A THOUSAND VOICES

A history of the London Welsh Male Voice Choir’s innovative decision to hold massed Male Voice Choir Festivals at The Royal Albert Hall One Thousand Welsh Voices. What a great name and what a great concept. For my fifth Lockdown project I look at one of the defining events that has shaped the choir and how a bunch of amateur musicians armed only with vision, ambition and two hundred pounds in used bank notes, managed to put on a world-renowned musical event at the Royal Albert Hall. By contacting some of the people who were present for the decision to hold the first Thousand Voices Festival, I have managed to put together a fairly detailed account of the pitfalls and rewards of such a venture and the events that led up to it. I have also included a very short history of the London Welsh Community as it has also played its part in the story. It has been interesting, controversial and informative and it has sometimes driven me to drink. My thanks to the many contributors who donated their memories. I have mentioned them at the end of this document. f there was one event that epitomised the London Welsh Male Voice Choir during the late 60s, 70s and 80s Ithen it has to be the Festival of Male Voices, held at The Royal Albert Hall.

Known universally as The Thousand Voices, this Festival was innovative, successful and gained the London Welsh Male Voice Choir the global recognition that it enjoys to this day.

Tickets for the Festival became as scarce as tickets for international rugby matches at Cardiff Arms Park, and, as a regular at London Welsh games at Old Deer Park, I was often asked “Is this a Thousand Voices year? Can you get until 1961, when the choir re-formed after the Second World me a ticket?” as if it was something magical, which it was. War, that we can recognise the format that we know today.

What started off as an idea to raise funds and increase Both World Wars had caused the cessation of choir duties membership after the unfortunate ’split’ in the choir of and the depression that followed in1926 meant that there 1967, it became the focus of Welsh Male Voice singing, was little enthusiasm or activity in the choir, although we not just in London but from the whole of Great Britain do have reports of some successes and notable concerts up and, in later years, a broader international involvement. until the start of World War Two in 1939.

Read on to find what made this Festival so remarkable and how an idea turned into a global event with participating choirs from every continent playing their part in its success.

TO BEGIN AT THE BEGINNING A brief history of the London Welsh Male Voice Choir.

A full history can be found by visiting http://www.londonwelshmvc.org/about/history London Welsh Youth Choir A history of The London Welsh Centre can be found by visiting http://www.londonwelsh.org/about-us/history-of- In the post war years, there was a very active and successful the-centre/ mixed London Welsh Youth Choir, conducted by Kenneth Thomas, and it is suggested that some of the mature male lthough there are records of a London Welsh Male members of that choir went on to sing in the David James Voice Choir going as far back as the 1880s, and Singers and, when they had ‘outgrown’ the youth choir, indeed our official history points to Merlin Morgan’s eventually formed the London Welsh Male Voice Choir. The A females of the youth choir went on to form the successful successful choir formed in September 1902 as being the date we currently hold as our official ‘birthday’, it was not Dylan Singers for the same reason. 1 The London Welsh Youth Choir was incredibly successful during this period and was often asked to appear at film premières, such as Walt Disney’s Finlandia, the World War II film The Cockleshell Heroes and even represented the UK at the Brussels World Fair in 1958.

Cinemas Studio 1 and Studio 2 based on Oxford Street were the venue for some of the film premières and also held Welsh Services every Sunday morning at 10.45am in their Clwb y Cymru, based at the same address and which also offered refreshments and meeting rooms. The Hammersmith Welsh Male Voice Choir in1970.

An advert for a 25 minute session by The Hammersmith Welsh appeared in The Radio Times, Wales on Tuesday June 13th 1939 when they sang eight pieces including ‘The Old Woman’ which has recently found its way back into the choir repertoire. Their conductor Morgan Jones was awarded the MBE for services to music.

The Hammersmith Welsh went on to appear with The London Welsh Male Voice Choir in the Royal Albert Hall Festivals in 1970 and 1974 after which they appear to have disbanded. Clwb y Cymru also had it’s own Drama Group which performed The London Welsh community in these post war years was at various venues throughout the very dynamic. St David’s Day Celebrations included the capitol and was the forerunner much regaled St David’s National Festival held at the of the London Welsh Drama Royal Albert Hall, the St David’s Celebration Ball at the Society which was based in the Festival Hall, the St David’s Day Dinner held at the Savoy Gray’s Inn Road Centre. Hotel and, every other year when England hosted Wales at Twickenham, we had the London Welsh Smoker on the eve Welsh chapels were also plentiful of the game, which usually took place at the Seymour Hall and well attended throughout and went back to the 1920s. London and, as you can see from the advertisement, held Preaching Festivals around St David’s Day.

The Hammersmith Welsh Male Voice Choir was very active in the metropolis during the 40s and 50s, having been formed in 1938 to compete in the Royal National Eisteddfod of Wales which was held in These various advertisements for Cardiff in the same year, London Welsh events are taken winning the competition from the 1960 edition of labelled “Glee confined Y Ddinas (The City), forerunner to Welsh Choirs outside of the London Welsh Magazine Wales, 30-40 Voices”. as we know it today.

Nearly all publicity from the London Welsh Association Prior to Y Ddinas the magazine during that period names the Hammersmith Welsh as the was called Y Ddolen (The Link). major Welsh male voice choir in London.

2 The advert below left for the Celebration Ball proclaims that the London heat of the Sunny Rhyl Miss Wales contest will be held during the evening of the 1960 St David’s Celebration Ball with the winner receiving £10 and a week’s holiday in Rhyl.

British seaside holidays were very popular after the war but Rhyl appears to have been seen as a cheap holiday destination and as a result the town’s holiday accommodation suffered.

Look at this fascinating social history video called Rhyl in 1960 to get a feel of the place List of artistes from the programme from the Smoker in 1958. and it also contains the final of the Miss Wales contest (pictured). In the 50s the artistes were very much operatic based https://youtu.be/3KxRfjrSVyA while by the 70s, attitudes had changed and acts included comedians and even strippers! There was also a Miss London Welsh competition in 1957 and the title was awarded to Janet Evans, who used her role Author’s note: At one of the choir’s appearances at the to meet visitors at the airport or travel as an ambassador Smoker in the early seventies, I had the unfortunate issue of to various functions. Her photograph appears at the back standing on the stripper’s dress as we were lining up to go on of this document with the victorious London Welsh Youth stage, ripping some of it from her and heralding a torrent of Choir at the 1957 National Eisteddfod. abuse from the young lady as she was due to go on before us! Happy Days! The London Welsh community held an incredibly successful Gymanfa Ganu at the Royal Albert Hall in 1963 and 1965 The Anglo-Welsh Ball which was held on the night of the conducted by Terry James. An LP was produced for each England v Wales game at the Grosvenor Hotel and which occasion with the title “A Nation Sings”. In addition, there included both the English and Welsh teams that had played was a vibrant Drama group at the London Welsh Centre. that afternoon as guests was also hugely successful. Again, tickets for this event were scarcer than tickets for the game!

The St David’s Celebration Ball started at 11.00pm and continued until 5.00am after which we have reports that some guests made their way to Heathrow Airport to have breakfast, presumably still in ballgowns and evening dress. How they got there is yet to be discovered, but as breathalysers were not introduced until The Road Traffic Act of 1967, I have a fair idea of the mode of transport!!

The Album cover for the 1963 Gymanfa Ganu recording. https://www.youtube.com/watch?v=bNgC16vdkBA

The Cymmrodorion, a London Welsh Literary Society was also very active during these times. Formed in 1751, although its origins are much earlier, it organised a St David’s Day dinner to help raise funds for the welfare of the

3 hundreds of Welsh people THE SWINGING 60’S who were pouring into London at that time. It also initiated the original London Welsh School on Clerkenwell Green and became the focal point for Welsh literature, poetry and the Welsh language in London. It is still active today.

The London Welsh School moved to Ashford, Middlesex in 1857 and is currently housed in an annexe of a primary school in Brent. London Welsh Male Voice Choir in the early 60’s

he London Welsh Male Voice Choir gained a good reputation during the initial years after re-forming and Ttoured Berlin in 1963 in an eventful tour that I have documented in my first Lockdown project entitled ‘The Berlin Tours’.

It was after this tour that, as a result of seeing how good The Welch Regiment looked in their resplendent scarlet uniform, choir president William Harries, decided that The London Welsh Male Voice Choir should have Red Jackets, which he paid for and were probably first worn in November 1963, at Southend-on-Sea. These red jackets, with the gold The original London Welsh School on Clerkenwell Green. Prince of Wales Feathers, have become the world-wide This Grade II listed building is currently home to The Marx trademark of the choir ever since. Memorial Library When the Choir was re-formed in 1961, Lyn Harry was appointed as Musical Director, with his wife Sally as accompanist. Lyn, originally from Llanelli, was Head of Music at King’s Cross School and organist of Walham Green Welsh Chapel. He resigned in 1967 and returned to Wales. He was MD of the Morriston Orpheus Choir between 1969 and 1975 and then emigrated to Ontario, Canada, where he founded the Hamilton Orpheus (now the Canadian Orpheus) Male Choir in 1977 and the Burlington Welsh Male Chorus in 2001. Both of these Canadian Choirs have sung in the London Welsh Festival of Male Choirs at the Royal Albert Hall.

The Welsh School after it had moved from Clerkenwell to Ashford in Middlesex in 1857.

Paste the following into your browser. https://www.cymmrodorion.org/the-society/our-history/

Another great piece of London Welsh Association history - The Duke of Edinburgh meets London Welsh - can be found by pasting https://www.youtube.com/ watch?v=WBvnMMUX5yE into your browser. You will see LWMVC Choristers on stage at The Haymarket Theatre, Basingstoke on 10 May 1969. The Choir with Basingstoke(with LadiesBasingstoke Ladies Choir, Choir) 10th May 1969 that the London Welsh Association was filled with the good ? Glewis, John McCall, Dan Walters, Ike Jones, Peter Evans, Elwyn Roberts, Brian Roberts, Mervyn Brake, Stan Hodgson. Viv George, Bill Barrington, George Jones, Alwyn Griffiths, John Evans, Arthur Gape, Arthur Hanks, Bill Morgan, Iorwerth Pritchard, Ieuan Williams, ?? Sam Meader, Goronwy Davies, Neville Watkins, Cyril Thomas, Dai (Milk) Jones, Watkin Evans, John Webberley, Barrie Rogers, John Hiett, Ian Young, David Griffiths, Eddie Williams. and the great of Welsh Society and became a very well Tudor Spencer Davies (conductor) respected organisation. Following Lyn Harry’s departure in 1967, Tudor Spencer Davies was appointed as the Choir’s new Musical Director, with John Peleg Williams as accompanist. At the first RAH 4 Festival on 25th October, 1969, Tudor was the organist and Bournemouth in May 1970. Interestingly, I also have a John Peleg was the piano accompanist. programme where John Morrell was the accompanist for a concert in Aylesbury on April 24th 1971 (at the Borough The records of Gethin Williams, the Choir’s archivist Assembly Hall). The next programme I have was for a and a former Choir Secretary, show that at the AGM on concert at the Winter Gardens in Bournemouth on 15th 6th December, Tudor Spencer Davies was re-appointed May 1971 when Marilyn Phillips was the accompanist.“ as conductor and that in his address he thanked the choristers for their support. He also said that 5 weeks earlier (at the first 1000 Voices Concert) he had achieved STORM CLOUDS ON THE HORIZON a lifetime ambition by playing the Royal Albert Hall organ to a capacity audience. However, there were calls for John hough the choir’s progress through the 60s seemed Peleg Williams to have ‘more time in front of the Choir’ and assured there came a bolt from the blue in 1967 when this later led to John Peleg becoming the Choir’s Musical Tsomething happened to cause a split in the choir Director, a position he retained until September 1979, when which resulted in about half of the members breaking off he returned to Wales to become music organiser for schools from the London Welsh to form The Gwalia Male Choir. in Powys. Haydn James was appointed as our new Musical Director. This left the London Welsh Male Voice Choir desperately short of both choristers and funds, and is viewed by some as possibly the catalyst for the idea of the 1000 Voice Festivals, although other choristers from that era seem to think that the Festival would have happened regardless.

Former chorister John Hiett remembers the controversy very well

“The story of the 1000 voices really began with the ‘split’ in 1967. Internal choir politics, (not unusual in male voice The Choir in Winter Gardens, Bournemouth 1971. choirs), resulted in about half of the choir deciding to John Peleg Williams is conductor and Marilyn Phillips is the leave and form the Gwalia Male Choir. choir accompanist. I had only been in the choir for about three months, John Hiett takes up the story about Tudor Spencer Davies’s but I felt able to stand up and suggest that, although I departure understood why the committee had to resign en-bloc, could they please consider staying on until the AGM ‘The committee had agreed to ask Tudor to resign, and when we could elect another committee. The committee myself plus two other committee members were deputed refused and walked out, followed by almost half the to meet Tudor in a pub before rehearsal to tell him. choristers who went on to form The Gwalia Male Choir.

We three arrived first, and at the appointed time the other two committee felt a desperate need to go to the gents! I was at the table alone when Tudor came in and sat down. “What’s this all about John?” he asked and I was obliged to break the news before the others returned.

The choir had a few accompanists during this period;

Former Concert Secretary Alwyn Griffiths digs deep into his memory.

“I joined the LWMVC in 1967 and was a chorister until 1973 when I left the choir to take up a post in Oxford. (I took over as Concert Secretary from Alan James in1970 until 1973 when I left). The First Festival in 1969 Phil Buck was the accompanist when I joined The London Welsh Male Voice Choir and did play at a number of I was proposed as the new treasurer. I had the books from concerts from 1968 until 1969 (at least). I still have the previous treasurer and there was no money in the the programmes where Phil played. Then Elwyn Gildas bank and all the entries in the accounts , in and out, read Williams was accompanist at the Winter Gardens in “sundries”. Before long, musical director Lyn Harry decided

5 The 1972 Festival. Choristers held folders to sing the Cherubini Requiem. to resign and we appointed Tudor Davies as our conductor. Hall, but chorister, Ian Young (Ian Taxi), produced £200 in Tudor was a nice man, but I think he was unwilling to used notes and lent it to us. become the long-term conductor as he believed that he was too old, and before long we replaced him with the We sold out. We had total costs of about £2000 and made young John Peleg Williams, who was at that time our a profit of £2000. We had one big problem though. Just accompanist. before the concert, the Albert Hall decided to instal that canopy over the stage and the saucers. Half of our choir Now we just wanted to get some money, and choir would be singing over the canopy and half underneath secretary Gerry Martin came up with the idea of booking - two concerts for the price of one! I rang the General the Albert Hall for a 1000 Voice Festival. I was given the Manager to say we needed to raise the canopy and he job of sorting out the financial rationale. said the engineers had designed it to be there. I told him that I was an engineer (I didn’t tell him I was a mining Elwyn Roberts arranged a meeting with a number of engineer) and he asked me to contact the installers. They male voice choirs in South Wales and he arranged for Roy saw the sense of my argument and raised the canopy to Bohana from the Welsh Arts Council to be the conductor. what it is today. I prepared the argument to put to the Welsh choirs as I knew that it was every chorister’s ambition to sing at the We ran the second 1000 voices the following year, 1970, Royal Albert Hall. and then the committee decided to do it every two years.” I investigated all the costs, and worked out that, If every chorister sold two tickets, one for his wife and one for his aunty Betty, that would cover our costs, and all other sales would be pure profit. There would also be the money from the sale of the Souvenir Programme. We would sell 1000 to the choristers as well as sales to the audience and we could sell enough ads to cover the print costs. We also had the promise of a television recording (no fee but prestige) by the BBC.

So I was able to tell the choir representatives about the total costs of putting it on. We would choose music every choir had already such as Myfanwy and Soldier’s Chorus, so avoiding the cost of buying music. The choirs could share any other costs with us and share any profit, or we, London Welsh would take all the risk and give the choirs a contribution towards their travel costs. There was no The Second Festival in 1970 doubt in my mind that the various choir representatives had come to the meeting to see what was going on and Alan James also remembers these epic events. had no mandate to risk their own choir funds, so they played safe and accepted our offer. “Royal Albert Hall-1000 Male Voices What an iconic title! And what amazing achievements We had no money to pay the £200 deposit to the Albert followed for the London Welsh Male Voice Choir.

