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Karl Jenkins Cantata Memoria for the Children Karl Jenkins CANTATA MEMORIA for the Children

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Karl Jenkins Cantata Memoria for the Children Karl Jenkins CANTATA MEMORIA for the Children Karl Jenkins CANTATA MEMORIA For the Children Karl Jenkins CANTATA MEMORIA For the Children 2 Karl Jenkins (*1944) CANTATA MEMORIA Bryn Terfel bass-baritone (2–7, 9–11) For the Children • Er mwyn y plant Elin Manahan Thomas soprano (1, 2, 4, 6, 7, 9–11) Libretto: Mererid Hopwood Cywair chorus master: Islwyn Evans, CF1 chorus master: Eilir Owen Griffiths 1 Pitran, patran 5:57 and Côr Caerdydd chorus master: Gwawr Owen (1–3, 5–11) 2 Then Silence 4:42 and the young voices of Côr Heol y March chorus master: Eleri Roberts 3 Cortège 8:20 and Côr y Cwm chorus master: Elin Llywelyn-Williams co-director: Gavin Ashcroft 4 Lament for the Valley 4:38 5 Lacrimosa Lullaby 5:02 Catrin Finch harp (1–3, 5–11) David Childs euphonium (3–5, 7, 9–11) 6 Did I hear a bird? 4:18 Joo Yeon Sir violin (4–7, 10) 7 Satin Feathers 4:22 Jody Jenkins percussion 8 And-a-half 5:11 Rosie, Jody & Karl Jenkins recorders (6) 9 And once upon a time 3:42 Sinfonia Cymru leader: Benjamin Baker 10 When the shadow dies 4:05 Composed, conducted, orchestrated and produced by 11 Lux æterna 5:34 Karl Jenkins 3 CANTATA MEMORIA For the children · Er mwyn y plant Cantata Memoria commemorates the Aberfan the journey was made easier and more reward- tragedy of 21 October 1966. It was on this day ing by my travelling companion, Mererid Hop- that 116 children and 28 adults perished when wood, the brilliant Welsh poet, academic and a coal spoil tip enveloped Pantglas Junior linguist who has written a remarkable libretto. School together with some houses in Aberfan, And while the work starts in Aberfan, alas we South Wales. Aged 22, I was in my first term at must be mindful of how it might encompass the Royal Academy of Music, London, at the other heartbreaking tragedies involving chil- time. Inevitably, the disaster had a massive dren. Think of Dunblane (1996), the Beslan impact on me and millions of others. school siege (2004), the Korean ferry disaster Two years ago, I was approached by Ian and the Peshawar school massacre (both 2014) Jones, CEO of S4C (Sianel Pedwar Cymru – the – each one a disaster too many. We have all been at Pantglas School from time to time and also and Italian). It is hoped these many languages Welsh national broadcaster), and Hefin Owen children, and many of us are parents and grand- Myfanwy (by Joseph Parry from nearby Merthyr symbolise how the memorial is at once both of Rondo Media and offered a commission to parents, and my hope is that Cantata Memoria is Tydfil) on one occasion by the soldiers who dug specific and universal. compose a work commemorating the 50th symbolic, concerning childhood and the cher- for victims. Myfanwy was also the first piece sung The work is in two distinct sections but is anniversary of the tragedy. Feeling privileged, ishing of the precious young as well as offering by the Ynysowen Male Choir, formed after the performed continuously. The first (c20 min- humbled and honoured to have been chosen, I a memorial in music for the disaster in Wales. tragedy with the intention of raising money for utes) deals with the tragedy and the immediate immediately accepted, whilst also being mind- As Mererid says, “we sincerely hope the work charity while providing a social activity for the aftermath, and the second (c35 minutes) moves ful of the responsibility the commission carried speaks from two hearts to many hearts”. local men. It was said also that birdsong was not from darkness to light, reliving memories and in writing something with integrity and acces- This work is music and a poem. It is not a heard in the hours before or after the disaster. celebrating childhood, ending with the Requi- sibility that would connect and move everyone documentary, nor even a dramatisation, but it The text is multilingual, in English, Welsh em’s Lux æterna (everlasting light). – the bereaved who are still with us, those who does include a conflation of ideas and facts that and Latin (with four texts taken from the Requi- Cantata (from the Italian cantare, meaning “to remember and those who come to this catastro- were relevant and are by now part of the legacy. em Mass), while also incorporating various sing”) has come to mean a work for soloist(s), phe anew. Paradoxically, dealing with a subject There wasn’t just the one cortège, for example. other languages for specific words (for example, choir and orchestra, and memoria is both Latin that lies so deep in the soul of the Welsh was Some events remain open to debate but we do “why” and “light” are sung in Welsh, English, and Italian for memory or remembrance. both a harrowing and uplifting experience, but know that All Things Bright and Beautiful was sung Swedish, Latin, Spanish, German, French, Dutch 4 Synopsis It was raining on 21 October 1966 as the school throughout the work) precedes the return of text of the Benedictus from the Latin mourning … grant them eternal rest’) works as day began (raindrops simulated in the orches- the pitran, patran text with the “pa” of patran Mass: “Benedictus qui venit in nomine Domi- a counterpoint to the words of the main song: tration by harp, percussion, then pizzicato morphing into the “pa” of paham (Welsh for ni” (Blessed is he who comes in the name of “Lacrimosa dies illa, Lacrimosa sky, Lacrimosa strings etc). The first section opens as the “why”). The a cappella singing of an adaptation the Lord). The movement ends with the crystal kisses, Lacrimosa lullaby… Lacrimosa adult choir sings: of J S Bach’s chorale It is Enough is then heard, denunciation by a bereaved father at one of silent feathers, Lacrimosa fly, Lacrimosa hush with the word “why?” sung in many languag- the inquests, “buried alive by the National my baby, Lacrimosa lullaby”. It was said that no (1) Pitran, patran (onomatopoeic Welsh for es. In this chorale (oft-quoted by composers, Coal Board” (which was, eventually, found birdsong was heard before or after the disas- rain). This moves into All Things Bright and including Alban Berg in his Violin Concerto) culpable). This phrase echoes the rhythm of ter, and this idea and symbolism of a bird is Beautiful sung by the children. A poignant line we hear every note in the chromatic scale, in the Welsh we hear in the distance: “bwrw heard in the next two movements. in the hymn has sinister ambiguity in our con- part chosen here to represent all humanity. glaw mân ac mae’r dagrau yn disgyn” (as the text as the “rivers running by” alludes beyond This continues, without pause, into: rain falls so too do the tears). To close the first (6) “Did I hear a bird?… Did I hear the flutter of the innocent song to the hidden river running section there follows: wings, Like the sound of apron strings Unrav- underneath the village that contributed to (3) Cortège. This begins with a short extract elling? What have I heard? Just a little bird the disaster. A recurring rumble, twrw (pro- from the Welsh song Myfanwy by Joseph Par- (4) Lament for the Valley for solo violin and That keeps on falling, falling, from an empty nounced “too-roo”), is hinted at in the orches- ry, which again begins with the word paham strings, with the voices intoning the text of thunder-cloud, sounding of loss – a loss so tration, gradually morphing the mood from (why) but initially with darker harmonies the Agnus Dei (Lamb of God) as a background loud.” This poignant questioning leads to: beauty and optimism into horror and dark- than usual. It has become part of the Aberfan to the violin solo. ness. The cataclysmic ending is followed by story that Myfanwy was sung by rescuers as (7) Satin Feathers, a reworking of the tradition- an unbearable pause of eeriness and disbelief they dug for victims. Here it is taken by a solo The second section deals with remembrances al Welsh folksong Aderyn Du, in which we hear before: baritone, joined by male voices and then a of happier times, a celebration of childhood an exhortation to the bird to “Bring the music haunting euphonium, both redolent of the and a metamorphosis towards “light” from to my valley… Bring the joy and bring the (2) Then Silence, where the solo baritone Welsh Valleys’ musical tradition. The last the “darkness inside”. This transition is also laughter, Bring them back to stay forever”. We intones: “Nothing. In that black silence Not a refrain of the song becomes the motif, in the reflected in the music that becomes lighter are then suddenly back at school with: sound”. A distant surreal refrain (as though minor key, for the cortège itself. With much and begins with: sung by the lost children) of the well-known anguish, the names of all the victims are (8) And-a-half, which opens with typical Welsh children’s nursery rhyme Heno, heno, intoned (the children by the adult choir, and (5) Lacrimosa Lullaby, where the Latin mass school-yard banter: “I’m bigger than you – I’m Hen blant bach (which returns as a motif the adults by the children) in tandem with the text from the Dies iræ (‘That day of tears and seven years old”, “That’s nothing – I’m seven 5 and a half!” “I’m stronger than you – I’m eight We close with: years old”, “That’s nothing – I’m eight and a half!” “If you’re so pretty, give Johnny a kiss.” (11) Lux æterna (everlasting light), which “But Johnny is ugly.
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