PHILOMUSICA OF ABERYSTWYTH established • sefydlwyd yn 1972 Rhif Elusen/Registered Charity No.: 512398

Celebrating 40 years • Dathlu 40 Mlynedd

MATHIAS Dance Overture

RODRIGO Concierto d’Aranjuez

gyda • with CATRIN FINCH

BERLIOZ Symphonie Fantastique

Arweinydd • Conductor DAVID RUSSELL HULME

8pm Nos Sadwrn • Saturday

Mawrth 17 March 2012 Neuadd Fawr • Great Hall

Gwneud

Cerddoriaeth Cymru Ffederasiwn Cenedlaethol Cymdeithasau Cerdd

This concert is given with the support of Ty Cerdd – Music Wales, the National Federation of Music Societies and Aberystwyth University. Cynhelir y cyngerdd hwn gyda chymorth Ty Cerdd – Music Centre Wales, y Ffederasiwn Cenedlaethol Cymdeithasau Cymru a Phrifysgol, Aberystwyth.

VIVIAN NOON MNIMH CLWB 100 PHILOMUSICA

100 CLUB

Mae cost cynnal cerddorfa a chyflwyno rhaglen lawn o gyngherddau wedi codi’n aruthrol yn y blynyddoedd diweddar. Ymrwymodd Philomusica Aberystwyth i nodd Cynllun Ysgoloriaeth Gerdd ragorol y Brifysgol – dyfarniadau sydd yn dod â cherddorion talentog i’r ardal. Fel rhan o gynllun codi-arian sefydlwy ‘CLWB 100’ gan Philomusica. Dymuna’r gerddorfa ddiolch i’r rhai a gyfrannodd.

The cost of running an orchestra and presenting a full programme of concerts has risen enormously in recent years. Philomusica of Aberystwyth is also committed to supporting the University’s excellent Music Bursary Scheme – awards that bring talented orchestral Western Medical Herbalist instrumentalists to Aberystwyth. As part of its fund-raising effort, Philomusica has established a ‘100 Club’. Philomusica would like to thank all 01970 820713 those who have contributed. www.nimh.org.uk Diddordeb mewn ymaelodi? Am £10 y flwydden cewch gyfle i ennill deg o weithiau. Interested in joining? For £10 a year you are entered into ten draws. Gworwyon / Prizes: £30 & £20

Cysylltwch â / Contact: Dr. Elinor Hughes, 24 North Parade, Aberystwyth (612983),

Philomusica has vacancies for players in some sections of the orchestra. If you are interested in joining, please contact:

Gall Philomusica gynnig lle i chwaraewyr mewn rhai adrannau o’r gerddorfa. Os oes gennych chi ddiddoreb ymuno, cysylltwch â:

Melanie Evans 01970 622685 [email protected]

When All Else Fails: A peek at the podium from the band’s nether regions

At a time when the University College of Wales, Aberystwyth had a Music Department a professional septet (string quartet, pianist, horn player and voice tutor) it also had some extremely able musician students. I had left the college some three years previously and was approached by two such students Brian Clarke and David Russell Hulme with regards to forming a town and gown orchestra to be directed by Robert Jacoby, first violin in the college quartet. There was a whiff of danger about the whole project as I for one wasn’t entirely sure whether it had the full-scale approval of the establishment. But on seeing such a distinguished member of the college as Professor Sir Granville Beynon sitting opposite me in the back desk of the firsts - with God on our side, who could be against us?

Certainly in our first couple of outings there was a sense of flying by the seat of our collective pants, but we survived and became the better for it. At a time when university life dare I say, presented a more rounded experience, students, lecturers and town stalwarts made up the mix. A constant feature was the experience of playing great works from the Romantic repertoire and being joined by soloists of international acclaim. Bob Jacoby’s friendship with John Lill for example, resulting in piano concertos with him as soloist. An outstanding example of Jacoby’s virtuosity that I recall was when he played the opening of the Sibelius violin concerto in strict tempo with us so we might work out where we were.

When Bob Jacoby left, there was an interregnum with two conductors Richard Simm the college pianist, and Her Majesty’s Inspector for music in schools, Haydn Wyn Davies. By this time I had been joined in the horn section by an old school friend Wynford Jones. We nearly swallowed our mouthpieces on turning up to a rehearsal to be greeted by ‘Oh No – late again!’ for Haydn Wyn Davies had been our music master for seven years at Pontypridd Boys’ Grammar School and it was he who was responsible for our playing the horn rather than the violin (but that’s another story).

Haydn brought a sense of adventure into the repertoire and we also put on a special children’s concert in the Summer term. One such memorable concert was when Rolf Harris painted the Enchanted Lake to the accompaniment of Liadov’s overture of the same name.

Following Haydn’s untimely death, it was appropriate that his pupil and long-standing member of the orchestra Wynford Jones took the reins. We had some memorable performances, including Shostakovich 5 (which I found to be a profound experience not knowing the work previously) and culminating in a performance of Beethoven 9 at the end of which Wynford was barely able to stand on his feet. There was nowhere left to go after that. This was the stage that the one time secretary of the orchestra Dr David Russell Hulme, returned to his Alma Mater as director of College Music. Since David’s return, the introduction of music bursaries amongst other things has meant that there are fewer hoary heads in the orchestra than ever before and there is no longer any ‘comfort zone’. The Ravel piano concerto, the Rachmaninov Symphonic Variations, Piazzola Tangos and Film music have pushed the orchestra beyond any previous experience.

I must say, I’m so pleased to be still here and still getting a thrill out of the music, albeit clinging by my fingernails.

Thank you Philo. D. Geraint Lewis (and I state this with great pride, one time principal horn)

Seinier cyrn!

Pan oeddwn yn fyfyriwr yng Ngholeg Prifysgol Cymru Aberystwyth yr oedd gan y coleg seithawd o gerddorion proffesiynol (pedwarawd llinynnol, pianydd, chwaraewr corn a thiwtor llais) ac yn eu plith ddau sydd wedi cyfrannu’n helaeth at fywyd cerddorol Aberystwyth dros y blynyddoedd, Geraint John a Peter Kingswood. Yn ogystal â’r grŵp roc y Blew yr oedd myfyrwyr cerddorol disglair yn y coleg ac ychydig o flynyddoedd ar ôl imi adael y coleg dyma ddau ohonynt Brian Clarke a David Russell Hulme yn gofyn a oedd diddordeb gennyf ymuno â cherddorfa newydd. Fel crwt ysgol yn Sir Forgannwg yr oedd fy ngwyliau wedi’u llenwi gyda chwarae mewn gwahanol gerddorfeydd ac yr oeddwn wrth fy modd yn derbyn cyfle i chwarae eto.

Grŵp digon amrwd oeddem dan arweiniad Bob Jacoby, blaenwr pedwarawd llinynnol y coleg. Yr oedd elfen gref o antur ynglŷn â’r cyfan ond yr oedd llaw sicr a dawn gerddorol Bob Jacoby yn ein tywys drwy’r darnau anodd yma. Cerddorfa yn cynnwys aelodau o’r coleg a thrigolion y dref oedd Philomusica a llanwyd unrhyw fylchau angenrheidiol ar ddiwrnod y cyngerdd gan chwaraewyr proffesiynol o’r tu allan. Ar un achlysur bythgofiadwy mewn cyngerdd yn Llanbedr pan nad oedd modd cael chwaraewr allanol cefais gyfle i chwarae’r unawd yn ail symudiad Symffoni rhif 5 Tchaikovsky (ac y mae’r erchylltra nerfol cyn y perfformiad, a’r rhyddhad nefolaidd pan aeth pethau’n iawn wedi’u serio yn fy nghyfansoddiad). Rhai enwau lleol sy’n dod i’r cof yw Malu Lin yn chwarae darnau Scherezade, Brian Sansbury clarinét a’r crwt ifanc di-nerfau hwnnw Jason Lewis yn chwarae agoriad Lieutenant Kijé ar ei ben ei hun o falconi’r Neuadd Fawr.