6 I joined the choir in 1964 and I remember the meeting pleasantly surprised by the response of companies such where the committee put forward a motion to replace Lyn as British Steel and the National Coal Board. Each choir Harry. I, together with John Hiett and others, spoke against began to send in biographies and photographs of choir, the motion which was defeated, and resulted in the conductor and accompanist as did the soloists, while committee and most of the choir immediately walking advertising agents sent artwork. Bill Barrington, top tenor, out. The remaining twenty or so choristers proposed provided valuable help and advice on correcting and proof and elected a new committee, Viv George proposed me reading some of the biographies in particular. because “you can talk”, and this small group began to plan the future of the London Welsh Male Voice Choir. I used many of the programme sellers used by the London Welsh Association, but on the day some others turned Soon after, Lyn Harry resigned and eventually emigrated up including David Williams (Dai Cochyn), at that time a to Canada, where he formed Hamilton Male Choir and young teenager in the big city!. On other occasions, my later, brought it to join one of our Festivals at The Royal Mam. In 1976, my pregnant wife Jeannie and my sister ran Albert Hall. Following Lyn’s departure, one rehearsal began the programme room and Cochyn counted the money! without a conductor! So three of this depleted band, including me, tried to conduct!. I remember, when it was On the day the centre of operations was the Programme my turn, conducting and standing in front of Russell Jones, Room: here I had delivered all the programmes which Baritone, who stayed with us for a while but then joined needed to be placed in piles for collection by each choir the Gwalia, thinking “we cannot go on like this!” and the many programme sellers. Later the monies collected from the choirs and the sellers had to be So as we can see, the choir was in a financial mess with counted, bagged and banked. few members and no money to fall back on but with the appointment of John Peleg Williams and Tudor Davies, That first 1000 Voices in 1969 was fronted by the London the choir gradually began to grow in size and then Gerry Welsh Male Voice Choir, a small choir of just 43 - a thin Martin came up with the idea of booking the Albert red line, in front of the mighty choirs from Wales.” Hall for a 1000 voice festival: that such a momentous decision was taken by a small group of amateurs after the choir was broken, says much for the vision, belief and commitment of those involved. Steve Davies, current Chairman of the Gwalia Male Choir has written an introduction as part of his ‘History We were only 28 on stage at our first concert at an of Côr Meibion Gwalia’ and gives another insight into the asylum in Bexleyheath but with John Peleg Williams at proceedings’. the helm and with the appointment of Marilyn Phillips as our accompanist things were now looking up: we were “Côr Meibion Gwalia was formed in September 1967, in the process of becoming a forward-thinking musical many of its members previously having been in the identity that would eventually break the mould of the London Welsh Youth Choir and the London Welsh Male conventional male voice genre with ground-breaking Voice Choir. ventures into the ‘pop music’ field. The London Welsh Male The 1000 Voices also presaged some radical innovations Voice Choir had been in male voice singing: bringing ‘pop’ songs into the formed in 1902, but repertoire, allowing for the commissioning of music for disbanded at the outbreak the Festival - both popular and classical and encouraging of the First World War. ambitious performances such as Cherubini’s Requiem The London Welsh using 8 part harmony! It also gave the choir a sound Association was founded financial foundation and gave young Welsh soloists, and in 1920 in Baker Street others, a magnificent arena to perform in. with Margaret Lloyd George its first President. I was given the responsibility of delivering a Souvenir Programme based on my experience of working in a paper In 1928 a new headquarters for the Association to serve mill in Cardiff and buying paper for the BBC, with the only as a memorial to those who fell in the Great War was stipulation being not to make a loss. proposed by Picton Davies, David Lloyd George and Sir Howell Williams who donated and financed premises in I began by asking the London Welsh Association for the Mecklenburgh Sq (opened in1930) and construction of loan of the little bags used by the programme sellers a new building on an adjacent site fronting Grays Inn Rd at the LWA’s St David’s Festival at the RAH. For my first which opened on 5 November 1937. programme I approached a printing company called Vail & Co, based near Kings Cross Station. I showed them my In the meantime, the London Welsh Male Voice Choir had ideas and eventually we agreed a price. I then needed been re-formed in the 1920s only to disband again with to sell advertising to offset some of the cost and was the coming of the Second World War. 7 The London Welsh Association Youth Choir was very active concert after ‘the split’ had 28 on stage and the Gwalia and successful during the 1950s. However, members were Male Choir in 1968 had 40.” required to retire at the age of 30, and this was one of the reasons why the London Welsh Male Voice Choir was re- Authors note: There are records of a Gwalia Male Choir established in 1961. in London as far back as 1902 but they seem to have been absorbed into the London Welsh Male Voice Choir when In 1967 differences within the choir resulted in a ‘split’ Merlin Morgan formed the choir in the same year. and the committee resigned en bloc with immediate effect, together with quite a few of the choristers, and a The Gwalia Male Choir have appeared at the Festival on 3 few more leaked away afterwards. However, the London occasions and were due to appear at the postponed Festival Welsh Male Voice Choir was committed to a summer tour in 2020. of Switzerland and, shortly after the EGM, this went ahead with Haydn James as conductor.

On its return, the choir split. Elwyn Roberts became the o the first Festival of 1,000 Voices was born. Changes London Welsh Male Voice Choir’s new Chairman. The in the RAH layout meant fewer voices could be staged Treasurer, John Hiett, tried to get the two halves of the Sand it was re-named the London Welsh Festival of choir together again, but there seemed to be too much Male Choirs in 1988. (Some pedant in the audience actually bitterness. Conductor Lyn Harry went back to Wales and counted the number of choristers on stage and complained in 1969 became conductor of the Morriston Orpheus. To that he came up with only just over 900!) the surprise of many, at the end of Morriston’s 1975 tour of Canada, Lyn Harry decided to remain there, and later The Ninth Festival programme cover of 1984 (below) formed the Canadian Orpheus. He died in 2006. portrays the conductor counting the number of choristers on stage in a wonderful cartoon by the famed South Wales The breakaway group formed a new choir that, under cartoonist Gren, whose rugby cartoons delighted readers of the chairmanship of Dafydd Gwynfor Jones, became Côr the South Wales Echo for many years. Meibion Gwalia -The Gwalia Male Choir, ‘Gwalia’ being old Welsh for ‘Wales’. The choir attracted new young Apart from the London Welsh Male Voice Choir, eleven other members and soon became larger in number than those Choirs took part in the first Festival and all were from South left behind; The London Welsh Male Voice Choir’s first or South West Wales. The “roll of honour” is as follows:

8 Aber Valley Male Voice Choir, Beaufort Male Voice Choir, Blaenavon Male Voice Choir, Caerphilly Male Voice Choir, Côr Meibion Cwmfelin (now Llanelli), Côr Meibion Myrddin, Côr Meibion Pontypridd, Cwmbach United Male Choir, Dowlais Male Choir, Ebbw Vale Male Choir and Treharris and District Male Voice Choir.

The conductor was Roy Bohana, accompanist John Peleg Williams, organist Tudor Davies and the compere was the well-known broadcaster Alun Williams. The soloist for that first Festival was Jean Allister (Mezzo-Soprano / Contralto) who came from Ballymoney in County Antrim.

The second Festival involved North Wales choirs and thus they alternated for some years.

Dr Haydn James

CONDUCTORS Welsh choral directors, with Noel returning in 1992 to conduct his third Festival. e have had the pleasure of some of the finest male voice conductors in Wales giving us musical Any Festival depends so much on the involvement and Wdirection in the twenty six Festivals: Roy Bohana, support of each and every choir’s own Musical Director - four times (1969-74); John Peleg Williams, twice (1976- without that, the work will not be covered. 78): Noel Davies - English National Opera, once (1980); Noel Davies - Pontarddulais Male Choir, three times (1982, Fortunately, there have been just a small number of choirs 1984 and 1992); Dr Haydn James, nine times (1986-90, who, on the day, should really not have been there! One 1994-96, 2000-02, 2006-08); Alwyn Humphreys, twice renowned choir sent just 30 men out of their 70 to the (2004 and 2010); D. Eifion Thomas, once (1998) and Dr first regional rehearsal, which then necessitated a visit to Edward-Rhys Harry who has conducted at the Festival four work with them on their own - they have not received times (2012-18). a second invitation….. However, the vast majority of choristers, accompanists and conductors work hard over What is it like to conduct at the Royal Albert Hall and some 18 months to ensure that they have done the work face not only the massed choir but an audience of many and do not let themselves down. I do remember seeing thousands and the expectation of a nation? one overhead TV clip which showed rather a large number of yellow ‘stickies’ on the back of the guys in front of I asked Dr Haydn James and Dr Edward-Rhys Harry, them - surely not crib notes?? both seasoned conductors at the Festival, to elaborate on what it is like to walk out on stage in the electric We should never forget that most choirs have to learn atmosphere of the Royal Albert Hall and what were the a high percentage of the music, although the aim was pitfalls of regional rehearsals. always to include as much standard repertoire as possible. One German Choir had to learn all 18 pieces in the mix Haydn remembers ‘The Wall of Sound’ of English and Welsh items, when English was not even commonly used in that particular area of Germany (we “Having succeeded John Peleg Williams as LWMVC had actually included a German song for them - Aus Der conductor in 1979, I was therefore quickly involved in the Traube - but it was not the arrangement they were used 1980 Festival as one of the individual choir conductors. to singing - so they had to re-learn that as well! It proved At the time, the Festival had a brief to offer the job to to be a ‘challenging’ rehearsal when I went to see them…). guest conductors as well as to the LW Musical Director. During my time with the choir, the Festival had four guest It’s so important that choirs enjoy the music, as well conductors - in 1980, we had Noel Davies (ENO) followed as the paying public. Ticket prices are high whilst choirs in 1982 and 1984 by another Noel Davies who, for many spend lots of money on their visit to London, especially years was MD of Pontarddulais MC. I had immense those coming from overseas, so choirs should actually admiration for Noel and learned so much just by watching enjoy what they sing and the audience should leave with a him at work in rehearsal and during his two concerts. My smile. Music which is new and untried should be selected chance came to direct the 1986 Festival, some 7 years very carefully in the hope that it might, wherever possible, after joining the choir, subsequently conducting a further enter their own repertoire, otherwise choirs end up eight Festivals, interspersed with two directed by Alwyn working for perhaps 18 months on something they might Humphreys and one by Eifion Thomas, both renowned only sing once. 9 Conducting a massed choir is an amazing and humbling The Festival runs experience - any ego should be left at the stage door so ‘regional’ rehearsals that you can give the task in hand 100% concentration. for choirs in different That ‘wall of sound’ which hits you for the first time when parts of the country you stand in front of massed voices is truly mind-blowing. to enable groups of choirs to rehearse Things can and occasionally do go wrong - in one of my together before early Festivals, the choir ran away with the first chorus the big day. It was of ‘Silver Birch’ - all I could do was give a mental wave during my very first and meet them at the end of that chorus - it was a rude regional rehearsal awakening. I also recall arriving at the Hall around 12.00 as conductor of the noon, going to my dressing room and suddenly having festival, in Tabernacle serious stomach ache. I had no idea what it was, so Chapel, Morriston, stretched out on a sofa until it disappeared some 30mins Swansea, where I before I was due to go on stage - a GP friend singing in first had to prove one of the choirs came dashing around with a diagnosis the reason I had and it proved to be a hernia which was sorted a couple of been appointed to weeks later…. scary though, and it prompted the absolute conduct! necessity to have a deputy lined up for each subsequent Festival. Dr Edward-Rhys Harry I arrived at the Chapel for the The Festival has attracted some brilliant soloists, both rehearsal with busloads of choirs piling in off the street those at the start of their careers and those already and was met by David Williams (Cochyn) who was Chair established - we have been immensely fortunate in having of the Festival Committee, Keith Warren (Chair of the superb accompanists from our own choir who are more choir), John Downing, and Colin Davies (Ticket secretary), than capable of working with soloists and choirs with as well as Robert Nicholls (organ) and Annabel Thwaite equal professionalism. Sadly, however, some soloists are (accompanist). often too lazy to actually learn the one item we ask them to do with the choirs, and turn up on stage with music…. The rehearsal started well with plenty of humour and It also happens in our regular concerts, and yet these are energy as the 7 or 8 choirs got to know the conductors’ people who can learn whole operas. It’s so wrong. methods of working. During the rehearsal of ‘One Step’ from The Hero’s Journey, I happened to look up into To conduct just one Festival is an honour and privilege, but the chapel gallery to clearly see a conductor of one of to do nine was beyond my wildest dreams.To work with the choirs present demonstrating to a group of other choirs from across the globe, with renowned soloists, with conductors (the conductors usually sat in the gallery to piano and organ accompanists who are truly world-class observe the rehearsal) how my conducting and tempo of and with, in my case, both The Cory Band and The Band of the piece was incorrect. The Welsh Guards has been truly humbling, and has given memories I will never forget. At this point I had a choice:ignore it or deal with it. I chose to deal with it… Haydn James I stopped the rehearsal and in front of around 650 men I scolded the conductor for such undermining behaviour and invited him to come and conduct if he knew better Edward also has vivid recollections of the Festivals. than me.

“The biennial London Welsh Festival of Male Choirs is The room went still. Not a sound or a movement. I then a spectacular event that has inspired a generation of thanked the massed choir for their patience and started musicians. There is no doubt that it has inspired many rehearsing again. The conductor came and apologised to other massed male choral events around the UK and me at the end of the rehearsal and I accepted his apology, especially in Wales where massed events have become mainly because he was quite ashen looking. regular. My memories of conducting the Festivals themselves are I was appointed to conduct the Festival in 2012, which vivid. The lights, colour, flowers, that incredible venue, included a newly commissioned work entitled ‘A Hero’s Alwyn Humphreys’ sage advice during the 2010 Festival, Journey’. It is fair to say that all those who came on that hoping the piano is mic’d properly this year, a very out of particular journey of a piece should be classed as heroes tune oboe in 2018, the two basses and three top tenors and so the title is most worthy! nine rows up singing completely out of tune, repeating

10 ‘Sanctus/Glân Geriwbiaid’ for what seemed like half an In addition, in certain choral items, some soloists in the hour, a missing organist for one item, in 2018. LWMVC have made a significant solo contribution. Geraint Lewis, Iorwerth Pritchard, David Williams, Peter Totterdale, Three particular moments will stay with me forever…the Harry Bell and Will Rees have all sung solo parts. first Festival performances of ‘Rhys’ (2012) and ‘Crugybar’ (2016) and the standing ovation we received on the Authors Note: Roy Adams (nicknamed 109 after the number performance of ‘Don’t Go Chasing Shadows’ (2016). of the bus he drove) sang the solo in ‘There is Nothing Like Why? Because we made music. Real, emotion inducing, Dame’ in 1986 but, unknown to anyone (including Roy), just powerful, Welsh music. And that is surely at the heart of as the choir started to sing a female TV personality came this fantastic cultural icon of a festival.” onstage and announced that during this song there would be a ‘World Record Attempt’ to collect the most money during a Edward-Rhys Harry song for Children In Need and collection buckets were passed along each line of seats to the cacophony of raising of seats Authors Note: In the 25th Festival in 2016 previous Festival and the clinking of coins. Needless to say, the audience, choir Conductors, Dr. Haydn James and D. Eifion Thomas returned and Roy 109 especially, were not amused. to conduct one song each as part of the 25th celebration.

ACCOMPANISTS

SOLOISTS: he Festival has benefited from very gifted accompanists and he Festival has often featured well-known artistes Talthough there have been as soloists, especially in the world of opera. The first 26 Festivals we have only had 6 TFestival featured Irish mezzo-soprano Jean Allister piano accompanists during that who came from Ballymoney in County Antrim and so far time: John Peleg Williams, four nearly 50 principal soloists have graced the stage including times (1969-1974), Marilyn a surprise performance by the wonderful Harry Secombe in Phillips, nine times (1976, 1980, ‘Go Compario” Wynne Evans in 2004, Dennis O’Neill 1980-1994), Bryan Davies, in 1994 and Welsh folk singer Dafydd Iwan sang for us in twice (1996-1998), Rosalind the 20th Festival in 2006. Hilary Western, Jason Howard, Jones, twice (2000-2002), Wynford Evans and Delme Jeffrey Howard, twice (2004- Bryn Jones have also made 2006) and Annabel Thwaite, their mark at the Festival. six times (2008-2016). Of these six, four have been the Rosalind Jones In recent years, the Festival incumbent accompanist of the has provided a platform London Welsh Male Voice Choir at the time of the Festivals. for ‘up and coming’ Welsh singers including One immense character who appeared with us was Gwawr Edwards, Trystan Muscovite Sergei Vladimirsky Llyr Griffiths, Rhiannon (pictured) as accompanist on Llewellyn, Llio Evans, balalaika in our performance of Susannah Tudor-Thomas ‘Kalinka’ in 1990 and 2002. and Fflur Wyn. Go Compario - Wynne Evans Sergei boasted that “he could play every instrument in the I asked Marilyn Phillips world” and currently, according whether she accompanied to Wikepedia, has over 350 Sir Harry Secombe at the musical instruments in his Festival in 1980: house.

“Harry Secombe – I don’t We have had 9 organists - think I accompanied him Tudor Spencer Davies, Richard for his solos,but I clearly Elfyn Jones, Carys Hughes, Jane Watts, Huw Tregelles remember us both having a Williams, Timothy Morgan, Jeff Howard, Robert Nicholls and great session in the Green James Hearn. Room, when I played tenor operatic arias – which he Magnificent accompaniment has also been provided by the could sing like a dream!” National Brass Band of Wales in 1976; Band of the Welsh Sir Harry Secombe Guards in 1996, 2000, 2002, 2006, 2018; the Cory Band,

11 2008, 2010 and 2012; The Chamber Orchestra of Wales One gorgeous soprano soloist was well prepared, with in 2004; The British Sinfonietta in 2014 and in the 2016 a lovely programme, when her husband appeared in the Festival, The Symphony Orchestra of the Royal Welsh dressing room with their baby – “I want to hear you sing”. College of Music & Drama. Sweet baby screamed her lungs out, while Mum had to During our performance of ‘Dry Bones’ in the 1994 Festival abandon her in the dressing room to sing. The marriage we had percussionist Paul Philbert on stage, playing a perhaps understandably soon ended in divorce. number of percussion instruments to the delight of both choir and audience. At one of my final Albert Hall appearances, the recording engineer said he didn’t have a microphone for the piano. My (A full list of conductors, compères, accompanists and reaction was unprintable. Unprofessional to say the least. soloists appears in Appendix 1 on pages 27-29). Despite a sound check which said the piano could be heard, the performance revealed that no piano could be heard above the first tier of boxes. MUSICAL MEMORIES Some singers were better-equipped than others, possessing Thousand Voice Festivals (LWMVC) By Marilyn Phillips the personality as well as vocal ability to entertain the Thousand Voice audience – who always knew what they So many memories of the ‘Thousand Voices’! wanted. A less than successful guest spot was given to a folk band who had been heard in a Cardiff pub. That ambience My first involvement with the Thousand Welsh Male Voices was very different to the Albert Hall, plus the fact that their was in 1972. This was conducted by Roy Bohana, and I was music was undoubtedly Irish-flavoured! asked to page-turn for the organist Richard Elfyn-Jones. The well-established soprano who informed us on the Thursday before the Saturday concert that she had been Subsequently, the Festival was conducted by John Peleg- in hospital for five days having her appendix removed. The Williams, amongst others, and I became accompanist for gorgeous Hilary Western (aka The Great Western) stepped the choirs and soloists. in at the last moment and slayed the audience. Due to her last-minute learning of La Vergine degli Angeli, she made Regional rehearsals in a slight mistake, so her memorable performance wasn’t Wales were always part released. Hilary continued to be a favourite performer with of the schedule, and LWMVC, touring with us to Berlin and Austria. the wonderful Mike Poole was Librarian, A famous Welsh bass-baritone was forced to withdraw, striding around with again on the Thursday prior to the concert. His agent armfuls of music, giving managed to track down another Welsh baritone, who was out copies right left flying into London, contacted at Heathrow by customs and centre. – these were the days before mobile phones. Imagine his shock at being detained to take a phone call! The lovely Some Festivals ran Jason Howard went down a storm. I knew all the music musically smoothly, he wanted to sing, apart from a 30s type ballad. “Go on others had challenges. Mar, you can do it” said Jason, singing me the tune, as I One nightmare memorised, and harmonised it. All this at 5 PM, doors open occasion was when my at 7…… Jason had spent the afternoon hiring tails for the music disappeared from evenings’ performance. A great Dowlais boy, now resident in the piano during the Marilyn Phillips as she appeared Canada, and we still keep in touch. afternoon rehearsal. in the 1976 programme. Marilyn I knew that someone accompanied the Festival nine times. Many happy memories, and many of them very character- had inadvertently forming regarding ‘alright on the night’. That’s the musicians’ picked it up, and an announcement was made, asking world! all to check folders etc. No result. As the music was all memorised, no-one had music with them in the Hall. Gary I’m not sure how many ‘Thousand Voice Festivals’ have Higginbottom (now an esteemed Judge!) raced to his car – been held, but the ones I was involved in were great about a mile away, and donated his single-side music, which fun, sometimes unexpectedly challenging, but always I had to stick together with gaffer tape. Only a musician a wonderful celebration of Welsh choral music at its can appreciate the horror of not being able to play from enthusiastic best.” prepared and secured music, the ‘gaffer tape sheets’ wafted about in the air-conditioned breeze. The music was found Pob hwyl! after the concert in the Choir dressing room – yes, picked up by an organizer. To this day my music is always in my sight! Marilyn

