneous ‘farewell’ as it dawned on them that
they were saluting one of the last great masters of
the musical art.
Yn fy nyddiau coleg nol yn y 70au roedd Richard
Strauss yn gyfansoddwr poblogaidd iawn a’i
waith yn mwynhau digonedd o berfformiadau
yn fyw ac ar ddisg: ond o fewn cylchoedd
academaidd cul roedd yn ffigwr gwrthun gor-
ramantaidd mewn byd oedd yn dal i addoli
serialaeth Schoenberg ar un llaw, a neo-
glasuriaeth Stravinsky ar y llall. Ond mae gennyf
gof byw o’r dydd pan drodd ein hathro coleg ein
hun atom a dweud - “If either of you chaps wants
to see what being a composer is really about just
take down the full score of any Richard Strauss
opera and study the sheer technique involved on
any two pages - and then look at your own efforts
by their side”. Gwers werthfawr nas anghofiwyd
ac a ategwyd yn hyfryd o ganfod y stori am
Benjamin Britten yn gofyn i’w gyhoeddwr Ralph
Hawkes am sgor lawn o Der Rosenkavalier pan
yn cyfansoddi Peter Grimes yn 1944 - er mwyn
iddo allu darganfod sut y cyflawnodd ‘yr hen
ddewin’ ei wyrthiau. Er y ganed Strauss yn 1864
mewn byd oedd bellach wedi diflannu - uchel-awr
euraid-oes Wagner - roedd yn dal i gyfansoddi
hyd y diwedd yn 1949, pan oedd Stockhausen
Richard Strauss at 150
www.sinfoniacymru.co.uk March 2014 Mawrth 2014 13
Richard Strauss at 150
yn dechrau chwarae gyda’i electronics. Yn wir,
maentumiodd nifer o wybodusion bod Strauss yn
ffigwr anacronistaidd am hanner ei fywyd - ond
erbyn hyn mae’r negyddwyr ysgolheigaidd hynny
wedi colli’r bws eu hunain!
Un peth sy’n barod amlwg wrth i’r byd ddathlu
penblwydd Strauss yn 150 yw ei fod yn ennill
ei haeddiant fel un o’r mawrion - heb feddwl
am gyfnod neu ganrif i’w gaethiwo. Yr oedd yn
ddigon gwylaidd am ei statws ei hun; “efallai
nad wyf yn gyfansoddwr y dosbarth cyntaf: ond
rwyf yn nosbarth cyntaf yr ail ddosbarth yn sicir!”
Roedd yn gywir yn ol ei safonau ei hun a gellid
yn hawdd restri’r enwau cyfrin a berthynai i’w
ddosbarth cyntaf. Ond llawer gwell gennyf gofio
am yr olygfa honno yn angladd Strauss pan
ganodd tair soprano enwog, yn ol ei ddymuniad,
y Triawd sy’n cloi Der Rosenkavalier. Wrth i’r
gerddoriaeth ogoneddus dyfu mewn pwer a
phrydferthwch methodd un llais ar ol y llall; dyma
dawelwch mwy huawdl na’r canu - wrth iddynt
wynebu’r gynulleidfa gyda’i gruddiau’n wlyb
dan ddagrau a’r gerddorfa yn parhau y tu cefn
iddynt: roeddent wedi sylweddoli’n sydyn eu
bont yn ‘ffarwelio’ ac un o gewri olaf y gelfyddyd
gerddorol.
March 2014 Mawrth 2014 www.sinfoniacymru.co.uk 14
No one can know himself
separate from his inner being.
Yet he tries to do it every day,
That which is clearly from the outside,
What he is and what he was,
What he can do and what he wants to do.
But what happens in the world,
No one actually understands,
And up to the present day,
No one wishes to understand,
Conduct yourself with reason,
As the day is at hand,
Always think: ”It’s gone all right until now,
So it may well continue that way until the end.”