Soniais am fy magwraeth freintiedig, gerddorol yn Sir Forgannwg, a dylanwad mawr yr adeg yma oedd athro cerdd Ysgol Ramadeg y Bechgyn Pontypridd, Haydn Wyn Davies. Un arall a ddaeth dan ei ddylanwad oedd fy nghyfaill ysgol Wynford Jones oedd wedi ymuno â Philomsica erbyn hyn, y ddau ohonom yn chwarae’r corn. Dychmygwch y sioc pan gyrhaeddon ni ychydig yn hwyr un bore Sadwrn i’r cyfarchiad ‘Oh no! Late again boys!’ a dyna lle oedd ein hen athro cerdd ( a oedd yn enwog am ei feistrolaeth o gadw trefn gyda hen fwa cello wedi colli’i flew) yn sefyll ar y podiwm o’n blaen.

Fe wnaeth Haydn ehangu gorwelion y gerddorfa a denu disgyblion ysgol hefyd. Cafodd Manon fy merch, sy’n gerddor proffesiynol erbyn hyn, ei chyfle cyntaf yn chwarae un o offerynnau taro yn The Little Train of the Caipira gan Villa-Lobos. Arbrofodd gyda chyngherddau plant yn taflunio lluniau’r planedau, neu ddarluniau mewn arddangosfa (Mussorgsky), rhywbeth a ddefnyddiwyd eto yn ddiweddar wrth inni berfformio Sinfonia Antarctica Vaughan Williams. Yn dilyn marwolaeth annhymig Haydn, Wynford ei ddisgybl a gymerodd at yr awenau. Un o nodweddion Wynford oedd ei ddychymyg dilyffethair a dau ddarn unigryw o’i waith ei hun a chwaraewyd dan ei arweinyddiaeth, oedd ei amrywiadau ar ddarn enwog Handel dan y teitl The Bombing of the Queen of Sheba a darn a gyfansoddodd i ddathlu achlysur pen-blwydd Coleg Dewi Sant Llanbedr.

Gyda dychweliad David Russel Hulme at ei hen goleg, ffurfiolwyd y berthynas rhwng y brifysgol a’r gerddorfa. Ef oedd yn gyfrifol am sefydlu ysgoloriaethau cerdd i fyfyrwyr, sydd wedi arwain at lenwi safleoedd o bwys gyda chwaraewyr disglair, a gostyngiad sylweddol yng nghyfartaledd oedran aelodau’r gerddorfa. Yn ystod ei gyfnod mae David wedi agor pyrth newydd i waith cyfansoddwyr Prydeinig ddechrau’r ugeinfed ganrif, wedi talu teyrnged i’w hen athro cerdd yr Athro Parrott ac wedi gwthio’r gerddorfa allan o hafnau cysurus y cyfansoddwyr rhamantaidd i genres newydd a heriol.

‘Rwyf i yma o hyd’. Mae adran y cyrn yn Philomsica bob amser wedi bod yn uned gyfeillgar, glòs, ac mae’n dda gennyf adrodd bod fy nghyfeillion ifainc yn gofalu amdanaf, ac hyd yn hyn, rwy’n dod i ben, ac yn dal i fwynhau.

D. Geraint Lewis

Dance Overture William MATHIAS (1934-1992)

As a student in Aberystwyth, Mathias had been encouraged by Professor Ian Parrott to develop his interest in composition which led to a scholarship to the Royal Academy of Music to study composition with Lennox Berkeley and piano with Peter Katin. This was followed by a distinguished career in British – and particularly Welsh – musical life, which received official recognition in the award of a CBE in 1985 while Professor of Music at Bangor where, apart from two years in Edinburgh, he had spent his whole career.

In addition to being a brilliant pianist he was an accomplished conductor, academic and the founder and director of the North Wales Music Festival (St. Asaph) from 1972 until his death in 1992.

His compositions were numerous and wide ranging from opera to organ, from symphony to concerto and from song to sonata. For the wedding of Charles and Diana (July 1981) Mathias was invited to compose the wedding anthem and chose ‘Let the people praise thee, O God (Psalm 67). Seen by approximately 750 million people world wide this is probably the largest audience ever for a first performance of a new work!

The Dance Overture was commissioned by the 1962 National Eisteddfod, where it was first performed by the London Philharmonic Orchestra. Direct and lighthearted, it makes extensive use of popular (particularly Latin- American) dance rhythms. There are three main ideas, two of them basically canonic and imitative by nature. The kaleidoscopic intertwining of musical ideas playfully mirrors the interaction between dancers, exuberant and energetic. • • • • • Tra roedd yn fyfyriwr yn Aberystwyth, anogwyd Mathias gan Yr Athro Ian Parrott i ddatblygu ei ddiddordeb mewn cyfansoddi. Arweiniodd hyn at ysgoloriaeth i’r Academi Frenhinol i astudio cyfansoddi wrth draed Lennox Berkeley a’r piano gyda Peter Katin. Yn dilyn gyrfa nodedig yn mywyd cerddorol Prydain, ac yn enwedig yng Nghymru, a derbyniwyd a chydnabuwyd hyn gyda CBE ym 1985 pan oedd yn Athro Cerdd ym Mangor ble y bu, heblaw am ei ddwy flynedd yng Nghaeredin, gydol ei yrfa.

Yn ogystal â bod yn bianydd penigamp roedd yn arweinydd dawnus, ysgolhaig a sylfaenydd a chyfarwyddwr Gŵyl Gerdd Gogledd Cymru (Llaneurgain) o 1972 tan ei farwolaeth ugain mlynedd yn ddiweddarach.

Niferus ac amrywiol oedd ei gyfansoddiadau yn cwmpasu opera ac organ, symffoni a sonata, cân a concerto. Gwahoddwyd Mathias i gyfansoddi’r anthem i briodas Charles a Diana (Gorffennaf 1981). Dewisodd Salm 67, ‘Let the people praise thee, O God’ a, gyda rhyw 750 miliwn o bobl yn gwylio, o bosib dyma’r gynulleidfa fwyaf erioed i berfformiad cyntaf cyfansoddiad newydd!

Comisynwyd Yr Agorawd Dawns gan yr Eisteddfod Genedlaethol yn 1962, cafodd ei berfformiad cyntaf gan Cerddorfa Philharmonica Llundain. Yn ysgafn ac uniongyrchol, mae’n gwneud defnydd helaeth o rhythmau dawns poblogaidd, yn enwedig o gerddoriaeth Lladin Americanaidd. Ceir tri phrif syniad, dau ohonynt yn eu hanfod yn ganonaidd a dynwaredol o ran natur. Mae plethiad caleidoscopaidd y syniadau cerddorol yn adlewyrchu mewn modd chwareus y cydadwaith rhwng dawnswyr, afieithus ac egniol.

Notes / Nodiadau: David Matthews

Cyngerdd Nesaf PHILOMUSICA Next Concert Nos Sadwrn • Saturday

Rhagfyr 8 December

Concierto d’Aranjuez Joaquin RODRIGO (1901-99) I Allegro con spirito II Adagio III Allegro gentile

Born in Sagunto, almost totally blind through illness from the age of three, Rodrigo studied first in nearby Valencia and later in Paris under Dukas. He married a Turkish pianist in 1933, and lived in France and Germany during the Civil War but returned to Madrid in 1939 where he was active as an academic and critic and also worked for ONCE, the Spanish organisation for the Blind. In 1947 he was appointed to the Manuel de Falla chair in Madrid and was regarded as the leading Spanish composer of his day.

The Concerto de Arunjuez was composed in 1939 in Paris and received favourable attention world-wide. The central adagio is one of the most recognisable pieces of music of the twentieth century and among other uses it was adapted by Miles Davis for his ‘Sketches of Spain’.

The concerto was inspired by the gardens of the Aranjuez, surrounding the Royal Palace near Madrid: Rodrigo said it captured the ‘fragrance of magnolias, the singing of birds and the gushing of fountains’. The first movement is animated by a rhythmic spirit and vigorous pace. The famous adagio consists of a dialogue between the solo instrument and various solo instruments in the orchestra. Its melody is permeated by a quiet regret but the movement builds up to a climax followed by a calm conclusion. Rodrigo’s wife said that the adagio was an evocation of their honeymoon and also a response to their devastation at the miscarriage of their first baby. The third movement is a courtly dance, a combination of duple and triple time, maintaining a taut tempo.