12 Annabel Thwaite who has been accompanist at six his Viola and music so that when he came on stage all I Festivals also has wonderful memories. could say was “hello darling, are the kids in bed ok? “…. We both looked around us to see our wonderful friends, A Dream Come True! choristers, and then looked up to the second tier balconies on the right, only to see our daughter fast asleep with a “It is hard to put lollipop stuck in a mouth. into words that feeling when you It was magical though, to have that moment, and that first step out to a would not have been possible without the LWMVC and packed Albert Hall. Edward-Rhys Harry. So many notes, so many memories, (so One minute you many choristers that I got to practise which cheek to kiss are having friendly first when receiving my applause and flowers) and then so banter with Huw many people to thank for making my dream come true…” Edwards or Aled Jones, and then Annabel the wonderful Jackie Taylor says “3, 2, 1 off you go COMPÈRES Annabel….” n the 26 Festivals that we have held at the Royal Albert It’s amazing how Annabel Thwaite seen against the Hall, we have had the pleasure of being introduced on my biggest priority backdrop of the choir and band in the stage by seven different compères. is that I don’t trip I 2018 Festival. and fall over my Alun Williams OBE. 12 Festivals dress like a huge green gherkin. Oh I wish I had listened to The well-known Welsh my mother and had the hem taken up….yes, there it goes, broadcaster Alun Williams OBE the stiletto heel is stuck through the bottom of the dress, compèred the first 12 Festivals. and I’m still trying to look elegant and in control except Born in Port Talbot, South then I have to somehow squeeze past the eclectic array of Wales, Alun became one of the welsh coloured flowers and the rather lonesome and fragile most recognisable voices on microphone. But I make it, smiling and taking a memorable BBC radio, often commentating deep breath. Wow…. this is my dream! How far have I come on international rugby from being that gawky thirteen year old Royal College of matches, before venturing into Music Junior Student, sitting on the steps of the building a successful television career. eating my Marmite and cheese sandwich and hoping, imagining and dreaming that one day I was going to play at Wyn Calvin MBE. One Festival, the Royal Albert Hall. Alun was followed in 1992 by choir vice-president Wyn Thank you LWMVC and Dr Haydn James as I never in a Calvin MBE. Calvin, nicknamed million years thought I would get the opportunity to play “The Welsh Prince of Laughter”, more than five times in that iconic place. Looking out at the started his career in ENSA in warmest audience I have ever met, and behind me 1000 World War II and went on to inspiring Welshmen, is truly remarkable. work in variety for over 70 years and was heavily involved So many memories, so many feelings can be reflected in the entertainers’ charities upon. However, it is such an honour to have shared the The Variety Club of Great stage with wonderful artistes, the beautiful cellist, Steffan Britain and The Grand Order of Water Rats. Morris, the graceful Elizabeth Donovan who sang the most heart-breaking performance of Dvorak’s “Songs My Mother Cliff Morgan CVO, OBE. Two Festivals. Taught Me”, my wonderful friend Caryl Hughes whom I Next to compère our Festivals met through the late John Evans and the Gwalia choir and in 1994 and 1996 was the so many more incredible musicians. But the highlight was much loved Cliff Morgan sharing the stage with my husband, Violist, Matthew Jones. CVO, OBE. Cliff was one of the greatest rugby players of Whereas my rehearsal day had started calmly at 11 am on his generation and went onto stage, he only just managed to get the train in time (the become Head of Outside babysitter had arrived later and there was a drama or two Broadcasting for the BBC. with the fish fingers…) He made it though, essential clear Morgan had an extremely mascara and red Chanel lipstick for me in hand, along with succesful, long-running career 13 in radio and television and will forever be remembered for Aled Jones MBE. One Festival. his celebrated commentary on the 1973 Barbarians rugby Finally, Aled Jones MBE took match against the touring All Blacks at Cardiff, particularly up the duty in our last (to the commentary of that golden try by Gareth Edwards. date) Festival in 2018. Born in Bangor and raised in Anglesey, Cliff was Choir President between 1990 and 2009. Jones became famous for the cover version of ‘Walking Philip Madoc. Two Festivals. in the Air’, the song from Channel 4’s animated film The Snowman, based on the book by Raymond Briggs. The record reached No. 5 in the UK charts in 1985 when Aled was only 15 years old. Jones has since gone on to become an actor and television presenter probably best-known for presenting BBC One’s ‘Songs of Praise’ and ‘Escape to the Country’. Jones was awarded an MBE in the 2013 Birthday Honours for services to music and broadcasting and for charitable services.

Another choir president to take up compèring at the Festivals was Philip Madoc who undertook the duties at Here is Frank Lincoln’s article. the 1998 and 2000 concerts. Merthyr-born Madoc was one of the most famous actors of his time and will be fondly LONDON WELSH FESTIVAL OF MALE CHOIRS remembered for his appearance in an episode of Dad’s - A COMPÈRE’S VIEW BY FRANK LINCOLN Army as a German U Boat Captain. The scene in which he demands to know Private Pike’s name, and Captain “For such a comparatively small nation, Wales has Mainwaring says “Don’t tell him, Pike!”, has been judged as produced an extraordinary number of world class singers - one of the top three greatest comedy moments of British and its choirs too are truly world renowned. Remembering television. He became President of the Choir in 2009 but that George Bernard Shaw once wrote that ‘the Welsh are very sadly in March 2012 became seriously ill and “died in Italians in the rain’ - perhaps the secret of our musicality office” lies in Welsh water, and there’s usually plenty of that available in the Principality. Whatever the reason, there Huw Edwards. One Festival. is no denying the truth of the Reverend Eli Jenkins’ Our past-president Huw statement in Dylan Thomas’ ‘Under Milk Wood’ - ‘Thank Edwards became the Festival’s the lord we are a musical nation’. fifth compère in 2002. Huw has been an integral part of And that word ‘milk’ has a special relevance to tonight’s the London Welsh scene for Festival. At the turn of the twentieth century many many years and is one of the Welsh people moved to London to find work as teachers most recognisable faces on and preachers - and many farmers migrated to sell milk television today as newscaster in the capital. Anxious to preserve their culture and and broadcaster in both traditions, they built their own schools and chapels, and English and Welsh. inevitably formed their own choirs - the illustrious London Welsh Male Voice Choir was formed in 1902, and whilst maintaining the best of Welsh male choral tradition, they Frank Lincoln. Seven Festivals. also sought to be innovative, and in 1969 it introduced Frank Lincoln became our the first of the now famous London Welsh Festival of Male compère in 2004 and this Choirs at the Royal Albert Hall - involving hundreds of popular broadcaster remained men from all over the UK and beyond. with us until our 25th Festival in 2016, a magnificent total Tonight it proudly celebrates its 25th Anniversary. It’s very of seven. (An article by Frank easy to forget the preparation beforehand, the months Lincoln - A Compère’s View, of rehearsal in the participating choirs’ home territories written for the 2016 Festival - learning new repertoire and arrangements, mastering programme, follows). foreign tongues (I’ve often wondered how many of the choirs get along with some of the tongue twisting eccentricities involved in the items sung in Welsh). And then on the day of the concert, the choristers have just five hours in which to rehearse and to sound as if they’ve 14 MUSIC

s I mentioned in my opening paragraph, the Festival was innovative in many ways, no more so than Aintroducing new music to the wider audience. Although the first two Festivals were based on a standard Welsh Male Voice repertoire to avoid the costs of buying copies, it soon became obvious that the Festival was the ideal platform to introduce new genres of music.

We had Mansel Thomas, one of the finest hymn composers/ arrangers of the time, writing music especially for the Festival. Mansel, famed for arranging Llef and Llanfair, earning the nickname ‘Mansel Amen’, wrote ‘Gloria in Excelsis Deo’ for the 1978 Festival and ‘Praise Ye, Praise Ye been together for a lifetime. The camaraderie has to be God, The Lord’ for the 1980 Festival. seen to be believed. They are like one great family, and in some ways that is exactly what they are, and many of the Rod Edwards and Roger Hand, who were part of the choirs include different generations of the same family recording trio Triumvirate, responsible for the choir’s ‘Take bonded together by the love of singing. Me Home’ album, composed ‘All Of Us One’ for the 1978 Festival. Sitting at the side of the platform as I do, listening to it all, is thrilling and inspiring, an unique, unforgettable, and very Although Karl Jenkins’s The Hero’s Journey was humbling experience; a privilege. Mind you I’m amazed commissioned by the London Welsh Male Voice Choir as that so many men can sit for nearly three hours without a part of the 2012 London Olympics sustainability initiative comfort break. I’m also always aware of the fortune to be and was performed at the Royal Festival Hall Wales Choir of made selling blazers to members of male voice choirs. the World concert in July 2012, it was not until the London Welsh Festival of Male Choirs in October 2012 that it was Since 2004 I have been lucky enough to have compèred recorded in its entirety with a wonderful arrangement for this marvellous Festival of Male Choirs. My role is a fairly the Cory Band who accompanied the Festival. simple one - to ‘bring it all together’ as they say, with a little information about the soloists and the music Two more songs, Down by the Riverside and When the where necessary, with a few relevant anecdotes and the Saints Go Marching In, by Rutter and Paul Bateman, were occasional joke thrown in for good measure. Quite often commissioned for the 2000 Festival by Jim Heald of the I’m asked for a copy of some material or other that I’ve Saengerfest Male Chorus - . used at the concert, and occasionally I’m sent all kinds of ‘jokes’ to be included at the next event - some interesting, Haydn James takes up the story: some never to be repeated again. “I heard the two songs (Saints and Riverside) on a After the concert, many of the choristers wander over Mormon Tabernacle CD and recommended them to from the Albert Hall, to a local hostelry, and there they LWMVC. ….My Cape Cod friend Gordon Heald of the sing to each other in an impromptu concert. It’s great fun, Saengerfest Male Chorus from Boston was nearing the and can go on for hours, and it ends only when the bar is end of his life, suffering from Motor Neurone Disease, and closed. With some sadness I’ve decided to call time on all I went across to see him for the last time. His cousin Jim compèring activities; it’s been a wonderful experience, as Heald heard I was coming and asked if I had some music expressed in a little ditty that I wrote back for the 2004 which could be dedicated to Gordon, and he would fund Festival – it. I took both songs with me and we asked Gordon which he preferred, without him knowing the real reason. Jim A male voice choir in full cry was impressed with both, and paid for both, one dedicated Makes music unlike others - to Gordon, and the other to the Saengerfest. Both were It’s all for one and one for all, included in the 2000 Festival.” A community of brothers. And in a world of so much loss Not all choices of music have been popular with the choirs. Of war, of deprivation – Three movements from Cherubini’s Requiem (Dies Irae, This is the note that gives us faith, Offertorium, Sanctus) were included in the 1972 Festival And hope, and inspiration.” and although The London Welsh Male Voice Choir had learned it without copies, none of the other choirs had put Frank Lincoln in as much effort so we all had copies on stage. All choirs

15 had a black folder but, to our pride and satisfaction, London 6 times - Myfanwy by Joseph Parry (1969, 1970, 1980, Welsh had empty folders as we had put in immense time 1990, 1994 and 2002). and effort to learn the piece. The next most frequently performed pieces are:

Another complaint from various choirs has been that they 5 times - An American Trilogy, Soldiers’ Chorus from Faust, have been unable to perform some of the songs on their Serenade from The Fair Maid of Perth, Sarah, A Roman War own after the Festival. This could have been because of Song, Ride the Chariot, Morte Criste, Moab and Llanfair. copyright issues or the fact that some of the pieces, such as Cherubini’s Requiem (above) were written for a big choir The London Welsh Male Voice Choir also managed to and did not suit individual small choirs, of which there were ‘break the mould’ of traditional male voice repertoire by plenty invited to the Festival. introducing popular music into the Festivals.

Language has sometime been a stumbling point for some Our venture into this musical idiom started with our non-Welsh speaking choirs, although it has to be said recording of ’Sloop John B’ in 1973 and although this that all our overseas choirs have always been extremely has only been performed in the 1998 Festival, we have confident of having learned their parts for the Festival. introduced versions of many modern songs by such well- known artistes as Lennon and McCartney, Paul Simon, Likewise, the London Welsh Male Voice Choir has always Brian May of Queen, John Denver, Elton John, Take That, prided itself on knowing the repertoire off by heart and have Mike Batt and Andrew Lloyd Webber. had no difficulty in learning the pieces that we have sung in other languages such as Latin, Italian and German.

After the first few Festivals which were almost entirely Keith Warren has written the following: made up of choirs from Wales it was decided to invite more choirs from other parts of the UK and eventually from all The Festival’s role in widening Choir repertoires, including five continents. the singing of Welsh outside Wales

To date we have had the pleasure of including choirs from At the end of the 26th Festival, 128 different Choirs will Australia, Canada, Germany, Hong Kong, Ireland, Norway, have participated and the Festival continues to attract Slovenia, South Africa, Sweden and the USA, plus of course Choirs who have never previously enjoyed the experience! In from England and Scotland, forging many lasting friendships the early Festivals most of the Choirs were from Wales but and invitations to tour. increasingly Choirs from outside Wales have been keen to sing in the Festival. The most frequent pieces performed have been: Of the 128 Choirs, 71 are from Wales, 35 from England & Scotland and 22 from overseas. Regarding the Festival 9 times - Speed Your Journey written by Giuseppe music, 230 different choral items have been sung over the Verdi, adapted and arranged by Sydney Northcote. It was 26 Festivals, with 78 of them in the Welsh language (34%) performed 8 times in English (1969, 1970, 1974, 1976, and 152 in English or other languages (mainly in English). 1982, 1990, 2000 and 2012) and 1 time (as Va Pensiero) in Italian (2008). What this shows very clearly is that the Festival has helped to significantly boost over the years the singing of choral 8 times - Deus Salutis (Llef) written by G H Jones and items in the Welsh language in the rest of the UK and also arranged by Mansel Thomas (1969, 1970, 1972, 1974, 1978, overseas. It has given them a taste of the Welsh language’s 1986, 2006 and 2016). beauty and some choirs from England and from overseas enjoy returning again to the Festival. 7 times - Pilgrims’ Chorus from Tannhäuser, written by Richard Wagner and arranged by May Gillington (1969, A full list of Festival repertoire can be found at the end of 1970, 1976, 1988, 1994, 2000 and 2010). this document in Appendix 3. Page 34-42.

7 times - Tydi a Roddaist written and arranged by Arwel AUDIENCE HYMNS Hughes (1969, 1970, 1974, 1980, 1994, 2002 and 2012). One of the memorable and enjoyable aspects of the Festival 6 times - Take Me Home, written by Rod Edwards and has been the communal hymn at the end of the concert Roger Hand and arranged by Andrew Pryce Jackman (1976, when audience and choir join forces to give a wonderful 1978, 1988, 2000, 2010 and 2012). rendition of a well-know Welsh hymn.

6 times - Ar Hyd Y Nos arranged by Harry Evans (1969, In the 26 Festivals, 11 hymns have been sung before always 1970, 1976, 1980, 1988 and 2014). winding up the proceedings with the Welsh National Anthem, Mae Hen Wlad Fy Nhadau.

16 Gethin Williams again recalls the incident: “… This was certainly in 1972 and the Festival Committee were left in an awkward position – if they chose a different conductor for the next Festival, it would be seen as The London Welsh Male Voice Choir not supporting this action of barring choirs who did not know their work. Bohana was invited to conduct again at the fourth Festival in 1974.”

Author’s Note: No official mention of this can be found in Festival minutes, so I can’t substantiate this and despite consulting the members of the LWMVC, past and present, who sang at the 1972 Festival, no one can accurately shed any further light on this incident as it was probably kept under wraps as not to embarrass the choirs concerned.

These hymns have proved very popular and have often been included in the final recording of the concert (16 times). In STAGE MANAGEMENT the 2000 Festival we had two audience hymns, Blaenwern and Cwm Rhondda.

The audience hymns most frequently sung have been Cwm Rhondda (7 Festivals), Blaenwern (6 Festivals), Diadem (3 Festivals) and Sanctus (3 Festivals). Other Festival hymns have been Rachie (2 Festivals) then Calon Lan, Bryn Myrddin, Builth, Tyddyn Llwyn, Ebenezer, and Tui Egeo (all 1 Festival). See Appendix 5. Pages 44-45.

OUT OF HARMONY

t was during the final regional rehearsal for the 1972 Festival that Roy Bohana argued that two of the Iparticipating South Wales choirs had made little attempt to learn the Festival repertoire to a proficient standard and itting one thousand bums on seats isn’t as they were given two weeks to learn their stuff. straightforward as you may think with choristers crying Foff at the last minute or more choristers suddenly Although both choirs made a great effort, this proved to be appearing to boost a choir’s numbers, causing more than a too short a period and they were omitted from the Festival. few problems. Which is why you need a cool head on the day. This caused more than a few problems as many of their supporters had bought tickets for the Festival and had hotel Phil Olsen, who has ‘herded cats’ at many Festivals reveals reservations already booked. more.