Johann Wolfgang von Goethe
On October 28, 1942 Richard Strauss was present
at the Munich State Opera for the world premiere
of his last opera Capriccio, the last score to which
he allocated an opus number. He considered that
his life’s work was now effectively complete, saying
of the opera’s sublime final scene: “One can only
leave one testament!” On October 2, 1943 this
beloved opera house in Munich - where his father
had been the legendary principal horn and in
which he’d more or less grown up - was destroyed
in an air-raid. Over the course of the next
18-months all the major opera houses of Germany
in which Strauss had conducted his career - Berlin,
Weimar, Dresden, Stuttgart - were also reduced
to rubble, though almost the worst blow for him
was the destruction of Goethe’s old house in
Frankfurt: “I am in despair; the Goethehaus, the
world’s greatest sanctuary, destroyed.” The last
straw, however, came on March 12, 1945 when the
glorious Vienna Opera House finally lay in ruins.
Strauss had intermittently been sketching some
music for string sextet inspired by his reading of
Goethe’s essays on the scientific process of
‘metamorphosis’ and also considered setting
the poem quoted above. But writing ‘Begun
March 13, 1945’ at the bottom of the first page he
now elaborated these ideas into an unbroken
500-bar flow of nearly half-an-hour’s music
for 23 solo strings, which he completed at his
home in Garmisch on April 12. Hitler committed
suicide on April 30 prompting Strauss to write
the next day: “From 1 May onwards the most
terrible period of human history came to an end,
the twelve year reign of bestiality, ignorance
and anti-culture under the greatest criminals,
during which Germany’s 2,000 years of cultural
evolution met its doom....”
It seems almost too glib to say simply that
Metamorphosen is Strauss’s elegy to this culture.
The work is certainly that, but also so much
more. Rather like Bach working in isolation at the
end of his life on The Art of Fugue Strauss here
provides a profound meditation on the twin arts
of harmony and counterpoint in a continuously
unfolding elaboration of a few fragments of
melodic magic. The structure seems to create
itself with the kind of organic intuition which
Strauss had identified back in the early 1880s
Richard Strauss (1864-1949)
Metamorphosen - study for 23 solo strings / astudiaeth am 23 o linynnau unawdol
(First performed on January 25, 1946 in Zurich conducted by Paul Sacher)
(Perfformiad cyntaf ar Ionawr 25, 1946 yn Zurich dan arweiniad Paul Sacher)
www.sinfoniacymru.co.uk March 2014 Mawrth 2014 15
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.
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)
March 2014 Mawrth 2014 www.sinfoniacymru.co.uk 16
Strauss worked with poet and dramatist Hugo
von Hofmannsthal (1874-1929) on the operas
Elektra and Der Rosenkavalier between 1905
and 1911 and was looking forward to their next
collaboration which was to be the extraordinary
Die Frau ohne Schatten. But Hofmannsthal in the
interim proposed what he thought would be a
delightful divertissement as a special present for
the theatre director Max Reinhardt (1873-1943)
who’d played a vital part in Strauss’s operatic
life as well as a major role in Hofmannsthal’s
dramatic career, and who had just rescued
the production of Rosenkavalier in Dresden
at the last minute. This treat was to involve
a presentation of Moliere’s Le Bourgeois
Gentilhomme with incidental music - and in
place of the play’s Turkish finale Hofmannsthal
proposed a short(ish) operatic version of the
mythological tale of Ariadne and Bacchus on
Naxos. Strauss was initially bemused rather
than enthusiastic and wondered how on earth
the two ‘entertainments’ could be linked.
Hofmannsthal then proposed an extra spoken
section and the whole farrago was produced by
Reinhardt with Strauss conducting, in Stuttgart
on October 25, 1912. It was a disaster!
Hofmannsthal immediately began several
salvage operations, all of which involved Strauss
in additional composing. The evening’s two
‘halves’ were now decoupled and we finally
get the definitive opera Ariadne auf Naxos with
new Prologue (premiered triumphantly in Vienna
in 1916) as well as an extended attempt at Le
Bourgeois Gentilhomme with extra music as
produced in Berlin in 1918. But this was another
flop!! Strauss by now had lost interest in the
whole attempt to dramatise Moliere and by-
passing Hofmannsthal’s attempts at yet another
revision he made his own nine-movement
Concert Suite from the incidental music and
happily left it at that. His instincts were entirely
right, in that sheer brilliance of invention enables
these pre-Stravinsky neo-classical gems for
37-piece orchestra (the size to which he was
restricted by theatre space for the original
Ariadne) to stand alone vividly just as music,
without any need of dramatic elaboration. For
once, the ‘incidental’ music rendered the drama
itself incidental! But tonight’s performance will
look back to Hofmannsthal’s original intention
by interpolating a narration which will flesh out
the enchanting musical recreation of the gilded
baroque glories of Louis XVI’s Versailles with
Lully as its presiding genius.