Rodrigo wrote that he thought of his concerto as being performed by 'an imaginary instrument that might be said to posses the wings of the harp, the heart of a grand piano and the soul of the guitar.' So it is not surprising that the composer should produce a version of the work for harp. He did this for his friend Nicanor Zabaleta in 1974.

Rodrigo received many honours from the Spanish state, finally in 1992 at the age of 91, being ennobled by King Juan Carlos as Marques de los Jardines d’Aranjuez. • • • • • Ganwyd Rodrigo yn Sagunto ac, er ei fod bron yn hollol ddall o ganlyniad i salwch pan oedd ond dair oed, astudiodd gerddoriaeth yn gyntaf yn Valencia ac yn ddiweddarach ym Mharis gyda Dukas. Priododd pianydd o Dwrci a bu’n byw yn Ffrainc a’r Almaen yn ystod cyfnod Rhyfel Cartref Sbaen.

Dychwelodd i Madrid ym 1939 lle y bu’n weithgar fel ysgolhaig a beirniad a hefyd yn gweithio i ONCE, mudiad y deillion. Apwyntiwyd Rodrigo i gadair Manuel de Falla ym mhrifysgol Madrid ym 1947 ac ystyrir ef fel prif gyfansoddwr Sbaen ei ddydd.

Cyfansoddwyd y darn ym Mharis ym 1939 a chafodd sylw ffafriol yn fyd eang. Yr adagio canolog yw un o’r darnau mwyaf adnabyddus o gerddoriaeth glasurol yr 20g ac un a ddefnyddiwyd gan Miles Davis yn ei Sketches of Spain. Yr ysbrydoliaeth i’r cyfansoddiad yw gerddi Aranjuez a amgylchyna’r Palas Brenhinol ym Madrid: dywed Rodrigo iddo ymgorffori ‘arogl y magnolia, cân yr adar a llifeiriad y ffynhonnau’. Ysbryd rhythmig gyda chyflymdra brysiog sydd i’r symudiad cyntaf tra bod yr adagio enwog yn sgwrs rhwng unawdydd ac amrywiol unawdwyr o’r gerddorfa. Yma clywir melodi yn gyforiog o edifar tawel ond adeilada’r symudiad i uchafbwynt gyda diweddglo digyffro. Dywed gwraig Rodrigo mai atgof o’u mis mêl yw’r adagio ac, yn ogystal, ymateb i’w teimlad o anobaith wedi iddynt golli eu babi cyntaf yn y groth. Dawns lysaidd yw’r trydydd symudiad, cyfuniad o amser dau a thri ond mewn tempo caeth.

Yn ei eiriau ei hun dychmyga Rodrigo y consierto yn cael ei chwarae ‘gan offeryn dychmygol y gellir dweud fod ganddo adenydd telyn, calon piano cyngerdd ac enaid gitâr’. Nid syndod felly iddo greu trefniant i’r delyn i’w gyfaill Nicanor Zabaleta ym 1974.

Derbyniodd Rodrigo nifer o anrhydeddau gan wladwriaeth Sbaen a’r olaf ym 1992 oedd ei urddo gan Juan Carlos y brenin yn Marques de los Jardines d’Aranjuez ag yntau’n 91 oed. Notes / Nodiadau: David Matthews INTERVAL / EGWYL

Catrin Finch (telyn • harp)

Described as “The Queen of Harps”, Catrin has delighted audiences with her performances in the UK and worldwide. Inspired to learn the harp at the age of five, her rise to prominence started almost immediately, achieving the highest mark in the UK for her Grade VIII exam at the age of nine. She studied with Elinor Bennett for eight years before entering the Purcell School. Catrin graduated from the Royal Academy of Music in 2002 where she studied with Skaila Kanga and received the Queen’s Award for the most outstanding student of her year.

Her first major competition success came in 1999 winning the Lily Laskine International Harp Competition in France, one of the premier harp competitions in the world. On winning the Young Concert Artists International Auditions in New York, Catrin went on to play in over thirty states in the USA, including recitals and concerto debuts in New York, including the Lincoln Centre and Weill Recital Hall, Boston and Washington D.C. In May 2004 she was nominated for a Classical Brit Award and has also received an “Echo Klassik” in Germany.

Catrin is the former Royal Harpist to H.R.H. the Prince of Wales. Holding the appointment from 2000-2004, she had the honour of reviving this ancient tradition last held in 1873.

She has performed extensively throughout the U.S.A., south America, the Middle East, Asia and Europe. She has appeared with many of the world’s top orchestras including the New York Philharmonic, the Boston Pops, the Philharmonia, the Academy of St Martin in the Fields, the Royal Philharmonic Orchestra, the BBC National Orchestra of Wales, the London Mozart Players, the English Chamber Orchestra, and the North Carolina Symphony. Festival appearances include Salzburg, Edinburgh, Spoleto, Smithsonian Folklife, MDR Musiksommer Festival in Leipzig, Le Domaine Forget and Lanaudiere Festivals in Canada and the Gödöllő Harp Festival in Hungary.

Catrin’s recording of J.S. Bach’s Goldberg Variations was released by Deutsche Grammophon in January 2009 and entered the UK Classical charts at number 1.

In 2012 Catrin will perform in North Carolina, New York and Australia, play concertos with the European Union Chamber Orchestra, the BBC National Orchestra of Wales, Sinfonia Cymru and the Scottish Ensemble, will premier two new harp concertos written for her, tour with Malian kora player, Toumani Diabaté and give various recitals around the UK.

Her versatility in different musical genres is demonstrated in her many recordings. Her most recent project, ‘Annwn’ takes some of Wales’ most popular traditional melodies presented in an innovative and refreshing way using electric harps, state of the art technology and groundbreaking sound effects.

• • • • • Mae ein ‘Brenhines y Telynau’ ni wedi rhyngu bodd cynulleidfaoedd nid yn unig o fewn y Deyrnas Unedig ond trwy’r byd mawr crwn. Fe’i hysbrydolwyd i ddechrau dysgu’r delyn yn bump oed ac yn naw oed, enillodd y marciau uchaf drwy Brydain yn arholiad Gradd VIII. Bu’n ddisgybl i Elinor Bennett am wyth mlynedd cyn mynychu Ysgol Purcell. Graddiodd o’r Academi Frenhinol yn 2002 lle bu’n astudio dan Skaila Kanga, a derbyniodd yn y flwyddyn honno Wobr y Frenhines a gyflwynir i ddisgybl disgleiriaf y flwyddyn.

Enillodd ei gwobr ryngwladol fawr gyntaf yng Nghystadleuaeth Rhyngwladol Lily Laskine, un o brif gystadlaethau telyn y byd, a gynhelir yn Ffrainc. Yn dilyn ei llwyddiant yn ennill y Clyweliadau ar gyfer Artistiaid Cyngerdd Ifainc Rhyngwladol yn Efrog Newydd, aeth Catrin yn ei blaen i chwarae mewn deg talaith ar hugain yn yr Unol daleithiau gan gynnwys datganiadau a concerti yn Efrog Newydd, yng Nghanolfan Lincoln a Neuad Datganiadau Weill, hefyd Boston a Washington D.C. Fe’i henwebwyd am Wobr Classical Brit ym mis Mai 2004 a derbyniodd wobr “Echo Klassik” yn yr Almaen.

Rhwng 2000 – 2004 Catrin oedd Telynores Frenhinol Tywysog Cymru. Cafodd hi’r fraint o atgyfodi hen arfer a gynhaliwyd diwethaf yn 1873.

Mae hi wedi teithio’r byd gyda’i thelyn ac wedi perfformio ar draws yr Unol Daleithiau, De America, y Dwyrain Canol, Asia ac Ewrop. Ymhlith cerddorfeydd gorau’r byd y mae hi wedi perfformio gyda nhw mae’r New York Philharmonic, y Boston Pops, y Philharmonia, Academy of St Martin in the Fields, y Royal Philharmonic, Cerddorfa Genedlaethol Gymreig y BBC, Mozart Players Llundain, yr English Chamber Orchestra, a’r North Carolina Symphony. Mae hi hefyd wedi cymryd rhan mewn gwyliau cerdd rhyngwladol yn cynnwys Salzburg, Caeredin, Spoleto, Smithsonian Folklife, MDR Musiksommer yn Leipzig, Gwyliau Le Domaine Forget a Lanaudiere yng Nghanada a Gŵyl telynau Gödöllő yn Hwngari.