Memories are fading but John Hiett seems to think Labyrinth logistics! that, although neither of the choirs is mentioned in the programme or the recording, some of them individually “The big question, always, is how many will be able were allowed to take part. to turn up to sing on the night? Over the course of organising 25 Festivals it has been recognised that He writes: there will be, inevitably, a lesser number of choristers “… the Festival committee were aware that their facing the conductor than first had been estimated and supporters had bought tickets and would be asking for a so the stage management and marshalling team keep refund if we threw them out. The committee decided that their fingers crossed that the strategic overbooking they were just good enough to hide them at the back of of the Hall’s available seats for the 15 or 16 Choirs the choir in the Albert Hall. They knew just enough and in attendance doesn’t result in panic on the day. One were chastened enough to continue to learn their music, year a feared deluge of singers caused hitherto unused so they didn’t let us down.” cobwebby corners high up near the roof to be explored but ultimately they were not needed when a bad early flu season cut numbers significantly. 17 The Royal Albert Hall is a daunting environment. It’s circular configuration and the fact that all the performer facilities are below ground level and away from any natural light sources can easily lead to disorientation. This, of course, is not a good thing for a chorister trying to get to his seat on stage on time. He will be coming from one of a dozen plus performers’ changing rooms in the bowels of the building, turning left or right, this way for tenors, that way for bass baritones, now then which was it? Then climbing several flights of stairs, walking through passageways shared with audience members equally disorientated and rushing to get to their seats in the auditorium and then though a mesmerising selection of doorways to emerge, hopefully, on the correct side of the massive array of organ pipes and into the blaze of stage lights; high voices on the right, deeper voices on the left. What could possibly go wrong?”

Author’s Note: I must also mention the effective role of Jacqui Taylor and her team who were responsible for the Stage Programme cover for the 1974 Corwen concert. Management for the last 12 Festivals (1996-2018). Also, as most of the choirs had hotel accommodation booked in Knightsbridge and some of the choirs had decided Jacqui is the daughter of late chorister, Ray Taylor, who was to travel back to Wales after the concert it was decided to Festival Secretary for 10 Festivals (between 1986 and 2004). hold the après in Imperial College which was across the road from The Albert Hall and where the choristers had been fed and watered earlier in the day. REGIONAL REHEARSALS AND APRÈS This did have teething troubles as the college authorities totally underestimated the number of people who wanted to attend and the college was woefully short of serving he early Festivals were made up of entirely Welsh positions and bar staff. Thankfully they learned their lesson choirs and naturally regional rehearsal would take fast and in recent Festivals these après have been well Tplace in either north or south Wales so what better organised with guests being treated to a second concert as excuse for having a concert on the eve of the Sunday various individual choirs struck a chord with pint in hand! rehearsal. Author’s note. The regional rehearsal in the chapel in In my time with the choir, we have held rehearsals Blackwood was always an interesting affair. It was held, as in Morriston, Blackwood, Brymbo (Nr. Wrexham) and usual, on a Sunday afternoon with most choristers foregoing Caernarfon with a concert in Corwen for a north Wales their usual Sunday lunchtime pint, until it was discovered that rehearsal and Cardiff and Brecon for south Wales rehearsals. only a few yards across the road from the chapel entrance One north Wales rehearsal in 1974 is also embedded in there was a ‘German Beer Keller’. This establishment somehow my memory for the lunchtime pub stop just before the defied the legal licensing hours (2.00pm closing on a Sunday rehearsal which was held at The Ferodo Club in Caernarfon. afternoon) allowing some of the more thirsty choristers to nip A jovial affair which resulted in an out-door sing-song which out for a swift half between songs and a pint at half time! was much enjoyed by the locals. Marilyn Phillips remembers. “Regional rehearsals were The London Welsh Male Voice Choir has always hosted a frequently fraught…… would they know the music, the rehearsal on the Thursday before the Festival. These were words, etc. etc. held mainly at Gray’s Inn Road or, when that became too small, the City Temple on Holborn Viaduct where we met I recall one rehearsal where a particular choir took issue with the overseas choirs for the first time before heading with the conductor, saying “We don’t sing it like that”!!! back up Gray’s Inn Road for a well deserved après in the club An interesting moment….!” bar.

In the early days of the Festival it was natural to hold the FEEDING A THOUSAND VOICES after Festival ‘party’ at Gray’s Inn Road, but the arduous trip across London on a Saturday night proved a stumbling block inding venues that can cater for one thousand people for many choristers who either got lost or found the delights in a short space of time are few in Knightsbridge. In the of London’s West End too tempting. Ffirst couple of festivals choristers were sent to a local 18 school to collect a packed lunch as choir archivist Gethin most choristers losing their deposits and bankrupting the Williams recalls: businessman concerned!

“On the day of the fourth Festival in 1974, all choristers Although this person had organised two successful World were due to have lunch at the New Paddington School in Choir Concerts at the National Stadium at the Cardiff Arms London W5, and collect a paper bag of goodies for their Park on Saturday, 23rd May, 1992 and Saturday, 29th May, tea at the Royal Albert Hall. Unfortunately, being pre- 1993, he overreached himself with his plan to have the satnav and Google, many choristers’ buses could not find World Choir sing at the Georgia Dome, Atlanta, USA on 2nd the school and did not get lunch or collect their “tea” so April, 1994. myself, with two others, were detailed to take our cars and bring all the “teas” from the school to the RAH!’ John Hiett was one of the people booked to go to Atlanta. He writes: Cochyn also remembers: “I’m sure that after the incident with the school we found the Imperial College willing “I believe that the Atlanta trip failed because the to supply us lunch and tea. To have choristers roaming organisers intended to use chartered aircraft, taking around central London wasn’t great so using Imperial was choristers out to the USA and selling the return leg to ideal. I remember Gethin being used as a catering truck in American students wanting a holiday in the UK. 1974 which really did save the day.” There was never any hope of that which meant that the Author’s note: At the 1976 Festival we had recruited many travel cost of the trip was doubled. I booked with the programme sellers, mostly students, who were issued with Hants Police Choir and although I asked our tour secretary a packed lunch. Unfortunately they consumed these in the for my money back as soon as I realised the problem we corridors of the Albert Hall and deposited the empty bags lost it all”. on the floor causing complaints from the management, so myself and a few other choristers had to scour the Albert Hall Keith Warren was another chorister hoping to make the trip and remove the empties just before the audience trooped in. over the pond:

Many members of the LWMVC ( including myself) had AMERICAN ADVENTURE paid £100 deposit to go on the Atlanta trip. However, when it became obvious that the venture was in trouble, n 1974 the Festival had become a recognised, successful many choristers decided to pull out, including Rowland event and the committee, enterprising as ever, decided Francis, our intrepid Concert Secretary, who travelled to Ito test the water in America to see if there was any Cardiff and marched into the solicitor’s office and would enthusiasm for such an event over there. not leave until he got back £50 of the £100 deposit paid by choristers. We dispatched three choristers, Chaiman Elwyn Roberts, Secretary Geraint Williams and Concert Secretary David Unfortunately we never got back the other £50 deposit H Jones over the pond to meet with potential backers and money as the World Choir organisation had become choirs. Nothing actually came of this venture but it was an bankrupt. exciting prospect. Author’s Note: Some of the London Welsh Male Voice Choir Alan James again recalls: still went on the trip as they had already paid for their flights and hotel and, if reports are correct, they had a great time “My long term memory is a little patchy now but I even though at the concert there were more choristers on remember that there were negotiations with a sponsor, stage than in the audience! for an American Tour, who financed a trip to the USA for a small group in the choir to assess possibilities. MINI FESTIVALS They regaled us with tales of incidents and people they met on the visit! The proposed tour was dropped, quietly, It was decided in 1996 that it would be a good idea to soon after” promote “Mini-Albert Hall Festivals” using some of the participating choirs, soloists and repertoire from the There have been a few attempts at organising such ‘massed previous Festival. Logically these festivals had to be near festivals’ in America and other countries by other choirs a number of the participating choirs and had to be in a and individuals. Some have been successful but the logistics prestigious venue. involved have proved too much to make it viable. The first such Mini-Festival - The London Welsh Male Voice One such venture to organise a massed choir Festival in Choir presents A Gala Evening of Song - was held at the Atlanta by a Cardiff businessman was a total disaster with Symphony Hall Birmingham in November 1996, a month

19 after the Royal Albert Hall Festival. This was repeated in MEMORIES January 1999 and November 2000. This is meant to be a ‘living archive’ where choristers The three Birmingham Concerts were conducted by Dr can add their memories. If you have a particular Haydn James, with Rosalind Jones as piano accompanist and memory of any Thousand Voices Festival then please Jane Watts as organist. The 1996 and 2000 Concerts were email me at [email protected] so that I can add it compered by Cliff Morgan and the 1999 Concert by Philip to the story so that future generations of choristers can Madoc. read it.

The soloists had all sang in the previous RAH Festival before David Williams (Cochyn): the relevant concert. The choirs who agreed to sing in the 1976 was John Peleg Williams’s first Festival. He conducted. concert (largely from Wales or near Wales) had also sung in ‘Lily of the Valley’ and as we were singing we heard a shout the previous RAH Festival. of ‘Hallelujah’ from the balcony. It transpired that a woman was so taken with the spiritual that she claimed that she’d It was the belief that such a concert in a prestigious venue had a Vision. Ever since whenever we sang it in an Après, I (such as the Birmingham Symphony Hall) in the middle of would shout out Hallelujah in remembrance of her. the UK and near Wales would be very attractive to many people of Welsh descent in the Midlands and people in 1992 Festival. Bryn Terfel had been booked to appear but it North and Mid Wales in particular. It was also thought that transpired on the day that he had pulled out. After rehearsal many would experience the atmosphere of an Albert Hall I was in the Bull Run when I heard this incredible soloist type of Festival, especially if they had not wished to travel rehearsing. I came on stage to see a tall man with long to London for the RAH Festival itself or if they had not been hair, beard, long overcoat and a long scarf singing. I went able to obtain tickets for it. It would also involve less of an to speak to Jacqui who informed me that this was Bryn’s expense for such people. In addition, it was seen as a good replacement, a young man from Merthyr who was or had way to raise the profile of the LWMVC in that area and thus been a fireman, Jason Howard. seen as a marketing opportunity. Bryn was going to be the soloist in Coedmor. Jason didn’t know it so I became the very late replacement. No pressure!!

Alan James: I have attached some memories of the first 1000 Voices and a brief summary of my tasks in producing the programme. Others also had numerous responsibilities, equally taxing, and remember none of us had done anything like this before, so it was seat of the pants stuff!

Later Festivals were obviously streamlined - programme production was, for example, made more professional and given away free at the Festival. The massed choir at the Millennium Centre. Picture from The Teenage Cancer Trust. The first 1000 Voices was on TV and at the end of the broadcast, a group of us: myself, Viv George, Davy Jones and Subsequently these Mini Festivals were moved to the Alwyn Griffiths were videoed descending a spiral staircase Millennium Centre, Cardiff. singing Myfanwy and Alwyn says to the camera “see you next year boys”. Named “Choirs Kensington to Cardiff” these concerts were in aid of the Teenage Cancer Trust Unit at the Author‘s Note: I was also involved in the programme printing University Hospital of Wales Cardiff) as we had a great and advertising in a later Festival. I remember former chorister relationship with the Trust via Eiddwen Evans. Bill Barrington, telling me that “We advertised the first Festival by putting postcards in telephone boxes around London.” I The first two concerts were conducted by Dr Haydn James dread to think what the pimps, prostitutes and strippers who and the third by Alwyn Humphreys. Frank Lincoln compèred regularly use this form of free advertising thought of this. all three. Perhaps some of them came to the Festival to ply their trade!

These were held in January 2007, March 2009 and March On the morning of one Festival we realised that we had no 2011. money bags for the programme sellers to operate with, so two of us went looking for a Woolworth’s shop in Kensington See Apendix 6 for more details. Page 46. and bought their entire stock of toy school satchels to put the money in. 20 Geraint Lewis, Festival Chairman in 1976:

While I have pleasant memories of many of the Albert Hall concerts the one that stands out for me is the 5th Festival which took place on 23rd October 1976 (Yes it’s 44 years ago, I even had black hair in those days!)

There is no doubt that the London Welsh Male Voice Choir were on the crest of a wave at the time having just produced the best male voice recording of its time with “Take Me Home.”

We had also hosted 4 successful Albert Hall Festivals and Sidan as they appeared in the 1976 programme. were admired by choirs in Wales despite some reservations over the way the participating choirs were funded. Putting “Sidan” to take part. The group of 5 young girls Caryl, on such a Festival requires a lot of teamwork and one has Sioned, Gaynor, Gwenan and Meinir hailed from St Asaph to acknowledge the huge amount of work and dedication and had risen to pre-eminence by winning at the Bala Urdd given many choristers over the festivals. However, most Eisteddfod in 1972. people remember only the Chairmen and I think lt’s true to say that the driving force for the first 4 festivals was Elwyn The group had previously appeared at the London Welsh Roberts. When he retired and went back to Wales there was St. David’s Day concert at the Albert Hall and they again a need for someone to chair the organising committee. “wowed “the audience at their final appearance as Sidan, I can’t quite remember whether I was press-ganged or their rendition of “Sara” being particularly memorable. whether I volunteered, but I was fortunate enough at the time to have a full time secretary and “Jan” was quite happy I was particularly keen to avoid the long presentations and to organise my social diary as well as my work one, which thanks at the end of the concert. Spending a quarter of helped immensely an hour or more bringing everyone on to the stage with a number of presentations and speeches was to me a bit I felt that the time had come to introduce some changes of an anticlimax and I was determined to avoid impinging and there were a number of firsts: on the performance as a whole. Of course, one needed to acknowledge the individual choirs and give their supporters • It was the first time that John Peleg Williams conducted the opportunity to applaud and cheer their own choirs so I the Festival decided to leave the introductions to the professionals, in this case one of the greatest broadcasting commentators of John had played the piano for the massed choir and soloists his time - Alun Williams and he only brought the Conductors at the previous festivals and it was felt that after leading us and Accompanists on to the steps to receive their applause, through a very successful stage in our history that he should Another first! be given the opportunity to conduct the Festival It’s sometimes surprising what little things come to mind • It was the first time that Marilyn Philips became the when you start jogging the memory. accompanist. As an example I remember that I asked Ricky Lonman if John moving on to the conductors podium also gave the he wanted a free ticket to the concert in return for taking much loved Marilyn Phillips the opportunity to be the charge of collecting and banking the programme money. All Festival accompanist. the committee members would be on stage and so I needed someone outside the choir. Ricky was a local bank clerk, well • It was the first time we introduced a Brass Band used to handling money and someone I knew and could trust. It was after this experience of being able to watch at I’d heard the National Brass Band of Wales perform at a least the second half of the concert that led to Ricky being a concert at the National Eisteddfod and knowing what a lift valued and enthusiastic member of the second tenors for a a good band could give, I approached Donald Henry their number of years. Musical Director who willingly agreed to have the band take part. The programme sellers were mainly young girls dressed in Welsh costume. My daughter Catrin remembers that she • It was the first time we chose a group instead of a big and her cousin Gwen Peleg Williams, they would have been name soloist about 10 years old, actually got on stage to present gifts or flowers to the main contributors. At previous festivals we’d engaged well known Opera stars such as Delme Bryn-Jones and Elizabeth Vaughan. However we decided on another change and invited a group called 21 EPILOGUE Personally I never got tired of walking out on stage at the Royal Albert Hall and the feeling of pride and passion of performing in front of a packed audience.

The London Welsh Male Voice Choir made the decision to postpone a 27th Festival in 2020 as not enough choirs were able to take part. This proved a blessing in disguise as Covid 19 struck soon after which meant the Festival anyway could not be held in October 2020. .

Has the Festival of Male Voice Choirs come to the end of the road?

I personally hope not, but only time will tell.

Joe Jones Lockdown Project Number 5 mentioned in my opening paragraph that the idea for May 2021 the first Thousand Voices Festival was one of the defining Imoments in the history of the London Welsh Male Thanks to the many contributors who have helped me Voice Choir. It was an exciting. innovative, bold move that during this project: deserves credit to the choristers concerned. Keith Warren, Gethin Williams for their excellent It has also dictated the music of the choir for the past half contributions to the Appendices at the end of this century. This has meant learning virtually a new repertoire document, Marilyn Phillips, Annabel Thwaite, John Hiett, every two years, influencing our normal concert music. Alan James, Alwyn Griffiths, David Williams, Phil Olsen, Some new pieces are binned immediately after the Festival Haydn James, Edward-Rhys Harry, Rita Clark, Colin Jones, for various reasons such as copyright issues or being Steve Davies and Seamus O’Brien for his ‘Where to find unsuitable for the smaller or overseas choirs to perform in the Music’ Appendix on pages 49-55. their own concert schedules, but there is no doubt that the Festival has enriched the male voice choir genre in general. Festival photographs by Ted Willets, Clive Jones and It has also given the choir an international name and we John Downing MBE. have made many friends from around the world. See the following pages for relevant photographs.

22 The album from the 1969 Festival. London Welsh Youth Choir album from 1958. The Youth Choir was seen as the pre-cursor to the London Welsh Male Voice.

Dr Haydn James conducts the choirs at the first ‘Mini Festival’ Soloists Wynne Evans and Rebecca Evans at the first ‘Mini held at the Millennium Centre Cardiff in 2007. Festival’ held at the Millennium Centre Cardiff in 2007. Picture from the Teenage Cancer Trust, Picture from the Teenage Cancer Trust.

Roy Bohana, conductor of the first four Huw Edwards on the 2012 Festival stage after being installed as Choir President. Festivals in a photograph taken from Also in the picture are Frank Lincoln (compère), and Rhys Madoc, son of former choir the third Festival in 1972. president Philip Madoc who sadly died while “in office”. 23 The Royal Albert Hall at the opening ceremony by Queen Victoria and Prince Albert in 1871.

Alwyn Humphreys takes a rehearsal at Gray’s Inn Road before the 2010 Festival.