Rhwng 1906 a 1911 cydweithiodd Strauss
gyda’r bardd a’r dramodydd Hugo von
Hofmannsthal (1874-1929) ar yr operau Elektra
a Der Rosenkavalier gan edrych ymlaen at eu
cywaith nesaf sef yr eithriadol Die Frau ohne
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.
www.sinfoniacymru.co.uk March 2014 Mawrth 2014 17
Schatten. Yn sydyn reit dyma Hofmannsthal yn
awgrymu creu difyrraeth ‘fechan’ fel anrheg i’r
cyfarwyddwr Max Reinhardt (1873-1943) a fu mor
allweddol yn eu gyrfaoedd ill dau ac a ddaeth
i’r adwy i achub Rosenkavalier yn Nresden
ar y funud olaf. Roedd yr ‘anrheg’ i gynnwys
cyflwyniad o ddrama Moliere Le Bourgeois
Gentilhomme gyda cherddoriaeth gefndirol
- ond yn lle diweddglo Twrcaidd y ddrama
wreiddiol syniad Hofmannsthal oedd cyflwyniad
operatig o stori Ariadne a Bacchus ar ynys
Naxos. Nid oedd Strauss yn gweld i gychwyn sut
yn y byd y gellid cysylltu’r gwahanol syniadau
hyn yn effeithiol felly dyma Hofmannsthal yn
awgrymu ychwanegu dramodig rhwng y ddau
i esbonio. Cyflwynwyd y cyfan o flaen Brenin
Wurttemberg yn Stuttgart ar Hydref 25, 1912 ond
er bod Strauss bellach yn cefnogi’r cyfan yn
frwdfdrydig methiant llwyr oedd y noson!
Aeth Hofmannsthal ati’n syth i geisio adfer y
sefyllfa - a’i gynlluniau i gyd yn golygu mwy
o gyfansoddi i Strauss er mwyn anelu at
lwyddiant. Datgysylltwyd dau gymal y noson
i greu yr opera berffaith Ariadne auf Naxos
yn cynnwys Prolog newydd sbon (llwyddiant
ysgubol yn Fienna yn 1916) yn ogystal ac
ymestyniad o Le Bourgeois Gentilhomme
gyda mwy o gerddoriaeth fel a gynhyrchwyd
ym merlin yn 1918. Ond fflop oedd hwn
eto!! Erbyn hyn collodd Strauss unrhyw
ddiddordeb yn y syniad o ddramateiddio
Moliere a gan anwybyddu mwy o ail-wampio
gan Hofmannsthal fe aeth ati i greu Cyfres
Gyngerdd naw-symudiad o’r gerddoriaeth
gefndirol neu ‘achlysurol’ gan ganu’n iach i’r
cyfan wrth wneud. Ac yr oedd ei reddf yn hollol
gywir gan mai cynnwys cerddorol disglair y
gerddoriaeth sy’n trechu ac yn galluogi i’r
darnau sefyll ar eu traed eu hunain heb angen
y cyd-destun dramatig. Dyma neo-glasuriaeth
ddeheuig cyn i Stravinsky droi at y syniad ac
wedi’i saernio’n gelfydd i gerddorfa fechan o
37, sef yn cyfyngiad lle oedd yn orfodedig ar
Strauss reit o’r cychwyn. Am unwaith dyma’r
gerddoriaeth gefndirol yn troi’r ei hun cefndir yn
ddi-anghenrhaid! Ond ym mherfformiad heno
bydd adroddiad o grynswth y cefndir yn ein
tywys yn ol at syniad gwreiddiol Hofmannsthal
ac yn bwydo’r dychymyg wrth wrando hefyd
ar athrylith Strauss yn peintio darluniau sain
hudolus o ogoniannau euraidd Versailles yng
nghyfnod Louis XIV pan oedd Moliere a Lully yn
cyniwair eu gwyrthiau.