Rhyddhawyd recordiad Deutsche Grammophon o Catrin yn chwarae Amrywiadau Goldberg J.S.Bach ym mis Ionawr 2009 ac fe aeth yn syth i rif 1 yn y siartiau clasurol.

Yn 2012 bydd Catrin yn perfformio yng Ngogledd Carolina, Efrog Newydd ac Awstralia, bydd yn chwarae concerti gyda Cherddorfa Siambr yr Undeb Ewropeaidd, Cerddorfa Genedlaethol Gymreig y BBC, Sinfonia Cymru a bydd y Scottish Ensemble, yn chwarae am y tro cyntaf, ddau concerto newydd a ysgrifennwyd i Catrin. Bydd hi hefyd yn teithio ac yn cyflwyno datganiadau ar y cyd gyda’r chwaraewr kora o Mali, Toumani Diabaté.

Mae eu hamryfal recordiadau yn tystio i’w doniau amryddawn mewn gwahanol genres cerddorol. Mae ei phrosiect diweddaraf ‘Annwn’ yn seiliedig ar alawon Cymreig poblogaidd ond wedi’u cyflwyno mewn ffordd newydd, gyffrous yn defnyddio telyn electronig, technoleg gyfoes ac effeithiau seinyddol cwbwl newydd.

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Symphonie Fantastique Hector BERLIOZ Episode de la Vie d'un Artist (Op.14) (1803 - 1869)

I. Reveries - Passions Largo - Allegro agitato e appasionato assai II. Un Bal Valse - Allegro non troppo III. Scene au Champ Adagio IV. Marche au Supplice Allegretto non troppo V. Songe d'une Nuit du Sabbat Larghetto - Allegro

It was 1830, the year of France's second Revolution, that the Fantastic Symphony assailed the ears of the French musical public and scandalised its establishment. This was Berlioz's first important work, written in the Spring and performed for the first time in December 1830. It was the supreme expression of the spirit of Romanticism which had been sweeping European culture from the 1790s.

The symphony was written only three years after the death of Beethoven. Berlioz stated, "I took up music where Beethoven left it". In March 1828 Berlioz had heard Beethoven's Fifth symphony on its first Paris performance. In December of the same year he saw a performance of Goethe's Faust (and was later to write his own Damnation of Faust). Above all there was Shakespeare. To the ardent romantics Shakespeare was a revelation. In breaking the classical laws of drama he was a stick to beat the literary establishment. In 1827 Berlioz had been overwhelmed by performances of Shakespeare by an English company in Paris at which he fell madly in love with the Irish actress Harriet Smithson who played Juliet, Ophelia and Desdemona. In February 1830 he wrote to a friend: "I am about to begin my grand symphony in which the development of my infernal passion will be depicted". In effect the symphony was an attempt to exorcise emotional derangement over the actress. They were not to meet until two years later (after an intervening love affair) and after the second performance of the revised Fantastic Symphony which Harriet had been persuaded to attend. And indeed they were married in 1833.

There had been 'programme' music before, most notably Beethoven's Pastoral Symphony. Where Berlioz was most adventurous was in his orchestration and in putting dramatic effects from the operatic and theatrical genre into symphonic form. Like Beethoven's 6th (and Shakespeare's plays) it is in five movements, or parts. It also incorporated elements of the bizarre and supernatural, perhaps deriving from Weber, from Goethe's Faust and from Shakespeare. With his passion for literature Berlioz has written a dramatic work, expressing feelings and incidents in musical terms.

Berlioz wrote a programme note for the performances (which was revised several times over the years) from which we have quoted below. The sub-title of the work, Episode from the Life of an Artist suggests a kind of autobiography although by the last revision of the note he has shown the whole work to be an opium dream. In his note Berlioz wrote: "A young musician of morbidly sensitive temperament and fiery imagination poisons himself with opium in a fit of lovesick despair. The dose, too weak to kill him, plunges him into a slumber, accompanied by strange visions, during which his sensations, his emotions and his memories are transformed in his sick mind into musical thought and images. The beloved woman herself becomes for him a melody, and like an idée fixe that he encounters and hears everywhere".

In Dreams and Passions, the first (largo) tune was taken from a youthful composition in which he had set "a sad song" by Florion from his Estelle et Nemorin and reproduced it unchanged. The theme of the beloved, the idée fixe, follows (allegro) on the violins and flute over agitated lower strings. Berlioz's note says that "the artist recalls the weariness of spirit, the indefinable passions, the melancholy, the objectless joy, which he experienced before meeting his beloved; then the impetuous love which she suddenly inspired in him, his delirious suffering, his furious jealousy, his moments of tenderness and the consolation of religion."

At The Ball he meets his beloved in the midst of the tumult of a party. In the Adagio movement, Scene in the Country, two shepherds are calling to each other on their pipes. The rustic scene fills his spirit with tranquility until - "But what if she were deceiving him! . . . his happiness is disturbed by black foreboding." The movement ends with a now solitary piper and distant thunder. In the March to the Scaffold he dreams that he has killed his beloved and is marched to the scaffold and witnesses his own execution. The beloved appears briefly, as his last thought, before the guillotine falls. (The music of the march has already been composed for his unfinished opera Francs Juges.) The final movement, Dream of a Witches Sabbath, sees the artist surrounded by ghouls and monsters of all kinds who have assembled for his funeral. The plainchant from the requiem mass, Dies Irae, is heard and "The beloved melody appears again, but it has lost its character of nobility and shyness; it is no more than a dance tune, mean, trivial and grotesque." She comes to the sabbath, joins the diabolical orgy, there are funeral bells and it ends with a parody of the Dies Irae and the dance of the Witches combined.

Thus Berlioz's own account, the relevance of which has been disputed ever since its first appearance. Liszt was at the first performance and published a piano transcription of the whole work which, six years later, Schumann was to use as the basis for a brilliant essay of musical analysis. He admits that the 'story' does rather get in the way but that having read it first he found it impossible to disassociate it from the music. But the music without the text stands on its own, "a work unique in its originality".

• • • • • Y flwyddyn 1830 oedd hi, blwyddyn ail Chwyldro Ffrainc a'r flwyddyn ddaeth y Symphonie fantastique i glyw cyhoedd cerddorol y wlad am y tro cyntaf gan greu sgandal ymhlith y sefydliad yno. Hwn oedd darn cyntaf pwysig Berlioz, wedi ei chyfansoddi yn y Gwanwyn a'i pherfformio gyntaf ym mis Rhagfyr yr un flwyddyn. Dyma fynegiant goruchaf o ysbryd Rhamantiaeth a oedd wedi ysgubo trwy ddiwylliant Ewrop ers y 1790au.

Cyfansoddwyd y symffoni dair blynedd yn unig wedi marwolaeth Beethoven; "Cydiais mewn cerddoriaeth lle'r oedd Beethoven wedi ei gadael," dywedodd Berlioz. Ym mis Mawrth 1828 clywodd Berlioz Bumed Symffoni Beethoven ar ei pherfformiad cyntaf ym Mharis. Ym mis Rhagfyr yr un flwyddyn gwelodd Berlioz berfformiad o Faust gan Goethe (yn ddiweddarach roedd yntau i gyfansoddi ei Ddamnedigaeth Faust ei hun). Uwchlaw pob dim yr oedd Shakespeare. I'r rhamantwyr selocaf roedd Shakespeare'n agoriad llygad. Wrth dorri rheolau clasurol drama roedd e'n ffon i guro'r sefydliad llenyddol. Ym 1827, cafodd Berlioz ei gyfareddu gan berfformiadau o Shakespeare gan gwmni o Loegr ac fe gwympodd dros ei ben a'i glustiau mewn cariad â'r actores o'r Iwerddon, Harriet Smithson, a actiai rannau Juliet, Ophelia a Desdemona. Ym mis Chwefror 1830 ysgrifennodd at ffrind iddo: "Rwyf ar fin dechrau fy symffoni fawreddog a fydd yn portreadu datblygiad fy nwydau dieflig". Mewn gwirionedd ymdrech oedd y symffoni i fwrw allan y gorffwylltra emosiynol a deimlai dros yr actores. Doedden nhw ddim i gyfarfod tan ddwy flynedd wedyn (ar ôl carwriaeth arall yn y cyfamser) ac wedi ail berfformiad y symffoni ddiwygiedig yr oedd Harriet Smithson wedi ei pherswadio i fynychu. Ac yn wir fe'u priodwyd ym 1833.