Marilyn Phillips was accompanist for the London John Peleg Williams as he appeared in the Welsh Male Voice Choir from 1971 until 1994 and programme for the Mixed Welsh Voices Festival was accompanist at the Royal Albert Hall Festivals at the Royal Albert Hall in 1979. 9 times. John was a native of Caernarvon and was Marilyn emigrated to Perth Western Australia in Musical Director of the London Welsh Male 1993 with her husband, the well-known geneticist Voice Choir from 1970 until 1979. before that Alan Bittles, who was appointed Professor of he was the choir’s accompanist. the School of Medical Sciences at Edith Cowan John studied at Trinity College of Music and University. at London University and gained diplomas in In 1995 Marilyn was appointed Head of Music piano, conducting and composition before at West Australian Opera. In 2006 she became becoming a music teacher in Ealing. Chorus Director of the West Australian Symphony John accompanied the first four Festivals and Orchestra Chorus, which achieved national and conducted two Festivals in 1976 and 1978. His international fame for the Chorus. brother Arwel Peleg Williams was a soloist on the choir’s version of This She now freelances as an accompanist and vocal ‘Ol Hammer and Y Pren ar y Bryn in the 78 Festival. John’s arrangement coach, teaching at the West Australian Academy of Sarah has appeared in five Festivals and is still one of the best loved of Performing Arts, as well as being a visiting hymns that the London Welsh Male Voice Choir retains in its repertoire. coach at the Sydney Conservatorium and Monash John left the choir in 1979 to become County Music Advisor for Powys. University in Melbourne, when travel restrictions He went on to conduct many more Festivals at the Royal Albert Hall allow! including the Mixed Voices Festival and the Massed Police Choir Festivals (Pictured). John died at home in the village of Bow Street near Aberystwyth in 2004. 24 Noel Davies, D Eifion Thomas, much-loved conductor of Côr conductor of the Meibion Llanelli Pontarddulais appeared as Male Choir conductor of the conducted the Festival in 1998 Festival in 1982, and also sang 1984 and 1992. tenor solo in the 1994, 1996, 2000 and 2002 Festivals.

25 The London Welsh Youth Choir pictured after winning the National Eisteddfodd in Llangefni in 1957. Held aloft is Musical Director Kenneth Thomas and the young woman in Welsh Costume is Janet Evans, Miss London Welsh.

A glowing report in the Western Mail about the 2002 Festival. Logistics meant that we had to reduce the number of choristers on stage so the title 1000 Voices could no longer be used.

The organist, Tudor Spencer Davies at the first Festival in 1969.

The London Welsh Male Voice Choir in the early 60s before ‘the split’ with Lyn Harry conducting.

Sir Harry Secombe pulls a pint as he officially ‘opened the bar’ of the London Welsh Centre in 1971. Members of the choir can be seen in the background, eager for one of the first pints.

For beer lovers, this was probably Courage Keg Bitter or Harp Picture of the London Welsh Male Voice Choir taken from the Lager! 3rd 1000 Voices Festival programme of 1972. 26 APPENDIX 1: List of Conductors, Compères, Pianists, Organists, Soloists, Bands and Orchestras

Yma o Hyd ) *Soloists ) (See note at end about soloists within the LWMVC Llio Evans (Soprano), John Ieuan Jones (Baritone) Morris (Cello), Elan Catrin Parry (Guest Soloist) Steffan Jessica Robinson (Soprano), Eirlys Myfanwy Davies (Mezzo- Meilir Jones Soprano), Rhodri Prys Jones (Tenor), (Baritone) (Tenor) Llyr Griffiths Trystan Rhiannon Llewellyn (Soprano), Davies (Tenor) Caryl Hughes (Mezzo-Soprano), Wyn Elizabeth Donovan (Soprano), David Kempster (Baritone), (surprise guest soloist!) Rhys Meirion (Tenor) Gwawr Edwards (Soprano), Gwyn Hughes Jones (Tenor) Rebecca Evans (Soprano), Jason Howard (Baritone) Dafydd Iwan (including solo in Fflur Wyn (Soprano), Wynne Evans (Tenor), Evans (Tenor), (Soprano), Wynne Fflur Wyn Huw Llywelyn (Baritone) (Mezzo-Soprano), Rhys Meirion Tudor-Thomas Susanna Sergei Vladimirsky (Balal’a) Thomas (Tenor), Eifion (Tenor), Mary Lloyd-Davies (Soprano), Jason Howard (Baritone), Thomas (Tenor) D. Eifion Bethan Dudley (Mezzo-Soprano), Rhys Meirion (Tenor) (Organ) Jane Watts (AT THE ROYAL ALBERT HALL) THE ROYAL (AT Band or (Orchestra) Orchestra ______Welsh Guards Welsh Welsh Guards Welsh Guards Welsh The Band of the The Band of the The Band of the British Sinfonietta RWCMD RWCMD Symphony Orches. The Cory Band The Cory Band The Cory Band The Band of the Guards Welsh Chamber Orchestr. Chamber Orchestr. of Wales

! 1 Hearn James Robert Robert Robert Robert Jeffrey Nicholls Nicholls Nicholls Nicholls Howard Timothy Morgan Williams Williams Festival Organist Jane Watts Jane Watts Huw Tre. Huw Tre. Huw Tre. Bryan Jones Jones Jeffrey Jeffrey Jeffrey Jeffrey Davies Pianist Thwaite Thwaite Thwaite Thwaite Thwaite Thwaite Howard Howard Annabel Annabel Annabel Annabel Annabel Annabel Rosalind Rosalind Festival Huw Philip Philip Madoc Madoc Edwards Festival Compère Frank Lincoln Frank Lincoln Frank Lincoln Frank Lincoln Frank Lincoln Frank Lincoln Frank Lincoln Aled Jones MBE (known as the Festival of One Thousand Male Voices until the 1988 Festival) (known as the Festival of One Thousand Male Voices LONDON WELSH FESTIVAL OF MALE CHOIRS LONDON WELSH FESTIVAL Harry Harry Harry Harry Alwyn Alwyn Thomas D. Eifion Humphreys Humphreys Conductor Edward-Rhys Edward-Rhys Edward Rhys Edward-Rhys Haydn James Haydn James Haydn James Haydn James Festival MD / MDs/CONDUCTORS, COMPÈRES, PIANISTS, ORGANISTS, BANDS or ORCHESTRAS, SOLOISTS MDs/CONDUCTORS, 2018 2016 2014 2012 2010 2008 2006 2004 2002 2000 1998 Year No. 26th 25th 24th 23rd 21st 20th 19th 18th 17th 16th 22nd

27 APPENDIX 1: List of Conductors, Compères, Pianists, Organists, Soloists, Bands and Orchestras Take Me Home ) Take Me Home ) Take *Soloists *Soloists ) (See note at end about soloists within the LWMVC ) (See note at end about soloists within the LWMVC Sidan (Caryl, Sioned, Gaenor, Gwenan and Meinir), Sidan (Caryl, Sioned, Gaenor, The National Brass Band of Wales (Soprano) Elizabeth Vaughan Leah-Marian Jones (Mezzo-Soprano), Thomas (Tenor) D. Eifion Leah-Marian Jones (Mezzo-Soprano), Leah-Marian Jones (Mezzo-Soprano), Dennis O’Neill Thomas (Tenor) D. Eifion (Tenor) Paul Philbert (Percussionist) Thomas (Tenor), D. Eifion Leah-Marian Jones (Mezzo-Soprano), Dennis O’Neill (Tenor) Jason Howard (Baritone), Ieuan Jones (Harp), including in Paul Philbert (Percussionist) Thomas (Tenor), D. Eifion Y Delyn Aur Jason Howard (Baritone), Ieuan Jones (Harp), including in Evans (Tenor), Eiddwen Harrhy (Soprano), Wynford Y Delyn Aur Thea Cramp (Flute), Sergei Vladimirsky (Balalaika) Evans (Tenor), Eiddwen Harrhy (Soprano), Wynford Thea Cramp (Flute), Sergei Vladimirsky (Balalaika) Evans (Tenor), (Soprano), Wynford Hilary Western Thea Cramp (Flute). Evans (Tenor), (Soprano), Wynford Hilary Western Ar Log ( Dafydd Roberts, Iolo Jones, Geraint Glynne Thea Cramp (Flute). Davies, Gwyndaf Roberts, Stephen Rees), Carys Hughes (Organ) Ar Log ( Dafydd Roberts, Iolo Jones, Geraint Glynne Davies, Gwyndaf Roberts, Stephen Rees), Carys Hughes Patricia O’Neill (Soprano), Carys Hughes (Organ) (Organ) Patricia O’Neill (Soprano), Carys Hughes (Organ) Carys Hughes (Organ) Evans (Tenor), Wynford Carys Hughes (Organ) Evans (Tenor), Wynford Miriam Bowen (Soprano), Keith Jones (Tenor), Harry Secombe (Guest Soloist) Miriam Bowen (Soprano), Keith Jones (Tenor), Mair and Meleri) Diliau (Gaynor, Y Harry Secombe (Guest Soloist) Rod Edwards (Guest accompanist in Mair and Meleri) Diliau (Gaynor, Y Rod Edwards (Guest accompanist in Gwenan and Meinir), Sidan (Caryl, Sioned, Gaenor, The National Brass Band of Wales (Soprano) Elizabeth Vaughan Wales Wales Band or Band or Orchestra Orchestra ______The National The National ______Brass Band of Welsh Guards Welsh Guards Welsh Brass Band of The Band of the The Band of the

! 2 ! 2 Carys Carys Carys Carys Carys Carys Carys Carys Carys Carys Carys Carys Carys Carys Carys Carys Carys Carys Richard Hughes Hughes Hughes Hughes Hughes Hughes Hughes Hughes Hughes Hughes Hughes Hughes Hughes Hughes Hughes Hughes Hughes Hughes Richard Festival Festival ______Organist Organist Jane Watts Jane Watts Elf’n Jones Elf’n Jones Bryan Bryan Marilyn Phillips Davies Marilyn Davies Phillips Marilyn Phillips Marilyn Phillips Marilyn Marilyn Phillips Phillips Marilyn Phillips Marilyn Phillips Marilyn Marilyn Phillips Phillips Marilyn Phillips Marilyn Phillips Marilyn Marilyn Phillips Phillips Marilyn Marilyn Phillips Phillips Marilyn Phillips Marilyn Phillips Pianist Pianist Williams Williams Festival Festival John Peleg ______John Peleg Alun Alun Alun Alun Alun Alun Alun Alun Alun Alun Alun Alun Alun Alun Alun Alun Alun Alun MBE MBE Williams Williams Williams Williams Williams Williams Williams Williams Williams Williams Williams Williams Williams Williams Williams Williams Williams Williams Festival Festival CVO, OBE CVO, OBE CVO, OBE CVO, OBE Compère Compère Wyn Calvin Wyn Wyn Calvin Wyn Cliff Morgan Cliff Morgan Cliff Morgan Cliff Cliff Morgan Cliff Williams Williams Williams Williams John Peleg John Peleg John Peleg John Peleg Noel Davies Noel Davies Noel Davies Noel Davies Noel Davies Noel Davies Roy Bohana Roy Bohana Conductor Conductor Noel Davies, Noel Davies, Haydn James Haydn James Haydn James Haydn James Haydn James Haydn James Haydn James Haydn James Haydn James Haydn James (Pontarddulais) Festival MD / Festival MD / (Pontarddulais) (Pontarddulais) (Pontarddulais) (Pontarddulais) (Pontarddulais) (Engl.Nat.Oper) (Engl.Nat.Oper) 1976 1974 1996 1996 1994 1992 1990 1988 1988 1986 1984 1982 1980 1978 1976 1974 1994 1992 1990 1986 1984 1982 1980 1978 Year Year 5th 9th 8th 7th 6th 5th 9th 8th 7th 6th No. No. 15th 15th 14th 13th 12th 11th 11th 10th 14th 13th 12th 10th 4th 4th

28 APPENDIX 1: List of Conductors, Compères, Pianists, Organists, Soloists, Bands and Orchestras This 2016:

2008: Robert Childs Major P.D. Shannon MBE Major P.D. Goin’ Home ; 1988: Iorwerth Pritchard Goin’ When You Are When Old. You Y Pren Ar Y Bryn Y Ar Pren Y

Ai Am Fod Haul yn Machlud; 2008: David Williams in Ai in Gweddi’r Arglwydd. in Ride The Chariot ; 2016: Harry Bell Gweddi’r Delme Bryn-Jones (Baritone), Arwel Peleg Williams in Delme Bryn-Jones (Baritone), Anne Howells (Mezzo-Soprano) Allister (Mezzo-Soprano / Contralto) Jean Ol’ Hammer and Ol’ 2014: Danny McCann-Williams (British Sinfonietta); Mathew Jones – Viola solo in Mathew Jones – Viola

2016: Will Rees ______2016: ______

! 3 Major David Cresswell, BBCM (Welsh Guards Band); 2006: Major David Cresswell, BBCM (Welsh Major S.A. Watts (Welsh Guards Band); 2000, 2002: (Welsh 1996: Major S.A. Watts Davies Richard Richard Elf’n Jones Elf’n Jones Tudor Spe’ Spe’ Tudor Major David Barringer, MBE (Welsh Guards Band). MBE (Welsh Major David Barringer, 2018: 2012: Edward-Rhys Harry (The Cory Band); Williams Williams Williams in Bugeilio’r Gwenith Gwyn ; John Peleg John Peleg John Peleg

Flute solo

Alun Alun Alun Williams Williams Williams Iorwerth Pritchard in Battle Hymn of the Republic ; 1980: Geraint Lewis and David Williams London Welsh Male Voice Choir as follows: Male Voice also solos or duets by members of the London Welsh Sgt. Pete Lewis - Donald V. Hendy (National Brass Band of Wales); Hendy (National Brass Band of Wales); Donald V.

Roy Bohana Roy Bohana Roy Bohana 2006:

in Can You Hear Me? You David Williams in Working Man; 2014: Harry Bell Can 1972 1970 1969 David Thomas (Chamber Orchestra of Wales); Thomas (Chamber Orchestra of Wales); Guards Band); 2004: David (Welsh Festival dates: Festival Dates: 1976: KW (The Cory Band); 2010: David Childs Symphony Orchestra); Danny McCann-Williams (RWCMD Festival Dates: 1970, 1988: Peter Totterdale in Beautiful Dreamer; 1990: Geraint Lewis in Aberystwyth; 2006: Peter Totterdale of Waitin’; Weary in I’se 2014, 2016: 1st 3rd 2nd Band Directors of Music/Conductor or Orchestra (Guest) Leaders: • Note on soloists listed above Some of them, in addition to solo items or duets with other soloists, also performed solos within choral at Festivals. In the latter category there were • Other soloists not listed above •

29 APPENDIX 2: List of participating Choirs at the Royal Albert Hall 2 2 1 1 2 1 1 2 2 2 3 2 1 1 2 4 2 3 1 3 7 7 4 1 1 8 1 4 7 7 2 9 6 12 11 Tot 1 1 1 1 18 1 1 1 1 16 1 1 1 1 1 1 14 1 1 1 12 1 1 10 Compiled by Gethin Williams printed on 13/11/2018 printed Williams Gethin by Compiled 1 1 1 1 1 1 08 1 1 1 1 06 1 1 1 1 1 1 04 1 02 1 1 1 1 1 1 1 00 1 1 1 1 1 98 1 1 1 1 1 96 1 1 1 1 1 1 94 1 1 1 1 1 1 1 92 1 1 1 1 1 1 90 1 1 1 1 1 1 1 88 1 1 1 1 1 86 1 1 1 1 1 1 84 1 1 1 1 1 1 82 1 1 1 1 80 1 1 1 1 1 78 1 1 1 1 76 1 1 1 1 1 74 London Welsh MassedParticipating MaleChoir Choirs Voice- Festivals 1 1 1 72 1 1 1 1 70 1 1 1 1 69 Year--> Choir Aber Valley Male Voice Choir Voice Male Aber Valley Cylch a'r Aberhonddu Côr Meibion Choir Voice Male Aberystwyth (USA) Chanters Shrine Abu Bekr Affrig De (SA) Cymru Côr Meibion Choir Voice Male Alcester Harrow Apollo) Choir(Later Voice Male Singers Apollo Choir Voice Male Audley (Melborne) Choir Male Welsh Australian Cylch a'r Y Bala Côr Meibion Choir Voice Male Barry Choir Voice Male Basingstoke Choir Voice Beauford Male Blaenavon Male Voice Choir (USA) Chorus Concert Saengerfest Boston Choir Voice Male Welsh Brighton Choir Voice Male Brymbo Ontario Chorus, Male Welsh Burlington Y Brythoniaid Côr Meibion Choir Voice Male Wells Builth Caerfyrddin Côr Meibion (was Caernarfon Ferodo) Côr Meibion Choir Voice Male Caerphilly Choir Voice Male Caldicot Choir Voice Male (Rhondda) Cambrian (Canada) (was Hamilton) Choir Male Canadian Orpheus Choir Male Canoldir Cardiff Park Arms Choir Choir Voice Male Cardiff Club Athletic Caron Côr Meibion SA.) (Johanesburg, Choir Male Cenestra Choir Cheddar Male Choir Voice Male Chelmsford Choir Voice Male Cirencester Colwyn Côr Meibion Page1

30 APPENDIX 2: List of participating Choirs at the Royal Albert Hall The choirs highlighted in yellow were invited but never appeared for various reasons. 5 3 4 2 2 3 2 2 3 1 1 2 1 1 0 5 3 1 1 3 1 1 6 1 1 1 1 4 1 2 2 2 5 6 13 Tot 1 1 1 1 18 1 1 1 16 1 1 1 14 1 1 1 12 1 1 1 1 1 10 Compiled by Gethin Williams printed on 13/11/2018 printed Williams Gethin by Compiled 1 1 1 08 1 1 1 1 06 1 1 1 1 1 04 1 1 1 1 1 02 1 1 1 1 00 1 1 1 1 1 98 1 1 1 96 1 1 1 1 94 1 1 1 1 1 1 92 1 1 1 1 90 1 1 88 1 1 86 1 84 1 1 1 1 82 1 1 1 80 1 1 1 78 1 1 1 1 76 1 1 1 74 London Welsh MassedParticipating MaleChoir Choirs Voice- Festivals 1 1 72 1 1 1 1 70 1 1 1 69 Year--> Choir Corby Male Voice Choir Voice Male Corby (Ireland) Choir Voice of Male Cork City Creunant Côr Meibion Choir Male United Cwmbach Choir Male Cwmbrân Cymru De Côr Meibion Dinefwr Côr Meibion Choir Male Dowlais (Ireland) Choir Voice Male Drogheda Dunvant Male Choir Choir Voice Male Dursley Ceiriog Dyffryn Côr Meibion Nantlle Dyffryn Côr Meibion Dysynni Bro Côr Meibion Choir Male Ebbw Vale Choir Voice Male Epsom Choir Voice Male Felling Choir Voice Male Ferndale (Bristol) Choir Voice Male Filton Choir Voice Male Froncysyllte Choir Voice Male Sankey GKN (Scotland) MVC Philharmonic Glasgow Choir Voice Male Glynneath Choir Male Gwalia Côr Y Gyrlais Choir Voice Male Welsh Hammersmith MVC Police Hampshire Choir Voice HartMale Choir Voice Male Police Hereford Male VoiceHong Welsh Kong Choir Huntingdon Male Voice Choir (Norway) Koret Johan Karl Choir Voice District Male & Hill Kenfig Choir Voice Male Shoes K Singverein 1970 Laudenbach (Germany) Page2