Notes by Geraint Lewis 2014
March 2014 Mawrth 2014 www.sinfoniacymru.co.uk 18
Violin
Benjamin Baker
Caroline Pether
Christina Knox
Catherine Landen
Kana Ohashi
Charlie MacClure
Hugh Blogg
Simran Singh
Luke Coomber
Lydia Marshall
Viola
Kay Stephen
Lucy Nolan
Charlotte Bonneton
Elitsa Bogdanova
Rhiannon James
Cello
Christopher Graves
Peggy Nolan
Jonathan Pether
Alistair Howes
Anna Menzies
Double Bass
Stewart Wilson
Mark O’Leary
Enric Boixados Gómez
Metamorphosen
www.sinfoniacymru.co.uk March 2014 Mawrth 2014 19
Violin
Benjamin Baker
Caroline Pether
Catherine Landen
Christina Knox
Charlie MacClure
Simran Singh
Viola
Kay Stephen
Lucy Nolan
Charlotte Bonneton
Elitsa Bogdanova
Cello
Christopher Graves
Peggy Nolan
Jonathan Pether
Anna Menzies
Double Bass
Stewart Wilson
Mark O’Leary
Flute
Katie Williams
Jack Welch
Oboe
Mary Noden
Alice McArthur
Clarinet
Benjamin Mellifont
Rhodri Taylor
Bassoon
James Thomas
Gareth Humphreys
Horn
Hugh Sisley
Phillippa Slack
Trumpet
Jason Lewis
Bass Trombone
Barry Clements
Piano
Robin Green
Harp
Hannah Stone
Timpani
Rhys Matthews
Percussion
Matthew Hardy
Richard Cartlidge
Phil Hughes
Rhydian Griffiths
Alun McNeil-Watson
Le Bourgeois Gentilhomme
March 2014 Mawrth 2014 www.sinfoniacymru.co.uk 20
Sinfonia Cymru: Curate
Curate was established in 2013 with the
aim of bringing together the young creative
minds of the orchestra and providing them
with an opportunity to express their artistic
knowledge and ideas. Last year, Curate
played a huge part in programming the
orchestra’s annual recitals and Summer
series, but they also developed the flagship
UnButtoned events at Chapter Arts Centre to
huge success.
Curate embodies Sinfonia Cymru’s
commitment to young musicians and
recognises the changing demands of the
industry for musicians to have the ability to
maintain the highest possible performance
standards alongside a whole host of other
skills on and off the concert platform. Curate
also highlights the diversity of thought and
imagination among Sinfonia Cymru musicians
and their constant enthusiasm and exuberant
approach.
“Curate has given me the chance to create
and express ideas without limitations” –
Charlie MacClure, Curate member.
Cafodd Curadur ei sefydlu yn 2013 gyda’r
nod o ddod â meddyliau creadigol ifanc
y gerddorfa ynghyd a rhoi’r cyfle iddynt
fynegi eu gwybodaeth a’u syniadau artistig.
Y llynedd, roedd gan Curadur ran bwysig
iawn wrth greu rhaglen ar gyfer datganiadau
blynyddol y gerddorfa a thymor yr haf, ond
gwnaethant hefyd ddatblygu digwyddiadau
blaenllaw UnButtoned yng Nghanolfan
Gelfyddydau’r Chapter a sicrhau ei fod yn
llwyddiant ysgubol.
Mae Curadur yn tanlinellu ymrwymiad Sinfonia
Cymru i gerddorion ifanc ac yn cydnabod
gofynion y diwydiant sy’n newid yn barhaus er
mwyn i gerddorion lwyddo i gynnal y safonau
uchaf posibl yn eu perfformiad ynghyd â
thoreth o sgiliau eraill sy’n ymestyn tu hwnt
i lwyfan y gyngerdd. Mae Curadur hefyd yn
tanlinellu amrywiaeth y gwaith meddwl a’r
dychymyg ymhlith cerddorion Sinfonia Cymru
a’u brwdfrydedd parhaus a’u hymagwedd
hwyliog.
“Mae Curadur wedi rhoi’r cyfle i mi greu a
mynegi syniadau heb gyfyngiadau”
Charlie MacClure, aelod Curadur.
www.sinfoniacymru.co.uk March 2014 Mawrth 2014 21
Please help us to support young musicians at the
start of their careers.