Bu cerddoriaeth 'raglen' cyn hyn, yn fwyaf arbennig Symffoni Fugeilgerdd Beethoven. Yn ei offeryniaeth yr oedd Berlioz ar ei fwyaf mentrus yn cynnwys, ar ffurf y simffoni, effeithiau dramatig o 'genre' opera a'r theatr. Fel 6ed Symffoni Beethoven (a dramâu Shakespeare) mae iddi bum symudiad, neu ran. Hefyd mae'n cynnwys elfennau rhyfedd a goruwchnaturiol sydd efallai'n deillio o Weber, o Faust gan Goethe neu o Shakespeare. Gyda'i gariad mawr at lenyddiaeth mae Berlioz wedi cyfansoddi gwaith dramatig sy'n datgan teimladau a digwyddiadau mewn termau cerddorol.

Ysgrifennodd Berlioz nodyn rhaglen ar gyfer y perfformiadau (roedd e i'w hadolygu nifer o weithiau dros y blynyddoedd): fe'u dyfynnwn isod. Is-deitl y gwaith yw Pennod o Fywyd Artist, rhyw fath o hunangofiant er, erbyn adolygiad olaf ei nodyn, dengys mai breuddwyd opiwm yw'r cyfan oll. Yn y nodyn ysgrifennodd Berlioz: "mewn pwl o anobaith mae cerddor ifanc o sensitifrwydd annormal a dychymyg angerddol yn gwenwyno'i hun ag opiwm. Mae'r ddogn, sy'n rhy wan i'w ladd, yn achosi trwmgwsg ac ynddo mae'n profi gweledigaethau rhyfeddol lle mae ei synhwyrau, ei deimladau a'i atgofion yn cael eu trawsnewid i ddelweddau a syniadau cerddorol gan ei feddwl trallodus. Mae'r wraig annwyl yn troi'n alaw iddo, megis idée fixe, sy'n ei ganlyn i bobman".

Mae thema gyntaf (largo) y Breuddwydion a Nwydau wedi ei benthyca o gyfansoddiad cynnar o'i eiddo: gosododd 'gân drist' gan Florian, o'i Estelle et Nemorin, ac yma mae'n ei dyfynnu heb newid dim arni. Thema Harriet Smithson, yr idée fixe, sy'n dilyn (allegro) ar y feiolinau a ffliwt dros linynnau isaf, cynhyrfus. Dywed nodyn Berlioz, "mae'r artist yn cofio'r blinder ysbryd, y nwydau annelwig, y felan, y llawenydd diamcan a brofodd cyn iddo gwrdd â'i anwylyd: wedyn y cariad byrbwyll y mae hi'n ysbrydoli'n sydyn ynddo, ei ddioddef gorffwyll, ei genfigen gynddeiriog, ei adegau o dynerwch a chysur crefydd."

Yn y Ddawns mae'n cwrdd a'i anwylyd yng nghanol cythrwfl parti. Clywir dau fugail yn galw ar ei gilydd ar bibau yn yr Adagio, Golygfa yn y Wlad. Mae'r olygfa wledig yn llenwi ei ysbryd â llonyddwch hyd nes – "Ond beth petai hi'n ei dwyllo? . . . torrir ar draws ei hapusrwydd gan bryderon prudd". Mae'r symudiad yn gorffen gyda phib unigol ac yn y pellter, daran. Breuddwydio iddo ladd ei anwylyd a chael ei fartsio i'r grocbren i fod yn dyst i'w ddienyddiad ei hunan y mae yn y symudiad nesaf, Yr Ymdaith i'r Grocbren. Daw hi i'r amlwg am ennyd ar ffurf ei fyfyrdod olaf cyn i'r gilotîn gwympo. (Roedd eisoes wedi cyfansoddi'r ymdeithgan a glywir ar gyfer ei opera annorffenedig Les Francs Juges).

Portread yw'r symudiad olaf, Breuddwyd o Saboth Gwrachod, o'r artist wedi ei amgylchynu gan ellyllon ac angenfilod o bob math sydd wedi ymgasglu i'w angladd. Clywir y Dies Irae, salm-dôn blaen o'r offeren dros y meirw, a "chlywir eto thema'r anwylyd ond erbyn hyn heb urddas a swildod: nawr nid yw mwy na thema ddawns, yn gas, yn ddibwys ac yn hyll". Daw hi i'r Saboth, ymuna yn y rhialtwch dieflig, mae clychau angladd i'w clywed a daw i ben gyda pharodi o ddydd Digofaint a dawns y Gwrachod wedi'u uno.

Dyna adroddiad Berlioz ei hun a pherthnasedd yr adroddiad yn destun amheuon ers iddo ymddangos gyntaf. Aeth Liszt i'r perfformiad cyntaf a chyhoeddodd drawsgrifiad i biano o'r darn cyfan. Hwn oedd yn sail, chwe blynedd yn ddiweddarach, i draethawd gwych ar ddadansoddiad cerddorol gan Schumann. Mae yntau'n cyfaddef i'r 'stori' ymyrryd rywfaint ond, oherwydd iddo ei darllen hi yn gyntaf, mae'n ei chael hi'n amhosibl ei hysgaru o'r gerddoriaeth. Ond gall y gerddoriaeth heb y testun yn sefyll ar ei phen ei hun, "darn sy'n unigryw yn ei wreiddioldeb".

Nodiadau/Notes: David Matthews

DAVID RUSSELL HULME

(arweinydd / conductor)

David Russell Hulme’s busy conducting career has taken him to major venues throughout Britain, Ireland, Australia, New Zealand, the USA and Canada, with appearances as far-flung as the Royal Canada Opera, Christchurch Festival (New Zealand) and Buxton International G&S Festival, where he recently conducted a rare professional revival of Princess Ida and, last year, a hit production of another rarity, The Arcadians. He works regularly with the renowned Carl Rosa Opera Company, the world’s foremost English language operetta company, and in 2001 toured Australia and New Zealand, conducting the State Orchestra of Victoria, the Auckland Philharmonia and the Sydney Opera House Orchestra, followed by tours of the United States and Canada in 2004 and 2006.

A native of Machynlleth, David studied music at UCW Aberystwyth under Ian Parrott, and conducting with the great Sir Adrian Boult. Gaining MA and PhD degrees for his research into British music, he has published extensively, including articles for the New Grove Dictionary of Music and Musicians and the BBC Proms. Described in Opera as ‘our leading authority on Sullivan’s manuscripts’, he has been closely involved in productions by leading opera companies including WNO, ENO, New Sadler’s Wells and D’Oyly Carte, as well as others in America and Australia. He edited Sullivan’s music and was musical adviser for Mike Leigh’s Oscar-winning film Topsy-Turvy. His ground-breaking and critically acclaimed edition of Ruddigore, published by Oxford University Press, is currently being performed by Opera North. Other editing for OUP ranges from Haydn’s Paukenmesse to Walton’s Second Symphony.

David attracts much attention and praise for his programming of neglected British music, bringing alive his scholarly interests through performance. The composer Edward German is an example. David is not only an authority on German’s music, he regularly conducts it with leading artists at events such as the Edward German Music Festivals. He also recently recorded the composer’s light opera Tom Jones with a cast of international soloists. Released on the Naxos label, this shot immediately to No. 3 in the classical charts. Chosen as a Recording of the Year, it has attracted outstanding critical praise.

He returned to Aberystwyth as the University’s first Director of Music in 1992 and is well-known locally as conductor of Aberystwyth University Choral Union and Aberystwyth Choral Society as well as Philomusica.