31 APPENDIX 2: List of participating Choirs at the Royal Albert Hall 8 2 2 2 3 1 1 2 1 1 1 1 1 3 1 1 1 2 1 2 1 1 3 1 3 1 3 6 3 7 8 3 5 10 26 Tot 1 1 1 1 1 18 1 1 1 16 1 1 1 1 14 1 1 1 1 12 1 10 Compiled by Gethin Williams printed on 13/11/2018 printed Williams Gethin by Compiled 1 1 1 1 08 1 1 1 1 06 1 1 1 1 04 1 1 02 1 1 1 1 00 1 1 1 1 98 1 1 1 1 96 1 1 1 1 1 1 1 1 94 1 1 1 92 1 1 1 1 90 1 1 1 1 88 1 1 1 1 1 1 1 86 1 1 1 1 1 84 1 1 1 1 1 1 1 1 82 1 1 1 1 1 1 80 1 1 1 1 1 78 1 1 76 1 1 1 1 1 1 1 1 1 74 London Welsh MassedParticipating MaleChoir Choirs Voice- Festivals 1 1 72 1 1 1 1 1 1 1 1 70 1 1 1 1 69 Year--> Male Choir Male & District & Choir Leigh Orpheus Male Voice Choir Voice Male Orpheus Leigh (was Cwmfelin) Llanelli Côr Meibion Choir Male Llantrisant Llanymddyfri Côr Meibion Male Voice Welsh London Choir Machynlleth Côr Meibion Madog Côr Meibion Maelgwn Côr Meibion Cylch a'r Maesteg Côr Meibion Melbourne Male Welsh Choir Choir Male Melincryddan Australia of S. Choir Male Metropolitan Choir Voice Male Moelwyn (Canada) Montreal Cymraeg Côr Meibion Male VoiceMonmouth Choir Choir RFC Morriston Male VoiceMousehole Choir Mawr Mynydd Côr Meibion Choir Male Mynyddislwyn Myrddin Côr Meibion Neath Choir Voice Male Newport Choir Voice District) Male (& Newtown of NZ Choir Male National Choir Voice Male Welfare Onllwyn Orffiws CôrMeibion Y Rhos Choir Male Pendyrus Y Penrhyn) (CM MVC Penrhyn Choir Voice Male Penybontfawr Choir Voice Male (Australia) Perth Pontypridd Côr Meibion Choir Male Porthcawl (Machynlleth) Powys Côr Meibion (Slovenia) Vodopivec Vinko Choir Academic Primorska The Choir Voice Male Trent Radcliffe on Page3

32 APPENDIX 2: List of participating Choirs at the Royal Albert Hall The choirs highlighted in yellow were invited but never appeared for various reasons. 7 1 4 6 2 1 1 5 1 0 0 1 1 1 5 5 2 2 1 1 1 1 3 3 2 4 Tot 396 1 1 1 18 16 1 1 1 1 16 14 1 14 14 4% 5% 13% 1 5 6 1 12 12 17 1 1 1 10 11 Compiled by Gethin Williams printed on 13/11/2018 printed Williams Gethin by Compiled 1 1 1 Thrice = 08 16 Six TimesSix = 1 1 06 14 (Incl. LWMVC) LWMVC) (Incl. 1 04 16 More Times Eight = than 1 1 1 1 1 02 13 1 1 00 17 1 1 98 16 1 1 1 1 96 16 5% 2% 22% 7 1 3 94 19 28 1 1 1 92 19 Twice = 1 1 1 90 17 Five Times = 1 TimesEight = 1 88 15 86 14 1 1 84 14 1 1 82 20 5% 5% 38% 1 1 6 7 1 80 49 16 1 78 14 1 1 1 1 76 14 Only OnceOnly = Four Times = 1 1 74 Seven Times = Seven 19 London Welsh MassedParticipating MaleChoir Choirs Voice- Festivals 1 1 1 72 10 1 1 70 18 1 69 12 128 Year--> TotalNo. Choirs Participated = No. Participating Choirs each Year Choir Rhayader & District Male Voice Choir Voice District Male & Rhayader Choir Male Cwmtawe Rhos Rhosllanerchrugog Côr Meibion Choir Voice Male Romsey Singers Orpheus Gregory Rowland Choir Voice Male Oddfellows Rushmoor Sandgrenska Manskören (Sweden) Choir Voice Male Shelfield Choir Voice Male Shrewsbury SMC) Rhumney (Later Choir Male Silurian Lira Society, Choral 1st Slovene The Choir Voice Male Colliery Snowdown Choir Voice Male Solent Taf (Caerdydd) Côr Meibion Choir Voice District Male & Talgarth Choir Voice Male Tenby Fôn) Côr(Sir Y Traeth Choir Orpheus Tredegar Choir Voice District Male & Treharris Choir Voice Male Trelawnyd Choir Male Treorchy USA) (Cape Cod, Men The Are We Vancouver Men's Welsh Choir Choir Voice Male City Garden Welwyn Choir Voice Male Orpheus Wycombe Choir Voice District Male & Ystradgynlais Page4

33 APPENDIX 3: Repertoire used at the Royal Albert Hall Festivals 18 PR PR PR PR 16 14 PR PR PR 12 PR E? 10 PR 08 PR PR PR 06 PR PR Compiled by Gethin Williams: Gethin 19/01/2019 by Compiled 04 PR PR PR 02 ER PR PR PR P 00 PR 98 PR PR PR 96 PR PR PR PR 94 ER PR 92 PR PR P 90 PR PR PR 88 PR PR PR PR PR 86 PR 84 82 PR PR P P 80 78 PR PR P 76 PR 74 P P 72 70 PR PR PR PR Page: 1 Page: 69 PR PR 1 1 1 1 1 1 1 2 5 0 2 1 1 1 1 1 6 3 1 1 1 1 4 1 3 1 1 1 1 3 2 2 4 1 1 1 1 Freq LWMVC Festivals Repertoire Festivals LWMVC Arranger A Simmons Humphreys Alwyn H JamesH J Raymond WilliamsJ Raymond Arwel Hughes L V L V Saar Gwyn Arch Gwyn J Davies Tudor Thomas Eifion D D E Thomas / E-R Harry R Ringwald Roberton J W Jenkins Price R Maldwyn PriceR M & P Bateman Paul Bateman Paul Bateman Harry Evans Harry Paul Bateman D Eifion Thomas Eifion D Eirian Owen JackmanAndrew Bryan Davies Bryan Carys Hughes Carys P JP Wilhousky Haydn James Haydn Alwyn Humphreys Alwyn Northcote John Samuel Bach Trad. Trad. Verdi nberg arr. Geraint Roberts & Judith Morgan Batt M Mozart ö J Hughes M NewburyM Paul SimonPaul Karl JenkinsKarl Dafydd Iwan Dafydd Iwan Dafydd Composer Robat Arwyn G WG Hughes Joseph Parry Joseph Parry William Steffe John Denver Kurt LissmannKurt J Haydn Phillips J Haydn Edwards & Hand Hugh S Roberton J Morgan Nicholas J Morgan Boubil / Sch Boubil Anderssohn/Ulvaeus Stephen Collins FosterStephen Dafydd Iwan / Hefin Iwan Dafydd Ellis / Hefin Iwan Dafydd Ellis P = In Festival Programme; E = Encore (not listed in Prog); O = LWMVC Only; R = On Festival Recording; V = In Festival Song Book (from 1978) but not Sung; Les Miserables Ernani Key: Chess Title Aberystwyth Aberystwyth Trilogy African Machlud Yn Am Haul Ai Fod Machlud Yn Am Haul Ai Fod Evening The In April All All Of Us One Light) Little Amen (This Trilogy American An Love the Tonight Feel You Can And Angel Anfonaf Watchin' Me Angels Over Song Annie's Anthem Anthem Geltaidd Yr Anthem Geltaidd Yr NosAr Y Hyd Arwelfa Tonne die in Traube der Aus Ave Verum Corpus Leben Mei Ist Der Christus, - Chorale Bach Was Verbrochen Jesu, Du Hast Herzliebster - Chorale Bach Chorus Bandits' Republic the of Hymn Battle Republic the of Hymn Battle Jerico Ob Battle De Dreamer Beautiful Benedictus Water Troubled Over Bridge Eyes Bright Bring Him Home Aber Bro Bryn Myrddin Buddugoliaeth Gwyn Gwenith Bugeilio’r Gwyn Gwenith Bugeilio’r Gwyn Gwenith Bugeilio’r File Name: Festivals Repertoire 1969 to 2018 1969 to Repertoire Name: Festivals File

34 APPENDIX 3: Repertoire used at the Royal Albert Hall Festivals 18 PR 16 PR PR PR 14 PR PR V 12 10 PR 08 PR PR PR? 06 PR PR PR PR Compiled by Gethin Williams: Gethin 19/01/2019 by Compiled P 04 PR PR PR 02 00 98 PR PR 96 PR PR PR 94 PR PR P 92 PR PR PR PR PR 90 88 PR PR 1 86 PR PR ER 84 PR PR PR PR 82 PR PR PR P 80 P 78 PR PR PR PR PR 76 PR 74 PR PR PR P P E? P? 72 PR P 70 PR Page: 2 Page: P 69 PR PR 3 0 2 2 2 1 1 1 2 2 1 2 0 0 3 1 3 2 1 2 1 1 3 3 1 1 1 1 1 1 1 2 1 3 1 8 3 Freq LWMVC Festivals Repertoire Festivals LWMVC Arranger Edward -Rhys Harry Edward -Rhys B Treharne Jeffrey HowardJeffrey Mansel ThomasMansel Mansel ThomasMansel Sidney Northcote Sidney Alwyn Humphreys Alwyn Haydn James Haydn Edward-Rhys Harry Edward-Rhys Harry Edward-Rhys Harry Edward-Rhys Humphreys Alwyn Idris Lewis WilliamsJ Peleg Noel Davies Charrosin Hugh S Roberton David Cresswell Haydn James Haydn Lyn Harry Lyn Roberts Caradog Pughe-Evans D T Davies E P E Fletcher Henry Geehl Henry Roy Bohana Roy P BatemanP James / H Verdi Trad. Trad. Trad. Trad. Grieg Knipper D Grant Gounod R L JonesR G H Jones H G Karl JenkinsKarl Composer Willy Richter Ryan Davies Ryan R H Prichard Joseph Parry Heinrich Pfeil David Davies Handel Parker David Richards Michael J Michael Lewis T Maldwyn Price T Maldwyn Daniel Protheroe Adolphe C Adam C Adolphe L Reed & Mason & B L Reed Ieuan Rees-Davies Ieuan David Charles (Alaw Gymreig) (Joanna/Crugybar/Ebenezer) (Price/Ellers/In Memoriam) Rigoletto P = In Festival Programme; E = Encore (not listed in Prog); O = LWMVC Only; R = On Festival Recording; V = In Festival Song Book (from 1978) but not Sung; (Builth, Trewen& Blaenwern) Key: Title Wave Babylon's By Bytholwyrdd Cymraeg Emynau O Cadwyn Cymreig Emyn-Donau O Cadwyn The Sea Calm Is Mynyddoedd Y Ysbryd Cantilena: Brenin Y Can Me? Hear You Can Casatschock Patrol) (Cossack The Steppes Of Cavalry Cenarth Iesu) (Marchog Redemptor Christus Circle of Life Madog Clawdd Eyes Thine Close Coedmor Arms in Comrades Chorus The Conspiritors The Creation Crimond The Plain Crossing Crugybar The Crusaders GeifrCyfri'r Emyn-Donau O Cylch Ryan o Ganeuon Cylch Cymru'n Un Cymru Fach Wen Garreg Y Dafydd DarlunY Dashenka Harmony Deep Delilah Aur Delyn Y Banna Bwn O'r Y Deryn (Llef) Salutis Deus Dies Irae File Name: Festivals Repertoire 1969 to 2018 1969 to Repertoire Name: Festivals File

35 APPENDIX 3: Repertoire used at the Royal Albert Hall Festivals 18 ER PR PR PR 16 PR PR POR 14 PR PR PR 12 PR PR 10 PR 08 PR PR PR ER 06 Compiled by Gethin Williams: Gethin 19/01/2019 by Compiled 04 PR PR PR ER 02 PR 00 PR PR PR 98 PR PR P 96 P 94 PR PR PR 92 PR PR PR PR P 90 88 86 PR 84 PR PR PR PR PR P 82 P 80 PR PR 78 PR 76 PR P 74 PR PR PR PR PR 72 PR PR 70 PR PR PR Page: 3 Page: 69 PR 1 1 2 3 2 1 2 3 1 1 2 1 2 1 1 1 3 1 1 1 1 1 2 2 1 2 4 1 2 2 4 2 1 2 1 1 1 Freq LWMVC Festivals Repertoire Festivals LWMVC Arranger D Arnold W Gwynn-Williams S Rapport J Rutter/P Bateman Harry Lyn Hugh S Roberton Harry Edward-Rhys Evans Harry Evans Harry Paul Bateman William Arms Fisher John Tudor-Davies Haydn James Haydn Bryan Davies Bryan Davies Bryan Alexandrov D Eifion Thomas Eifion D Howard Benton D Eifion Thomas Eifion D Livingston Gearhart SimmonsAlan Roy Bohana Roy John Samuel Bizet Verdi Trad. Trad. Verdi Grieg nberg Anon. Mozart ö Sibelius Spiritual Spiritual S Adams Romberg Cherubini R Overholt Beethoven John Barry Tecwyn Ifan Tecwyn Karl JenkinsKarl Composer Wilfred Shaw Mendelssohn Anton Dvorak Russian Trad. T Gwyn Jones Gwyn T Arthur Sullivan Michael J Michael Lewis Mansel ThomasMansel Lewis Hartsough Lewis Caradog WilliamsCaradog Boubil / Sch Boubil Edward-Rhys Harry Edward-Rhys Soloviev-Sevoy / Dudin Soloviev-Sevoy Iolanthe Il Trovatore P = In Festival Programme; E = Encore (not listed in Prog); O = LWMVC Only; R = On Festival Recording; V = In Festival Song Book (from 1978) but not Sung; - The Call (Europe and Asia) (Europe Call The - The Pearl Fishers Pearl The (see also Silver Birch) Il Trovatore Student Prince Key: The New World New The Symphony Requiem Twelfth Mass Twelfth Title Irae Dies Di Quella Pira Diolch I'r lor Brahma Divine Shadows Chasing Go Don't Sing People the Hear You Do Riverside the By Down Wen Dref Y Song Drinking Bones Dry Heddwch Inni Dyro Route En Peers of and March Entrance Pastorale Evening's An Arian Fedwen Y movements) (two Festgesang Finlandia Foest The Finnish Time That Old Religion Me Give Gloria Gloria In Excelsis Deo Hymn) (Creation God of The Glory Moses! Down, Go Choir God's Gogleddwyr Y Home Goin' Gwahoddiad Bore Mae'r Gwawrio Arglwydd Gweddi’r I’m Gofal Roddwyd A Gwinllan Chorus (Anvil) Gypsy Harlech Gwyr Rhyfelgyrch Harlech of Men Hava Naglia Home My Heaven Is The City Holy Journey The Hero's File Name: Festivals Repertoire 1969 to 2018 1969 to Repertoire Name: Festivals File

36 LWMVC Festivals Repertoire

Key: P = In Festival Programme; E = Encore (not listed in Prog); O = LWMVC Only; R = On Festival Recording; V = In Festival Song Book (from 1978) but not Sung; Title Composer Arranger Freq 69 70 72 74 76 78 80 82 84 86 88 90 92 94 96 98 00 02 04 06 08 10 12 14 16 18

The Hero's Journey - The Journey (Australasia) Karl Jenkins 1 PR The Hero's Journey - Trial and Triumph (Africa) Karl Jenkins 1 PR APPENDIX 3: Repertoire usedattheRoyal HallFestivalsAlbert The Hero's Journey - Return (Americas) Karl Jenkins 1 PR How Green Was My Valley Shirlie Roden Paul Bateman 1 PR Humming Chorus Madam Butterfly Puccini Haydn James 1 PR Huntsmen's Chorus Der Freyschuetz Waber 3 P PR PR I Dreamed A Dream Les Meserables C-M Schönberg A Humphreys 2 PR PR I'm Gonna Walk Trad. Alwyn Humphreys 1 PR If I Fell Lennon /McCartney Paul Bateman 1 PR The Impossible Dream Man of La Mancha J Dorion / Mh Leigh Noel Davies 2 PR PR Into The Fire The Scarlet Pimpernel Knighton/Wildhorn Neil Sands 1 PR Invictus Daniel Protheroe 1 PR I'se Weary of Waitin' Duncan Young Doris Arnold 3 PR PR PR Italian Salad Richard Genée John Bateson 1 P Jacob's Ladder Spiritual John H Davies 3 PR PR PR Just a'Wearyin' For You Stanton & Jacobs Bond Embury & Perkins 1 PR Kalinka A V Alexandrov 2 PR PR 37 Kumbaya Spiritual Roy Bohana 1 PR Kumbayah Spiritual K J Dinham 1 PR Laudamus (Bryn Calfaria) William Owen Daniel Prothroe 4 PR PR PR PR La Virgine dégli Angeli Force of Destiny Verdi 1 P Les Misarables (medley) Schőnberg John Samuel 1 PR Let It Be Me Gilbert Becaud Haydn James 1 PR The Lily Of The Valley Spiritual Emrys Jones 2 PR P Little Innocent Lamb Marshall Bartholomew 1 P Lion King (medley) Elton John John Jenkins 1 P Llanfair Robert Williams Mansel Thomas 5 PR P PR PR PR 1 Llef Mansel Thomas 1 E R Llwyn Owen Morfydd Llwyn Owen Edward-Rhys Harry 1 PR The Long and Winding Road Lennon & McCartney 1 P The Lords Prayer Carl Deis Malotte 1 PR Love, Could I Only Tell Thee J M Capel Doris Arnold 3 PR PR PR Love Changes Everything Aspects of Love A Lloyd Webber Paul Bateman 2 PR PR Mae D'Eisiau Di Bob Awr (Tui Egeo) Robert Lowry John Tudor Davies 2 PR PR Mansions Of The Lord Nick Glennie-Smith 1 PR The Man We Never Knew Edward-Rhys Harry 2 PR PR The Martyrs Of The Arena Laurent De Rille 2 PR PR