Sinfonia Cymru can only thrive as an ambitious
orchestra committed to supporting young musical
talent in Wales with the dedicated support of our
audiences, funders, donors, Friends, Patrons and
partner organisations. We would like to thank all of
you for your empowering support, as we continue on
our musical journey throughout Wales and beyond.
There are a number of different ways you can get
involved with Sinfonia Cymru:
You can join the Supporting Friends of Sinfonia
Cymru for just £30 per individual or £50 per
household per year or the Patrons of Sinfonia Cymru
for £100, £240 or £600+ per year.
You can pay monthly or annually by cheque or
standing order. As a Friend or Patron you will receive
regular newsletters and a discount of £1 off full and
concession ticket prices for the orchestra’s main
orchestral concerts each year.
You can support a Professional Pathway Award for
the 2014/2015 academic year either individually or as
member of a syndicate.
Or simply join our mailing list and receive information
only about all our forthcoming concerts and events
by post or email.
You can find out more about the orchestra and how
to get involved at our website www.sinfoniacymru.
co.uk or contact us directly by phone (02920 754
556) or email ([email protected]).
Helpwch ni i cefnogi gerddorion ifanc ar ddechrau eu
gyrfaoedd.
Gall Sinfonia Cymru ond ffynnu fel cerddorfa
uchelgeisiol sydd wedi ymrwymo i gefnogi talent
gerddorol ifanc yng Nghymru gyda chefnogaeth
ymroddedig ein cynulleidfaoedd, cyllidwyr, rhoddwyr,
Cyfeillion, Noddwyr a sefydliadau partner. Hoffem
ddiolch i chi i gyd am eich cefnogaeth frwd wrth inni
barhau â’n taith gerddorol drwy Gymru a thu hwnt.
Mae sawl ffordd y gallwch gymryd rhan gyda Sinfonia
Cymru:
Gallwch ymuno â Chyfeillion Cefnogol Sinfonia Cymru
am ddim ond £30 yr unigolyn neu £50 yr aelwyd y
flwyddyn neu Noddwyr Sinfonia Cymru am £100, £240
neu £600+ y flwyddyn.
Gallwch dalu’n fisol neu’n flynyddol drwy siec neu
archeb sefydlog. Fel Cyfaill neu Noddwr byddwch yn
derbyn cylchlythyrau rheolaidd a disgownt o £1 oddi
ar brisiau llawn tocynnau a chonsesiynau ar gyfer prif
gyngherddau’r gerddorfa bob blwyddyn.
Gallwch gefnogi Dyfarniad Llwybr Proffesiynol ar gyfer
blwyddyn academaidd 2014/15 naill ai’n unigol neu fel
aelod o syndicet.
Neu ymunwch â’n rhestr bostio a dim ond derbyn
gwybodaeth am ein holl gyngherddau a digwyddiadau
sydd ar y gweill drwy’r post neu dros yr e-bost.
Gallwch gael rhagor o wybodaeth am y gerddorfa a sut
i gymryd rhan ar ein gwefan www. sinfoniacymru.co.uk
neu cysylltwch â ni yn uniongyrchol dros y ffôn (02920
754 556) neu e-bost ([email protected]).
How can you help? Sut gallwch chi helpu?