• • • •

Mae gyrfa brysur David Russell Hulme fel arweinydd yn mynd ag ef yn rheolaidd i theatrau a neuaddau cyngerdd mawr ledled Prydain, Iwerddon, Awstralia, Seland Newydd, yr Unol Daleithiau a Chanada, yn perfformio gyda Chwmni Opera Brenhinol Canada, Gŵyl Christchurch (Seland Newydd) a Gŵyl Ryngwladol G&S Buxton lle’r arweiniodd, y llynedd, adfywiad proffesiynol prin o Princess Ida. Yn 2001 aeth ar daith i Awstralia a Seland Newydd lle’r arweiniodd gerddorfeydd Talaith Victoria, Philharmonia Auckland, a Thŷ Opera Sydney, ymhlith eraill. Mae’n gweithio’n rheolaidd i’r enwog Gwmni Opera Carl Rosa, un o gwmnïau opereta Saesneg pennaf y byd, fel arweinydd a chôr-feistr. Yn 2004 a 2006 aeth ar deithiau i’r Unol Daleithiau a Chanada gyda’r cwmni.

Brodor o Fachynlleth yw David, ac astudiodd gerddoriaeth yng Ngholeg Prifysgol Cymru Aberystwyth a dysgodd grefft arwain gyda’r meistr Syr Adrian Boult. Enillodd raddau MA a PhD am ei waith ymchwil i gerddoriaeth gan gyfansoddwyr Prydeinig ac mae wedi cyhoeddi yn helaeth, gan gynnwys erthyglau yn ddiweddar i’r New Grove Dictionary of Music and Musicians a Proms y BBC. Disgrifiwyd ef yn y cylchgrawn Opera fel “ein hawdurdod pennaf ar lawysgrifau Sullivan”, ac mae wedi ymwneud yn agos iawn â chynyrchiadau cwmnïau opera blaenllaw megis Cwmni Opera Cenedlaethol Cymru, Cwmni Cenedlaethol Lloegr, Cwmni Opera Newydd Sadler’s Wells, Cwmni D’Oyly Carte, ynghyd ag eraill yn America ac Awstralia. Mae wedi golygu cerddoriaeth Sullivan ac roedd yn ymgynghorydd i ffilm Mike Leigh, Topsy-Turvy, a enillodd Oscar. Cyhoeddodd Gwasg Prifysgol Rhydychen ei argraffiad o Ruddigore a dorrodd dir newydd ac a gafodd ganmoliaeth gan yr adolygwyr. Mae Cwmni Opera North yn perfformio’r argraffiad hwn ar hyn o bryd. Mae gweithiau eraill a olygwyd ganddo i’r un wasg yn amrywio o’r Paukenmesse gan Haydn i Ail Symffoni Walton.

Mae David wedi ennill cryn ddiddordeb a chanmoliaeth yn genedlaethol am ei berfformiadau o gerddoriaeth gan gyfansoddwyr Prydeinig a esgeuluswyd, er enghrifft - Edward German, sydd yn cynnyddu ei ddiddordebau ysgolheigaidd trwy berfformiad. Mae David nid yn unig yn cael ei ystyried I fod yn awdurdod ar gerddoriaeth German, ond bu’n arwain Cerddorfa’r National Festival mewn cyngerdd gyfan o gerddoriaeth gan German yng Ngŵyl Edward German. Mae hefyd wedi recordio opereta Tom Jones gyda chast o unawdwyr rhyngwladol. Fe’i cyhoeddwyd gan Naxos yn 2009 ac aeth yn syth i rif 3 yn y siartiau clasurol. Cafodd ei ddewis yn Recordiad y Flwyddyn gan dderbyn camoliaeth aruthrol.

Dychwelodd Dr Hulme i Aberystwyth i fod yn Gyfarwyddwr Cerdd cyntaf y Brifysgol yn 1992. Mae’n adnabyddus yn lleol fel arweinydd yr Undeb Gorawl Prifysgol Aberystwyth a Cymdeithas Gorawl Aberystwyth yn ogystal â Philomusica.

Philomusica and the University

When Philomusica began, there was already an established college orchestral society, run by the Department of Music. Both orchestras ran side by side for years but with the closure of the Music Department in the late ‘80s came the demise of the UCW Orchestral Society. Philomusica became Aberystwyth’s only orchestra.

Many aspects of music in Aberystwyth – both within the University and the town – suffered as a result of the department’s closure. Fortunately the arrival of Professor Kenneth Morgan as Vice-Chancellor brought new hope for music. He made clear immediately his enthusiasm for reviving the University’s historic commitment to Music. One of his first initiatives was to invite Philomusica to become the official university orchestra. The committee accepted and in recognition of the newly-forged link, Professor Morgan became the society’s president – a position passed thereafter to successive Vice-Chancellors. Student membership began to increase – but slowly. When I arrived in Aberystwyth to begin my work as the University’s Director of Music in January 1992, Philomusica has seven student members. At that time the orchestra’s conductor was Wynford Jones and it was largely due to him that I was brought into the frame and invited to take over the job.

This was a real opportunity for the University and the orchestra to develop and strengthen its relationship. I discussed the possibilities with the Vice-Chancellor. He was happy for me to work with Philomusica as part of my professional responsibilities and to give the orchestra practical and financial support, both personally and through the newly-established University Music Centre. Crucially, though, Philomusica was to remain an independent organisation. In essence, a working partnership was established between the orchestra and the University.

Student participation increased significantly, so that it now accounts for half the orchestra’s membership. Music Bursaries help attract talented student players to Aberystwyth and rewards them financially for their participation in Philomusica and other groups. The orchestra is central to the scheme from which, of course, it also benefits – as Philomusica’s generous contribution towards the bursary funding recognises.

One of the earliest assurances the University gave the orchestra was that it would provide a venue for rehearsals and allow full use of the University music collection, instruments and equipment. Likewise, Philomusica agreed its own equipment could be used by the newly-formed University Wind Band. To make this practical, both groups needed to share the same rehearsal venue – which, of course, they do at the Old Drill Hall, currently rented by the University from Ceredigion County Council. Because of this sharing of equipment and venue, much of the related administration (including the acquisition and management of the orchestral parts) has been taken over by the Music Centre, as too have the physical arrangements for concerts. The moving of instruments and staging and the setting up at the Arts Centre are all looked after by Music Assistant, Melanie Evans. Acquisition of sophisticated reprographic equipment and design software has enabled the Music Centre to produce its own posters, fliers and glossy programmes at a fraction of what these would otherwise cost. Naturally, we have made all this available to Philomusica. It saves financial outlay but doing the work in house is a big operation. Then there all the letters and messages to members that go through the Music Centre office. Even in the age of e-mail and the mobile ‘phone, getting in touch with 60 to 70 members every time something crops up is no five-minute job! But if the Music Centre is busy, so too is the committee. There are the ever-complex finances and fund-raising matters, the Friends association, the 100 Club, getting the hall set up for rehearsals (as well as making the coffee!) and the hundred-and-one other jobs that have to be done to keep everything on track.

The partnership with the University has been good for Philomusica, bringing a constant flow of talented student musicians and keeping everything running smoothly in challenging times. There can be no doubt, too, of the benefits to the University. It is hugely fortunate to have Philomusica as a flagship orchestra. The reputation of its music programme owes a great deal to what they have achieved together.

David Russell Hulme

Philomusica a’r Brifysgol

Pan ddechreuodd Philomusica yr oedd eisoes gan y Coleg ei gerddorfa dan adain yr Adran Gerdd. Cydfodolai’r ddwy gerddorfa am rai blynyddoedd ond gyda chau’r Adran Gerdd ddiwedd yr 80au fe wnaeth cerddorfa’r Coleg ddirwyn i ben gan adael Philomusica fel unig gerddorfa Aberystwyth.

Cafodd diddymu’r Adran gerdd effaith andwyol ar nifer o weithgareddau cerddorol – o fewn y Coleg ac yn y dref. Yn ffodus daeth gobaith newydd gyda phenodi yr Athro Kenneth Morgan yn is-Ganghellor. Yr oedd yn awyddus i atgyfodi ymrwymiad hanesyddol y Brifysgol i gerddoriaeth. Un cam cynnar ganddo oedd gwahodd Philomusica i fod yn gerddorfa swyddogol y Brifysgol. Derbyniwyd y gwahoddiad a daeth yr Athro Morgan yn llywydd y gerddorfa – swydd a lenwir gan bob is-Ganghellor ers hynny. Yn araf cynyddodd nifer y myfyrwyr yn y gerddorfa. Pan gyrhaeddais i yn Gyfarwyddwr Cerdd y Brifysgol yn Ionawr 1992 yr oedd gan Philomusica saith o fyfyrwyr yn aelodau. Wynford Jones oedd yr arweinydd ar y pryd. Diolch iddo ef yn bennaf fe’m gwahoddwyd i gymryd at yr arweinyddiaeth.