File Name: Festivals Repertoire 1969 to 2018 Page: 4 Compiled by Gethin Williams: 19/01/2019 LWMVC Festivals Repertoire

Key: P = In Festival Programme; E = Encore (not listed in Prog); O = LWMVC Only; R = On Festival Recording; V = In Festival Song Book (from 1978) but not Sung; Title Composer Arranger Freq 69 70 72 74 76 78 80 82 84 86 88 90 92 94 96 98 00 02 04 06 08 10 12 14 16 18

Memory Cats A Lloyd Webber Paul Bateman 2 PR PR Mil Harddach Wyt Na'r Rhosyn Gwyn R Bryn Williams Eric Jones 0 V APPENDIX 3: Repertoire usedattheRoyal HallFestivalsAlbert Moab John Roberts Arwel Hughes 5 PR PR PR PR PR Mor Fawr Wyt Ti Justin Beynon 1 PR Morte Christe Isaac Watts Emrys Jones 5 PR PR ER ER PR My Lord What A Mornin' R Lee Gilliam 3 PR PR PR My Way C François / J Revaux Mike Sammes 2 PR PR Myfanwy Joseph Parry 6 PR PR PR PR PR PR Nant y Mynydd Trad. F Silcher 2 PR PR Nazareth J R Lewis Alwyn Humphreys 1 PR Y Nefoedd T Osborne Roberts Haydn James 2 PR P Nessu Dorma Turandot Giacomo Puccini Alwyn Humphreys 1 PR Nidaros Daniel Protheroe 4 P PR PR PR The Nile Chorus Aida Verdi 1 PR Offertorium Requiem Cherubini 1 P O Gyrnru Rhys Jones H James / Jenny Trew 1 PR O Isis Und Osiris! The Magic Flute Mozart 2 P PR 38 O Isis And Osiris! The Magic Flute Mozart 3 PR P PR The Old Rugged Cross Bennard K J Dinham 1 PR The Old Woman Hugh S Roberton 1 PR O Mary, Don't You Weep Raymond Rhea 1 P Paham? Pecce Pannino D Eifion Thomas 1 PR Pan Fo'r Nos YN Hir Ryan Davies Haydn James 1 P Pantyfedwen M E Evans Llifon Hughes-Jones 3 PR PR P Passing By Edward C Purcell 1 PR Pilgrims' Chorus Tannh ä user Richard Wagner May Gillington 7 PR P PR PR PR PR PR Praise Ye, Praise Ye God, The Lord Mansel Thomas 1 PR Prayer Lohengrin Richard Wagner George Mead 2 PR PR Y Pren Ar Y Bryn William Mathias 1 P Prisoners' Chorus Fidelio Beethoven 1 P Psalm 23 (in Welsh) Schubert 2 P PR Pwy Fydd Yma R Lowry D Eifion Thomas 1 PR Rachie Caradog Roberts Alwyn Humphreys 4 PR PR E PR Rhyd Y Groes T D Edwards Mansel Thomas 2 PR PR Rhyfel Ellis Evans - Hedd Wyn (words) Edward-Rhys Harry 1 PR Rhys W J Evans Edward-Rhys Harry 2 PR PR Rhythm of Life Sweet Charity Coleman & Fields W H Smith 1 PR

File Name: Festivals Repertoire 1969 to 2018 Page: 5 Compiled by Gethin Williams: 19/01/2019 LWMVC Festivals Repertoire

Key: P = In Festival Programme; E = Encore (not listed in Prog); O = LWMVC Only; R = On Festival Recording; V = In Festival Song Book (from 1978) but not Sung; Title Composer Arranger Freq 69 70 72 74 76 78 80 82 84 86 88 90 92 94 96 98 00 02 04 06 08 10 12 14 16 18

Rhythm of Life Sweet Charity Cy Coleman Richard Barnes 1 PR Ride the Chariot Trad. Spiritual William Henry Smith 5 PR PR PR PR PR APPENDIX 3: Repertoire usedattheRoyal HallFestivalsAlbert A Roman War Song Rienzi Wagner Percy E Fletcher 5 PR P PR PR PR The Rose Amanda McBroom Lyn Harry 1 PR Row, Boatman Row Adam Geibel 1 P Rule The World Owen, Barlow, Donald, Orange Edward-Rhys Harry 1 PR Safwn Yn Y Bwlch G Morris & G Roberts D Eifion Thomas 1 P Sailors Chorus Flying Dutchman Wagner 4 PR PR PR PR Sanctus Requiem Cherubini R S Himes 3 PR PR PR Sanctus (Zum Sanctus) Fifth German Mass Franz Schubert 3 PR PR P Sarah Samuel Arnold J Peleg Williams 5 PR PR P PR PR Save The Last Dance For Me Pomus / Shuman Andrew Jackman 1 PR Serenade The Fair Maid of Perth Bizet Idloes Owen 5 PR PR PR P PR Shall We Gather At The River Robert Lowry Edward-Rhys Harry 1 PR Shenandoah Marshall Bartholomew 1 PR Si Hei Lwli 'Mabi Emyr James 1 PR The Silver Birch (see also Y Fedwen Arian) A V Alexandrov 2 PR PR 39 Sit Down You're Rockin' The Boat Guys & Dolls Frank Loesser Haydn James 1 PR Sloop John B Trad. Edwards & Jackman 1 PR Softly As I Leave You Vita & Shaper Simmons 1 PR Soldier's Chorus Faust Charles Gounod 5 PR PR PR PR PR Soldiers' Chorus The Daughter of the Regiment Donizetti Northcote 1 PR Soldier's Farewell Johanna Kinkel 2 PR PR Somewhere (West Side Story) Sondheim / Bernstein Edward-Rhys Harry 1 PR The Song of the Jolly Roger C F Chudleigh Candish 3 P PR PR Songs from the First World War Alwyn Humphries 2 PR PR Soon Ah Will Be Done William L Dawson 1 PR Sound An Alarm Judas Maccabeaus Handel Harold Noble 3 PR P PR Speed Your Journey Nabucco Verdi Sydney Northcote 8 PR PR P P PR PR PR PR Sleal Away Morris Jacobson 2 P PR Steal Away Child Of Our Time Michael Tippett Edward Milner 1 PR Stout-Hearted Men New Moon Sigmund Romberg Walter Scotson 3 PR PR PR Sunrise, Sunset Fidler on the Roof Jerry Bock Bryan Davies 1 PR Sunset Poem Under Milk Wood Troyte 2 PR PR Take Me Home Edwards & Hand Andrew Jackman 6 P P PR PR PR PR Y Tangnefeddwyr Eric Jones words Waldo Williams 3 PR PR ER Tell My Father Frank Wildhorn Andrea Ramsey 1 PR

File Name: Festivals Repertoire 1969 to 2018 Page: 6 Compiled by Gethin Williams: 19/01/2019 LWMVC Festivals Repertoire

Key: P = In Festival Programme; E = Encore (not listed in Prog); O = LWMVC Only; R = On Festival Recording; V = In Festival Song Book (from 1978) but not Sung; Title Composer Arranger Freq 69 70 72 74 76 78 80 82 84 86 88 90 92 94 96 98 00 02 04 06 08 10 12 14 16 18

Thanks Be To God Stanley Dickson Henry Geehl 1 PR The Morning Trumpet 0 APPENDIX 3: Repertoire usedattheRoyal HallFestivalsAlbert There Is Nothing Like A Dame South Pacific Richard Rogers W Stickles 2 P PR The Rose Amanda McBroom L Harry/ Marilyn Phillips 1 PR This Ol' Hammer Ryder 1 PR Ti a Dy Ddoniau Ryan Davies D Eifion Thomas 2 PR PR Timeless Moment Mahler D Eifion Thomas 1 PR Toreador Song (Carmen) Georges Bizet John Rutter 1 POR Tydi A Roddaist Arwel Hughes 7 PR P PR PR PR PR ER Unwaith Eto'n Nghymru Annwyl D Lewis Alwyn Humphreys 1 PR Va Pensiero (see also Speed Your Journey) Verdi Sydney Northcote 1 PR De Virgin Mary Had A Baby Boy Malcolm Sargent 1 PR A Welsh Prayer Graham Davies/Paul Mealor Edward-Rhys Harry 2 PR PR Were You There ? Hugh S Roberton 2 PR PR We Shall Walk Through the Valley in Peace Spiritual W Appling 1 PR What Would I Do Without My Music Alwyn Humphreys 1 PR When The Saints Go Marching In Trad. J Rutter/P Bateman 4 PR PR PR PR 40 When You Are Old W B Yeats (words) Edward-Rhys Harry 1 PR Where Shall I Be Spiritual Bryan Davies 1 PR The Whiffenpoof Song R Gill 1 PR Who Wants To Live For Ever (We will rock you) Brian May Edward-Rhys Harry 1 PR With Catlike Tread The Pirates of Penzance Gilbert & Sullivan 1 PR The Wonder Of You Baker Knight Alwyn Humphreys 1 PR Working Man Rita MacNeil Haydn James 3 PR PR PR Yellow Bird Norman Luboff 1 PR Yfory Robat Arwyn Eric Jones 3 PR PR PR Yma O Hyd Dafydd Iwan John Hywel 1 PR You'll Never Walk Alone Carousel Rogers & Hammerstein Haydn James 2 PR PR You Raise Me Up B Graham / Rolf Løvland Alwyn Humphreys 1 PR Ysbryd Y Nos Hefin Ellis Jeffrey Howard 1 PR

No. of Items sung at each Festival 16 18 19 16 17 15 15 15 16 17 17 19 17 21 20 18 18 19 17 19 18 19 16 18 20 18 No.of different Items & Arrangements sung at all Festival 252

File Name: Festivals Repertoire 1969 to 2018 Page: 7 Compiled by Gethin Williams: 19/01/2019 LWMVC Festivals Repertoire APPENDIX 3: Repertoire usedattheRoyal HallFestivals/CommunityAlbert Hymns

Key: P = In Festival Programme; E = Encore (not listed in Prog); O = LWMVC Only; R = On Festival Recording; V = In Festival Song Book (from 1978) but not Sung; Title Composer Arranger Freq 69 70 72 74 76 78 80 82 84 86 88 90 92 94 96 98 00 02 04 06 08 10 12 14 16 18

Audience/Community Singing

God Save The Queen 24 PR PR P? PR P P P P P P P P P P P P P P P P PR P PR P PR PR Hen Wlad Fy Nhadau 24 PR PR P? PR P P P P PR P P P P P P P PR P PR PR PR P PR PR PR PR

Blaenwern (Nid 'rwyn gofyn bywyd moethus) 1 P 2 Blaenwern (Love divine, all loves excelling) 2 PR PR Blaenwern (1af Dyma gariad fel . . 2nd Finish, then, Thy new . .) 2 P PR Bryn Myrddin (Mawr oedd Crist yn nhragwyddoldeb) J Morgan Nicholas (2nd verse in English) 1 PR Builth (Rhagluniaeth fawr y nef) David Jenkins (2nd verse in English) 1 P Calon Lân (? Blaenwern) 2 P? PR Cwm Rhondda (Wele'n sefyll rhwng y myrtwydd) 2 PR P 2 Cwm Rhondda (Guide me, O Thou great Jehovah) 4 PR PR PR PR Cwm Rhondda (Guide me, O Thou great Jehovah) (2nd verse in Welsh) 1 PR 41 Diadem (Cyduned y nefolaidd gôr) 2 P PR Diadem (All hail the power of Jesu's name) (2nd verse in Welsh) 1 PR Ebenezer (Dyma gariad fel y moroedd,) (3rd verse in English) 1 P Mae D'Eisiau Di Bob Awr 1 P Rachie (I Bob Un Sydd Ffyddlon) 2 P PR Sanctus - Glan Geriwbiad 1 P Sanctus - Glan Geriwbiad (2nd verse in English) 2 PR PR Tyddyn Llwyn (Pwy a'm dwg i'r ddinas gadarn) Evan Morgan 1 P No record of a Communal Hymn 0

No. of Items sung by the audience at each Festival 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1 1

1 In 1986 Deus Salutis (Llef ) is on the recording, but not in the programme. It was probably the Encore, because the audience piece was Cwm Rhondda ! 2 In 2000 there were two audience pieces - Cwm Rhondda & Blaenwern !

File Name: Festivals Repertoire 1969 to 2018 Page: 8 Compiled by Gethin Williams: 19/01/2019 LWMVC Festivals Repertoire

Key: P = In Festival Programme; E = Encore (not listed in Prog); O = LWMVC Only; R = On Festival Recording; V = In Festival Song Book (from 1978) but not Sung; Title Composer Arranger Freq 69 70 72 74 76 78 80 82 84 86 88 90 92 94 96 98 00 02 04 06 08 10 12 14 16 18 APPENDIX 3: Repertoire usedattheRoyal HallFestivals/SoloistsAlbert L/ L/ L/ L/ T/ T/ T/ T/ T/ T/ T/ T/ L L L L L L T/ T/ C 2C 2C 2C 2C 2C 2C Original Recording Mode: L= LP Record; T = Cassette Tape; C = CD; 2C = Double CD. T T C? C? C? C? C C C C C? C? Recording Titles: Festival of Massed Welsh Male Voices X From Mountain and Valley X Tua'r Wawr (Towards the Dawn) X Wales in Song X Rolling Rivers and Smiling Valleys X Sefwch Gyda Ni (Stand With Us) X Songs of the Valleys X In Bright Array Assembled X Gwyl Corau Meibion Cymry Llundain X Corau Meibion X Beautiful Song X Atgofion Sy'n Parhau/Memories That Stay X Sound An Alarm X What Would Life Be? X All Of Us One X Voices X Goin' Home X Deep Inside My Soul X Stout-Hearted Men X Lift Up Your Voices X Ride the Chariot X World of Joyful Song X Commerades in Song X The Power and the Passion X A Festival of Male Voice Choirs X Bothers In Harmony X

Choir Items involving Soloist participation at Festivals * LWMVC choristers. 1969 Iorwerth Pritchard* in Battle Hymn 1996 Leah-Marian Jones in You'll Never Walk Alone 2008 Gwawr Edwards in You'll Never Walk Alone 1970 Iorwerth Pritchard* in Battle Hymn 1996 D Eifion Thomas in Ai Am Fod Haul Yh Machlud 2008 David Williams* in Ai Am Fod Haul Yn Machlud 1996 D Eifion Thomas in How Green Was My Valley

42 1972 Arwel Peleg Williams in This Ol' Hammer 2014 Trystan Llyr Griffiths in Steal Away 1998 Rhys Meirion in Nant Y Mynydd 2014 Trystan Llyr Griffiths in Gweddi’r Arglwydd 1980 Geraint Lewis* in Goin' Home 2014 David Williams* in Working Man 1988 Iorwerth Pritchard* in Battle Hymn 2000 Jason Howard in Old Rugged Cross 2014 Harry Bell* in Can You Hear Me? 2000 D Eifion Thomas in Pecce 1988 Wynford Evans in The Silver Birch 2000 D Eifion Thomas in Ride The Chariot 2016 Eirlys Myfanwy Davies in Somewhere 1988 Thea Cramp (Flute) in Softly As I Leave You 2016 Rhodri Prys Jones & Matthew Jones in When You Are Old 1988 Iorwerth Pritchard* in I'se Weary Of Waitin' 2002 Rhys Meirion in Kalinka 2016 Meilir Jones in I'se Weary Of Waitin' 2002 Sergei Valdimrski (Balalika) in Kalinka 2016 Jessica Robinson in Toreador Song 1990 Wynford Evans in Myfanwy 2002 D Eifion Thomas in Pwy Fydd Yma 2016 Rhodri Prys Jones in Don't Go Chasing Shadows 1990 Wynford Evans in Kalinka 2002 Susanna Tudor-Thomas in Unwaith Eto 2016 Rhodri Prys Jones & Meilir Jones in A Welsh Prayer 1990 Sergei Valdimrski (Balalika) in Kalinka 2016 David Williams* in Working Man 1990 Thea Cramp (Flute) in Bugeilio'r Gwenith 2004 Huw Llewelyn in Heaven Is My Home 2016 Will Rees* in Ride The Chariot 1990 Geraint Lewis* in Aberystwyth 2004 Fflyr Wyn in Heaven Is My Home 2016 Harry Bell* in Gweddi'r Arglwydd 2004 Wynne Evans in An African Trilogy 1992 Ieuan Jones (Harp) in Y Delyn Aur 2018 Llio Evans & John Ieuan Jones (duet) in A Welsh Prayer 2006 Rebecca Evans in Cennarth 2018 Steffan Morris (cello) in Benedictus 1994 Dennis O'Neal in Di Quella Pira 2006 Jason Howard in Working Man 1994 Dennis O'Neal in Italian Salad 2006 Jason Howard in I'se Weary Of Waitin' 1994 D Eifion Thomas in Myfanwy 2006 Dafydd Iwan in Yma O Hyd 1994 D Eifion Thomas in Y Dref Wen 2006 Pete Lewis (Flute) in Bugeilio'r Gwenith Gwyn 1994 Leah-Marian Jones in Y Nefoedd 2006 Peter Totterdale* in Beautiful Dreamer

File Name: Festivals Repertoire 1969 to 2018 Page: 9 Compiled by Gethin Williams: 19/01/2019 APPENDIX 4: Festival Chairmen, Secretaries and Conductors

LONDON WELSH FESTIVAL OF MALE CHOIRS (known as the Festival of One Thousand Male Voices until the 1988 Festival) (AT THE ROYAL ALBERT HALL)