March 2014 Mawrth 2014 www.sinfoniacymru.co.uk 22
David AshGeoff D AtkinsValerie ChanceMona ClarkMr & Mrs ChegwinRev & Mrs P E N DavidDr & Mrs Anthony J EdwardsRhona EliasWendy EllisMr & Mrs J EvansJohn Foster
Bette L GriffithsGethin & Jane Griffiths Anna K JacksonSheila JeffriesDr D S & S A JeremiahMrs Janet JonesJenny KendallMeinir Lloyd LewisDr & Mrs Colin E MorganDr Brian NelsonEleri Owen
Meg ParkMary PughAlban & Rhinedd ReesJ M TannerCorris & Joan ThomasGenevieve ThomasLynn & Moira Thomas Clive WalesLady Sarah WaterhouseAnna Williams
Supporting Friends Cyfeillion Cefnogol
Mr & Mrs G CheesmanMr & Mrs John CosslettGeraint & Elizabeth Talfan DaviesMarian EvansWilliam & Christine Eynon G Wyn HowellsEmyr Wynne JonesHywel & Marian Jones
Dr & Mrs G Stanley JonesDafydd & Christine LewisSusan Holmes & Penny MalecJohn MinkesSally MorganSteven Tyrer & Mike PierceKempton & Helene Rees Dr & Mrs John C Rees
Ms. Menna RichardsLucy Stout & Carlo RizziMichael & Mary SalterMr SeligmanRoger & Rhian ThomasMrs. Gaye Williams
Patrons Noddwyr
Emyr WilliamsGeorge & Joyce Davis
J Russell Evans Leslie Jones
Friends Cyfeillion
Supporters Cefnogwyr a Cyllid
Sinfonia Cymru is a registered Charity (1058196)
Sinfonia Cymru is a Company Limited by Guarantee (03240356)
SINFONIA CYMRU IS A REVENUE FUNDED CLIENT OF THE ARTS COUNCIL OF WALES
Media Centre, S4C, Parc Tŷ Glas, Llanishen, Cardiff, CF14 5DU
02920 754556 @sinfoniacymru /sinfoniacymru
Mae Sinfonia Cymru’n elusen gofrestredig (1058196)
Mae Sinfonia Cymru’n gwmni Cyfyngedig gan warant (03240356)
MAE SINFONIA CYMRU YN GLEIENT REFENIW CYNGOR CELFYDDYDAU CYMRU
Partners Partneriaid
DANCE TOURING PARTNERSHIP PRESENTS AWARD-WINNING IRISH COMPANY
Fabulous Beast Dance TheatreThe Rite of Spring+ PetrushkaA thrilling dance theatre double billdirected by Michael Keegan-Dolan
“There’s no doubting the spell ofKeegan-Dolan’s imagination”THE GUARDIAN ****
www.fabulousbeast.co.uk
Tuesday 8 & Wednesday 9 AprilTicket office 029 2064 6900 www.shermancymru.co.ukAge guidance 16+ (contains nudity, sexual imagery and smoking)
FB ad Sinfonia 105x148mm:Layout 1 6/3/14 12:56 Page 1
May:
3
31
June:
5
6
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July:
7
14 - 18
19 - 24
October:
1
4
5
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7 - 14
November:
5
21
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23
Llanelli Music Society | Llanelli
Big Splash | Newport
Sinfonia Cymru & Catrin Finch | Harlech
Sinfonia Cymru & Catrin Finch | Llanelli
Sinfonia Cymru & Catrin Finch | Cardiff
Sinfonia Cymru & Catrin Finch | Newport
Bryn Terfel in Sweeney Todd | Llangollen
Small Nations Big Sounds | Italy
Small Nations Big Sounds | Estonia
First Wednesday | Newport
Small Nations Big Sounds | Cardiff
Small Nations Big Sounds | Cardiff
Small Nations Big Sounds | Cardiff
Small Nations Big Sounds | Sweden
First Wednesday | Newport
Sinfonia Cymru & Llŷr Williams | Pontyberem
Sinfonia Cymru & Llŷr Williams | Aberystwyth
Sinfonia Cymru & Llŷr Williams | Newport
See our 2014 brochure for details of upcoming events
March 2014 Mawrth 2014 www.sinfoniacymru.co.uk 24
Sinfonia Cymru& Catrin Finch
Harp: Catrin Finch
Conductor: Ben Gernon
Ravel: Introduction and Allegro, Op. 46
Debussy: Danse Sacrée et Profane
Mathias: Melos, Op. 73
Ibert: Divertissement
Copland: Appalachian Spring
Thurs 5th June, 7:30pm Iau 5ed Mehefin, 7.30yh
Theatr Ardudwy,Harlech
Fri 6th June, 7.30pm Gwen 6ed Mehefin, 7.30yh
Y Ffwrness, Llanelli
Sat 7th June, 7.30pm Sad 7ed Mehefin, 7.30yh
Dora Stoutzker Hall, RWCMD, CardiffNeuadd Dora Stoutzker,CBCDC, Caerdydd
Sun 8th June, 3.00pm Sul 8ed Mehefin, 3.00yh
The Riverfront, NewportGlan yr Afon, Casnewydd
Tickets/Tocynnau: £4 - £12 Under 27s/Dan 27: £4
sinfoniacymru.co.uk /sinfoniacymru @sinfoniacymru