Dyma gyfle i’r Brifysgol a’r gerddorfa ddatblygu a chryfhau’r berthynas rhyngddynt. Bûm yn trafod hyn gyda’r is- Ganghellor. Yr oedd yn barod i ganiatáu imi weithio gyda Philomusica fel rhan o’m dyletswyddau proffesiynol ac i gynnig cymorth ymarferol a chyllidebol, yn bersonol a thrwy gyfrwng Canolfan Gerdd newydd y Brifysgol. Cydnabuwyd mai corff annibynnol oedd Philomusica ond sefydlwyd perthynas gadarn o gydweithio rhwng y gerddorfa a’r Brifysgol.

Cynyddodd nifer y myfyrwyr ac erbyn nhw sy’n gyfrifol am hanner aelodau’r gerddorfa. Mae’r Ysgoloriaethau Cerdd yn denu offerynwyr talentog ac yn eu gwobrwyo am chwarae yn Philomusica a grwpiau cerddorol eraill y Brifysgol. Mae’r gerddorfa yn rhan greiddiol o’r drefn gan ei bod nid yn unig yn elwa o’r cynllun ond hefyd mae’n cyfrannu’n hael tuag at ariannu’r Ysgoloriaethau.

Un o ymrwymiadau cynnar y Brifysgol oedd y byddai’n cartrefu’r gerddorfa a chaniatáu iddi ddefnyddio cerddoriaeth, offerynnau ac adnoddau’r Coleg. Yn yr un ffordd, cytunodd Philomusica i ganiatáu i Fand Chwyth newydd y Brifysgol ddefnyddio’i hoffer hi. Er mwyn i hyn weithio rhaid bod y ddau grŵp yn rhannu’r un ystafell ymarfer – ar hyn o bryd yr Hen Drill Hall a logir gan y Brifysgol gan Gyngor Sir Ceredigion. Oherwydd eu bod yn rhannu cyfarpar a’r un lleoliad mae llawer o’r gwaith gweinyddol (gan gynnwys llogi cerddoriaeth i’r gerddorfa a threfnu’r neuadd ar gyfer cyngherddau) yn cael ei gynnal gan y Ganolfan Gerdd, gyda’r Cynorthwyydd Cerdd Melanie Evans yn gyfrifol am symud offerynnau a gosod y llwyfan yng Nghanolfan Celfyddydau Aberystwyth. Mae gan y Ganolfan Gerdd ei chyfarpar atgynhyrchu soffistigedig sy’n caniatáu cynhyrchu posteri, rhaglenni a deunydd hysbysebu o safon uchel am bris rhad iawn. Wrth gwrs, mae Philomusica yn elwa o hyn, sy’n arbed costau ond yn cynyddu’r gwaith. Er bod ffonau symudol ac e-bost wedi llyfnhau’r broses o gyfathrebu, mae cysylltu gyda 60-70 o aelodau yn gofyn am gryn ymdrech. Law yn llaw gyda gwaith y Ganolfan rhai cydnabod ymrwymiad Pwyllgor Philomusica sydd wrthi’n codi arian drwy Gyfeillion y Gerddorfa, y Clwb Cant, gosod y Neuadd yn barod i ymarfer (a pheidier ag anghofio’r coffi!) a’r llu o dasgau eraill, sy’n ymddangos yn fychain efallai ond cwbwl angenrheidiol.

Mae Philomusica wedi elwa’n fawr o’i pherthynas â’r Brifysgol, yn enwedig yn y llif cyson o offerynwyr talentog ymhlith y myfyrwyr a’r ffordd y mae wedi goroesi’r dyfroedd tymhestlog sydd ohoni. Ond, ni ellir gwadu gwerth y gerddorfa i’r Brifysgol, mae ganddi gerddorfa o’r radd flaenaf ac y mae enw da cerddorol y Brifysgol yn ganlyniad i’r cydweithio hapus sydd wedi digwydd ac sydd yn parhau i digwydd rhwng y ddau sefydliad.

David Russell Hulme

PHILOMUSICA of ABERYSTWYTH

Cyfardwyddwr Artistig / Artistic Director: David Russell Hulme Blaenwr / Leader: Philip Mortlock

FEIOLIN/VIOLIN I Alun Jones CLARINET Paul Bramwell Nick Livermore Megan Haf David Cooper Bethan Miles Sioned Llywelyn Iwan ap Dafydd Carol Nixon Elidir Dafydd Sophie Trotter BASŴN/BASSOON Rachel Drury Mary Wright Eiriol Leach Ellen Douglas Rosie Young Anne Startup Susan Evans Jonathan Galloway SIELO/CELLO CORN/HORN Samuel Greaves Louise Amery Graham Brand Horst Holstein Sarah Beynon Helen Clow Cleo Jones Nerys Clark Richard Crompton Moses Kim Brian Clarke Geraint Lewis Gwenllian Lewis Duncan Haslam Sioned Maskell Vicky Joseph UTGORN/TRUMPET Philip Mortlock Wendy Reardon Martin Rogers Eilir Pryse Marie Smith Matt Williams Rheana Slack Hilary Summers Anne Tupling CORNET BÂS/BASS Russell Adams FEIOLIN/VIOLIN II Holly Cooke John Morgan Laura Brun Nick Davies James Cook Duncan Horne TROMBÔN/TROMBONE Rebecca Davies John Law Paul Cartmell Roz Eyres Richard Lewis Rich McVeigh Kate Fitzgibbon Meleri Pryse Mike Greenwood TELYN/HARP Sue Rainsbury Heledd Ann Hall Shelley Fairplay Celia Matthews TIWBA/TUBA Michael Poole FFLIWT/FLUTE & Llywelyn Williams Mailys Renouf PICCOLO Bethan Riley Melanie Evans OFFERYNNAU TARO & Jules Riley Emily Dyble TIMPANI Laura Roberts Emily Hopkins TIMPANI & PERCUSSION Jayne Robinson Laura Say Anthony Capel Dave Danford FIOLA/VIOLA OBO/OBOE & Eilir Pryse Alice Billen COR ANGLAIS Kristian Schumacher Rose Chandler Ali Greeley Gillian Clissold Manon Lewis Marged Haycock

 PENNAETH ADRAN / SECTION PRINCIPAL  MYFYRIWR BWRSARIAETH GERDD PRIFYSGOL ABERYSTWYTH /

ABERYSTWYTH UNIVERSITY MUSIC BURSARY STUDENT An APPEAL from the Treasurer of Philomusica of Aberystwyth

We trust that you really enjoy this very special programme this evening and hope that you will come to our future concerts.

Since I became Treasurer ten years ago the orchestra has survived the ups and down of the UK's financial fortunes and misfortunes, but the downturn since 2007 has, in common with most arts organisations, had a detrimental influence upon our finances. Because a symphony orchestra is, by its very nature, expensive to run, we have unfortunately been steadily reducing our reserves by at least £2000 each year. This is not a healthy situation to endure for too long, so we are seeking various ways to rectify matters.

As we have become the University's orchestra this gives us a firm foundation to build on, especially as an important part of the administration, as well as some of the service costs, are covered by them through the Music Centre – and of course, we have the Director of Music as our conductor. We also have the all-essential rehearsal space provided. For the past fifteen years we have occupied the Old Drill Hall in Glyndwr Road (together with the University Wind Band), possibly destined to be demolished. All being well, rather more suitable accommodation is being provided for us from next season.

We are extremely grateful to the Friends of Philomusica, our advertisers, Ty Cerdd – Music Centre Wales (grants) and you the audience for your generous support over the years; also to a group of musicians from the orchestra who performed a spellbinding concert in aid of the orchestra last autumn.

Thanks are due to Thesca Thomas who has made a generous contribution towards the purchase of the Tubular Bells being played for the first time tonight in the overture and symphony.

Over 60% of the orchestra's membership is under 30 years of age. I am particularly impressed when talking to students about Philomusica. It seems that for them it is a fulfilling part of university life.

We are trying to encourage more donations, for which as a registered charity we can reclaim Gift Aid for those UK taxpayers who elect to give this way.

Sponsorship is another good alternative either from individuals or businesses. We also run a 100 Club, where for a modest £10 per person each year members can win prize draws of £30 and £20 for ten months of the year. The surplus currently helps towards funding our contribution to the University Music Bursary scheme.

The Philomusica is at the core of music-making in Aberystwyth, therefore your help and that of others you may be able to interest, would do much to make a secure future for the orchestra. We would all be most grateful – and very much relieved!

Nick Davies, Treasurer [email protected] 01970 828269 APÊL gan Drysorydd Philomusica

Yr ydym yn hyderu eich bod wedi cael blas ar y rhaglen arbennig heno ac yn gobeithio y dewch chi i’n cyngherddau yn y dyfodol.

Ers imi ddechrau ar waith y Trysorydd ddeng mlynedd yn ôl, mae’r gerddorfa wedi goroesi llanw a thrai ariannol y wlad, ond y mae’r dirwasgiad ers 2007 wedi cael effaith niweidiol ar ein cyllid ni, fel yn achos llawer iawn o gyrff celfyddydol. Oherwydd nad peth rhad yw cynnal cerddorfa mae ein gwaddol ariannol yn cael ei erydu fesul rhyw £2,000 bob blwyddyn. Nid yw hyn yn gynaliadwy ac yr ydym yn chwilio am ffyrdd i wella’r sefyllfa.

Mae’r ffaith mai ni yw cerddorfa’r Brifysgol yn sylfaen gadarn gan fod peth o’r gwaith gweinyddol ynghyd â rhai costau yn cael eu cynnal gan y Ganolfan Gerdd, a phennaeth y Ganolfan wrth gwrs, yw ein harweinydd. Hefyd, mae gennym gartref i ymarfer. Am y pymtheng mlynedd diwethaf yr ydym wedi rhannu’r hen Drill Hall gyda Band Chwyth y Brifysgol. Gan fod y Neuadd i gael ei dymchwel, yr ydym yn edrych ymlaen at gartref newydd o’r tymor nesaf ymlaen.

Mae ein dyled yn fawr i Gyfeillion Philomusica, ein hysbysebwyr, Tŷ Cerdd ac i chi ein cynulleidfa am eich cefnogaeth hael dros y blynyddoedd; hefyd i grŵp o gerddorion o’r gerddorfa am gynnal cyngerdd trawiadol er budd y gerddorfa y llynedd.

Mae arnom ddyled benodol i Thesca Thomas sydd wedi cyfrannu’n hael at gostau’r clychau cerddorfaol a ddefnyddir heno am y tro cyntaf yn yr agorawd ac yn y symffoni.

Mae dros 60% o aelodau’r gerddorfa dan 30 blwydd oed. Yr argraff pendant a gaf wrth sgwrsio â myfyrwyr am Philomusica yw’r ffordd mae’n cyflenwi rhan o ‘fywyd’ Prifysgol.

Yr ydym yn ceisio rhagor o roddion gan unigolion. Gan ein bod yn elusen gofrestredig yr ydym yn gallu hawlio ad- daliad treth ar unrhyw rodd gan drethdalwr yn y Deyrnas Unedig.

Buasem yn croesawi nawdd gan unigolion neu fusnesau. Mae gennym ‘Glwb Cant’ lle y mae cyfraniad o £10 y flwyddyn yn ennyn gwobrau o £30 a £20 y mis am ddeg mis y flwyddyn. Mae’r gweddill yn cynorthwyo gyda chostau Ysgoloriaethau Cerdd y Brifysgol.

Mae Philomusica wrth wraidd bywyd cerddorol Aberystwyth, felly byddai unrhyw gymorth gennych chi neu gan unrhywun y gallwch ddylanwadu arnynt, yn mynd ymhell i ddiogelu dyfodol y gerddorfa. Buasem, bob un, yn dra diolchgar .

Nick Davies, Trysorydd [email protected] 01970 828269

FRIENDS OF PHILOMUSICA

Dr Andrew Agnew, Machynlleth Keith & Mary Lewis, Llanrhystud Prof. & Mrs John Andrews, Cardiff Professor & Mrs Noel Lloyd, Aberystwyth Dr Denis & Ann Bates, Waunfawr Mrs Betty Loyn, Waunfawr Mr David Brown, Aberystwyth Mrs K. Lugg, Invernesshire Ms Allison Coleman, Bow Street Professor & Mrs. Macve, Aberystwyth David Collington & Jane Dards, Caersws Mr & Mrs David Matthews, Borth Rev. Canon Glyn & Dr Janet Conway, Mr & Mrs Roger Mills Aberystwyth Mrs Phyllis Mineur, Bow Street Mrs K. Cooper, Capel Bangor Mr & Mrs Philip & Gillian Morgan, Aberaeron Mr & Mrs A.G. Curwen, Llanbadarn Fawr Mrs Terry Morgan, Waunfawr Mr & Mrs John Davies, Aberystwyth Mrs Mortlock, Llangybi Mrs G Drake, Llanbadarn Fawr Mr & Mrs Stuart Neal, Glandyfi Mrs Edwards & Sarah, Aberystwyth Dr & Mrs Norrington-Davies, Dolybont Julian Emery & Mair Gwalchmai, Capel Bangor Em. Professor Ian Parrott, Abermad Mr & Mrs Glynne Evans, Borth Miss M.D. Payne, Aberystwyth Dr David Falla, Aberystwyth Em. Professor & Mrs. G. Price, Llanbadarn Dr & Mrs Martin Fitzpatrick, Bronant Mr & Mrs Maldwyn Pryse, Aberystwyth Prof. & Mrs Neville Greaves, Aberystwyth Dr & Mrs W.C. Roberts, Aberystwyth Dr & Mrs Rhydian Griffiths, Aberystwyth Prof. & Mrs Sims-Williams, Aberystwyth Mrs Ruth Griffiths, Aberystwyth Mr & Mrs Sippings, Aberystwyth Mrs Gillian Hilliard, Little Hampton Mrs D. Slay, Aberystwyth Dr & Mrs Horst Holstein, Waunfawr Dr R.C. and Mrs B.R. Stephens, Aberystwyth Dr & Mrs D.J. Hopper, Aberystwyth Mr Roger Taylor, Craven Arms Mrs Pat Hovers, Borth Miss Thesca Thomas, Penrhyncoch Dr Elinor Hughes, Aberystwyth Mr M.D. Thomas, Haverfordwest Mrs Gwilym Hughes, Waunfawr Mrs Tillotson, Aberystwyth W.M. James, Capel Bangor Mr John Trice, Llanbadarn Fawr Mr & Mrs Geraint John, Penrhyncoch Dr M. Wasdell, Aberystwyth Mr & Mrs G Jones, Bow Street Canon William Watkins Mr & Mrs Gareth Jones, New Cross Mr A.J.S. Williams, Aberystwyth Em. Prof. I.G. Jones, Aberystwyth Ms Iona Williams, Porthaethwy, Ynys Môn Mrs Joan Anthony Jones, Aberystwyth Mrs L.J. Williams, Aberystwyth Mrs Ruth King, Northumberland Mrs Katrina Williams, New Cross, Aberystwyth Mr & Mrs Peter Kingswood, Aberystwyth Mrs Margaret Williams, Ponterwyd Mr & Mrs Graham Knowles, Lancashire Mr & Mrs Mark Williams, Borth

PHILOMUSICA OF ABERYSTWYTH Noddwr / Patron: John Lill, OBE Llywydd / President: Athro/Professor April McMahon MA PhD FBA FRSE Cadeirydd / Chairman: Mr Philip Mortlock, MA, FCA Cyfardwyddwr Artistig / Artistic Director: Dr David Russell Hulme, MA, PhD Ysgrifennydd / Secretary: Mrs Celia Matthews, Dip.Sp.Ed. Trysorydd / Treasurer: Mr Nick Davies ACEA

Pe hoffech ddod yn Gyfaill i Philomusica, cysylltwch â: If you would like to become a Friend of Philomusica, please contact: Dr Elinor Hughes, 24 North Parade, Aberystwyth, Ceredigion

Special thanks to Rhys Huws and Geraint Lewis for providing the translation. Diolch arbennig i Rhys Huws a Geraint Lewis am ddarparu y cyfieithiad.