FESTIVAL CHAIRMEN, SECRETARIES and MDs / CONDUCTORS Number Festival Festival Festival Festival MD / Year Chairman Secretary Conductor 26th 2018 David Jones Nigel Williams Edward-Rhys Harry 25th 2016 David Williams Keith Warren Edward-Rhys Harry 24th 2014 David Williams Keith Warren Edward Rhys Harry 23rd 2012 David Williams Keith Warren Edward-Rhys Harry 22nd 2010 David Williams *Patrick Hodges Alwyn Humphreys 21st 2008 David Williams Patrick Hodges Haydn James 20th 2006 David Williams Patrick Hodges Haydn James 19th 2004 David Williams Ray Taylor Alwyn Humphreys 18th 2002 David Williams Ray Taylor Haydn James 17th 2000 David Williams Ray Taylor Haydn James 16th 1998 David Williams Ray Taylor D. Eifion Thomas 15th 1996 Keith Heal Ray Taylor Haydn James 14th 1994 Keith Heal Ray Taylor Haydn James 13th 1992 Keith Heal Ray Taylor Noel Davies, Pontarddulais 12th 1990 David Williams Ray Taylor Haydn James 11th 1988 David Williams Ray Taylor Haydn James 10th 1986 David Williams Ray Taylor Haydn James 9th 1984 Keith Heal David Roberts Noel Davies, Pontarddulais 8th 1982 Geraint Hopkins Jack Williams Noel Davies, Pontarddulais 7th 1980 Geraint Hopkins Jack Williams Noel Davies, Eng.Nat.Opera 6th 1978 Geraint Hopkins Jack Williams John Peleg Williams 5th 1976 Geraint Lewis David H. Jones John Peleg Williams 4th 1974 Elwyn Roberts Geraint Hopkins Roy Bohana 3rd 1972 Elwyn Roberts David H. Jones Roy Bohana 2nd 1970 Elwyn Roberts Cyril Thomas Roy Bohana 1st 1969 Elwyn Roberts Cyril Thomas Roy Bohana * In the summer of 2010 Patrick Hodges was hospitalised with a serious injury and Keith Warren took over the role of Festival Secretary Keith Warren

43 APPENDIX 5: Audience Hymns at the Royal Albert Hall Festivals

LONDON WELSH FESTIVAL OF MALE CHOIRS : ROYAL ALBERT HALL AUDIENCE /COMMUNITY HYMNS SUNG IN PREVIOUS FESTIVALS (1969 - 2018)

D HYMN SUNG, NUMBER OF VERSES On AT & LANGUAGE(S) LP/CD E 20 Diadem: three verses : 1st and 3rd in Welsh; Yes (CD) 18 2nd in English 20 Sanctus : three verses : 1st and 3rd in Welsh; Yes (CD) 16 2nd in English 20 Calon Lân: three verses: 1st and 3rd in Welsh; Yes (CD) 14 2nd verse in English 20 Bryn Myrddin: three verses: 1st and 3rd in Yes (CD) 12 Welsh; 2nd in English 20 Cwm Rhondda: three verses : 1st and 3rd in Yes (CD) 10 English; 2nd in Welsh plus O Am Aros at end 20 Blaenwern: three verses: 1st and 3rd in English Yes (CD) 08 (Love Divine); 2nd in Welsh (Dyma Gariad) 20 Builth: three verses : 1st and 3rd in Welsh, 2nd No (CD) 06 in English 20 Sanctus : three verses : 1st and 3rd in Welsh; Yes (CD) 04 2nd in English 20 Diadem : three verses : 1st and 3rd in English, Yes (CD) 02 2nd in Welsh 20 Blaenwern : three verses : 1st and 3rd in Yes (CD) 00 English (Love Divine); 2nd in Welsh (Dyma Yes (CD) Gariad) Cwm Rhondda : three verses : 1st and 3rd in English; 2nd in Welsh plus O Am Aros at end 19 Rachie : three verses : 1st and 3rd in Welsh (I Yes (CD) 98 Bob Un); 2nd in English (Onward Christian) 19 Blaenwern : two verses : 1st in Welsh (Dyma Yes (CD) 96 Gariad); 2nd in English 19 Cwm Rhondda : three verses : 1st and 3rd in Yes (CD) 94 English; 2nd in Welsh plus O Am Aros 19 Ebenezer : three verses : 1st two verses in No (CD) 92 Welsh (Dyma Gariad), 3rd in English 19 Blaenwern : two verses : 1st in Welsh (Dyma No (CD) 90 Gariad); 2nd in English 19 Diadem : four verses : 1st and 4th in Welsh; No (CD) 88 2nd and 3rd in English 19 Cwm Rhondda : three verses : all in Welsh No (LP) 86

44 APPENDIX 5: Audience Hymns at the Royal Albert Hall Festivals

19 Rachie : three verses : all in Welsh (I Bob No (LP) 84 Un) 19 Blaenwern : three verses : all in Welsh No (LP) 82 (Calon Lân) 19 Tui Egeo : four verses : all in Welsh (Mae No (LP) 80 D’Eisiau Di Bob Awr) 19 Tyddyn Llwyn : four verses : all in Welsh No (LP) 78 (Pwy A’m Dwg I’r Ddinas Gadarn) 19 Blaenwern : two verses : both in Welsh No (LP) 76 (Calon Lân) 19 Sanctus : three verses : all in Welsh ( Glân Yes (LP) 74 Geriwbiaid a Seraffiaid) 19 Cwm Rhondda : three verses : all in Welsh Yes (LP) 72 19 Cwm Rhondda : three verses : all in Welsh Yes (LP) 70 19 Cwm Rhondda : first verse, with repeat of Yes (LP) 69 “Bread of Heaven”: in English

Comment on the above • The audience hymns sung are on 16 out of 26 of the published recordings of the Festival. Of these 16, 12 are on CDs and 4 are on LPs. • The audience hymns most frequently sung have been Cwm Rhondda (7 Festivals), Blaenwern (6 Festivals), Diadem (3 Festivals) and Sanctus - Glân Geriwbiaid (3 Festivals).

Keith Warren - October 2018 (Revised in September 2020 to show which hymns are on Festival Recordings)

45 APPENDIX 6a: Mini Festivals held at Birmingham Symphony Hall

THE “GALA EVENING OF SONG” CONCERTS AT THE SYMPHONY HALL, BIRMINGHAM (sometimes called “Mini-Albert Hall Festivals”)

There were three of these Concerts organised by the LWMVC. They were in November 1996, January 1999 and November 2000. The choral music programme consisted of items sung in the London Welsh Festivals of Male Choirs at the Royal Albert Hall of October 1996, 1998 and 2000, with some of the Choirs in those Festivals (largely from or near Wales) singing in the Birmingham Concerts.

Date Conductor Compère Accompanists Soloists Choirs Saturday, Haydn James Cliff Morgan Rosalind Jones Leah-Marian Jones London Welsh Male Voice Choir 30th November, CVO, OBE (Piano) (Mezzo-Soprano) Aberhonddu & District Male Voice Choir (Brecon) 1996 Jane Watts Jane Watts (organ solo) Côr Meibion Caron (Tregaron, Ceredigion) (Organ) D. Eifion Thomas (Tenor) Côr Meibion Mynydd Mawr (Gwendraeth Valley) GKN Sankey Male Voice Choir (Telford, Shropshire) Huntingdon Male Voice Choir (Cambridgeshire) Melincryddan Male Choir (Neath) Rhayader & District Male Voice Choir (Powys) Shelfield Male Voice Choir (Walsall, W. Midlands)

Saturday, Haydn James Philip Madoc Rosalind Jones Bethan Dudley London Welsh Male Voice Choir 16th January, (Piano) (Mezzo-Soprano) Alcester Male Voice Choir (Warwickshire) 1999 Jane Watts Jane Watts (organ solo) Brymbo Male Choir (Wrexham) (Organ) D. Eifion Thomas (Tenor) Côr Meibion Dyffryn Ceiriog (Glyn Ceiriog, Wrexham) Côr Meibion y Penrhyn (Bethesda, Caernarfonshire) Dyffryn Nantlle Male Voice Choir (Caernarfonshire) Llanelli Male Choir (Carmarthenshire) Shrewsbury Male Voice Choir (Shropshire) Saturday, Haydn James Cliff Morgan Rosalind Jones Mary Lloyd-Davies London Welsh Male Voice Choir 25th November, CVO, OBE (Piano) (Soprano) Aberhonddu & District Male Voice Choir (Brecon) 2000 Jane Watts Jason Howard (Baritone) Builth Male Voice Choir (Builth Wells, Powys) (Organ) D. Eifion Thomas (Tenor) Canoldir Male Choir (Birmingham, West Midlands) Côr Meibion Caron (Tregaron, Ceredigion) Dunvant Male Voice Choir (Swansea) Kenfig Hill & District Male Voice Choir (Nr. Bridgend)

APPENDIX 6b: Mini Festivals held at Cardiff Millennium Centre

THE “CHOIRS KENSINGTON TO CARDIFF” CONCERTS, AT WALES MILLENNIUM CENTRE, CARDIFF (sometimes called “Mini-Albert Hall Festivals”)

There were three of these Concerts presented by the Teenage Cancer Trust in conjunction with the LWMVC. They were in January 2007, March 2009 and March 2011. The choral music programme consisted of items sung in the London Welsh Festivals of Male Choirs at the Royal Albert Hall of October 2006, 2008 and 2010, with some of the Choirs in those Festivals (largely from or near Wales) singing in the Concerts. They were in aid of the Teenage Cancer Trust Unit at the University Hospital of Wales, Cardiff.

Date Conductor Compère Accompaniment Soloists Choirs Sunday, Haydn James Frank Jeffrey Howard Rebecca Evans London Welsh Male Voice Choir 14th January Lincoln (Piano) (Soprano) Brymbo Male Choir (Wrexham) 2007 at 5 pm Timothy Morgan Wynne Evans (Tenor) Côr Meibion Caron (Tregaron, Ceredigion) (Organ) Eddie Wade (Baritone) Côr Meibion De Cymru (largely S. & S. West Wales) Dafydd Iwan Côr Meibion Trelawnyd (Flintshire, Nr. Prestatyn) (Solo in “Yma O Hyd”) Côr y Gyrlais (Ystradgynlais, upper Swansea Valley) Morriston RFC Male Voice Choir (Swansea) Mynyddislwyn Male Choir (Penmaen, Caerphilly) Sunday, Haydn James Frank Annabel Thwaite Gwawr Edwards London Welsh Male Voice Choir 1st March, 2009 Lincoln (Piano) (Soprano) Aberhonddu & District Male Voice Choir (Brecon) at 5 pm The Cory Band Wynne Evans (Tenor) Alcester Male Voice Choir (Warwickshire) Eddie Wade (Baritone) Builth Male Voice Choir (Builth Wells, Powys) The Cory Band Côr Meibion Onllwyn (Dulais Valley, Neath) (Solo Items) Cardiff Arms Park Male Choir Cheddar Male Choir (Somerset) Dunvant Male Voice Choir (Swansea) Treorchy Male Choir (Rhondda Valley) Sunday, Alwyn Frank Annabel Thwaite Elizabeth Donovan London Welsh Male Voice Choir 6th March, Humphreys Lincoln (Piano) (Soprano) Cambrian Male Voice Choir (Tonypandy, Rhondda) 2011 at 5 pm MBE The Cory Band Wynne Evans (Tenor) Côr Meibion Caron (Tregaron, Ceredigion) David Kempster Côr Meibion De Cymru (largely S. & S. West Wales) (Baritone) Côr Meibion Taf (Cardiff) The Cory Band Dowlais Male Choir (Merthyr Tydfil) (Solo Items) Hereford Police Male Choir (Herefordshire) Kenfig Hill & District Male Voice Choir (Nr. Bridgend)

46 APPENDIX 7: Festival Conductors

!1

In Praise of Excellence: the role of the Festival’s Conductors Author’s Note: This article was originally in the printed programme of the 25th London Welsh Festival of Male Choirs in 2016. It has been revised and updated in March 2021.

Introductory While the choice of items in all London Welsh Festival of Male Choirs was made by the LWMVC Music Committee, a Festival’s Musical Director / Conductor has also often influenced the final choice and obviously their musical interpretation. It is useful to make a broad distinction between two categories of Festival MDs: those who were employed from outside the LWMVC as “guest conductors” and those who were also MDs of the London Welsh Male Voice Choir when they conducted the Festival. This distinction does not though lead to any judgment about their relative musical skills! Those Festival MDs in the “guest conductor” category were Roy Bohana, Noel Davies (English National Opera), Noel Davies (Pontarddulais), Eifion Thomas and Alwyn Humphreys. Those who were also Musical Directors of the LWMVC at the same time were John Peleg Williams, Haydn James and Edward-Rhys Harry.

Roy Bohana, MBE: Musical Director of the first four Festivals: 1969, 1970, 1972 and 1974. Roy was born in Caernarfon, Gwynedd and studied at the U.C.W. Aberystwyth. In the 1960s he conducted the UCW Madrigal Singers and also was the founder of the renowned Cardiff Polyphonic Choir. He was responsible for forming and conducting the Welsh National Choir which sang at the Investiture of HRH the Prince of Wales in 1969. Some LWMVC members were part of this 200 strong Choir. He later became the MD of the Llangollen International Eisteddfod, MD of the Welsh Arts Council and an adjudicator of some repute. I remember Roy as a man with an ebullient personality and considerable musical skills who left choristers in no doubt as to what was needed from them in pre-Festival rehearsals! Much of the repertoire remained a mixture of Welsh hymns and operatic classics although the challenging Nidaros by Daniel Protheroe was sung in 1969 and 1974 and gospel items became more prominent, including Roy’s own arrangement of Kwmbaya. A modern piece by William Mathias, Y Pren Ar Y Bryn was sung in 1972. Roy was responsible for LWMVC chorister, Iorwerth Pritchard (Bass) singing the solo line in Battle Hymn of the Republic in the 1970 Festival and Iorwerth gave a powerful and indeed magnificent rendition.

John Peleg Williams, Musical Director of the 1976 and 1978 Festivals John Peleg, like Roy Bohana, was also born in Caernarfon, but came to London to study at the Trinity College of Music and London University, graduating and gaining diplomas in piano, conducting and composition. He became Musical Director of the LWMVC in 1970, was the pianist for the first four Festivals and MD for the next two. In 1979 he left London to become Schools music organiser in Powys, Wales. I remember John as a fantastic teacher of the music as well having considerable conducting skills. Those of us who learnt items with John Peleg often say that we have never forgotten them! The most significant musical innovation under John was the introduction of “Pop” music into the male choral repertoire and the release of LWMVCs iconic LP, Take Me Home in 1975. As far as the Festival’s repertoire is concerned, John remained loyal to the traditional male voice pieces. However, Take Me Home was sung in the 1976 Festival and also the more modern hymn Pantyfedwen as well as his arrangement of Dafydd Y Garreg Wen. In the 1978 Festival his beautiful arrangement of the hymn tune Sarah was sung to much acclaim.

Noel Davies (English National Opera), Musical Director of the 1980 Festival Noel was born in London but lived in Abergavenny at the time of the Festival. He attended the Royal College of Music in London and specialised in opera conducting, joining the Music Staff of the Sadler’s Wells Opera Company. In 1974 he became conductor of the London Welsh Festival Chorus and he conducted numerous Concerts with them at the Royal Festival Hall, including his own edition of Handel’s Judas Maccabeus. At the 1980 Festival Noel especially enjoyed conducting the Festival Choir in Gilbert and Sullivan’s Entrance and March of the Peers, Mozart’s O Isis and Osiris and Goin’ Home from Dvorak’s New World Symphony, where the soloists were LWMVC choristers, Geraint Lewis and David Williams. The biggest surprise of the evening was the previously unannounced appearance of Harry Secombe, who sang the solo line in Swansea Town and We’ll Keep a Welcome in the Hillside.

Noel Davies (Pontarddulais) MBE, Musical Director of the 1982, 1984 and 1992 Festivals After conducting the Carmarthenshire Youth Choir, Noel was the founder Conductor of the Pontarddulais Male Choir and by 1982 his Choir had won ten of the National Eisteddfod’s premier male voice competitions. In 1978 he conducted the North American Gymanfa Ganu and in 1981 became a member of the “Gorsedd”. Noel insisted on high standards from Choirs who sang in the Festival and was an inspiring Conductor. The 1982 Festival was regarded by many as the best Festival thus far with a mixture of hymns such as Moab, Bryn Myrddin and Deep Harmony, operatic classics such as!2 Speed Your Journey and Sound an Alarm, in contrast with other items such as John Denver’s Annie’s Song and Luboff’s Yellow Bird. In the 1984 Festival, Noel’s own arrangement of The Impossible Dream was very well received. He returned to conduct his third Festival in 1992 and a highlight was his interpretation of My Way.

Haydn James, Musical Director of 9 Festivals (1986, 1988, 1990, 1994, 1996, 2000, 2002, 2006, 2008) Haydn was born in Nantyfyllon near Maesteg, achieved BSc and MSc Degrees in Science at the University of Wales, Aberystwyth and later a Doctorate at London University. Whilst at Aberystwyth he developed a passion for music, sang both Jazz and Elizabethan Madrigals but later in London also studied conducting at the Guildhall School of Music. He became conductor of the Dylan Singers in the London Welsh community, and won first prize at the National Eisteddfod conducting Côr47 Meibion Gwalia. In September 1979 he became the Musical Director of the London Welsh Male Voice Choir and remained in this role for more than 30 years retiring in January 2010. He continued though to be musically very active, being MD of the Welsh Rugby Union conducting Choirs at all the home games in Cardiff and also MD of the British and Irish Lions Choir. He is now a Vice President of the London Welsh Male Voice Choir and keeps in close touch with the Choir.

Haydn was an enthusiastic and charismatic conductor of both the LWMVC and of the Festival Choirs. While continuing to enjoy conducting traditional Welsh hymns, operatic and gospel classics, he had a significant role in widening the Festival’s repertoire in three ways: firstly, through the introduction of more songs from the musicals, such There is Nothing Like a Dame, The Circle of Life, Rhythm of Life, Love Changes Everything and the Les Misérables trilogy, secondly, by encouraging the commissioning of arrangements by the gifted Paul Bateman (now also a Choir Vice President) such as When the Saints Go Matching In, Down By The Riverside and Memory and thirdly, by his own arrangements such as of You’ll Never Walk Alone, Let It Be Me and Anthem from Chess. In this context, we were very pleased that he was again at the 2016 Festival to conduct his arrangement of Rita MacNeil’s composition, Working Man, with David Williams as soloist.

D. Eifion Thomas, Musical Director of the 1998 Festival and Soloist in 1994, 1996, 2000 and 2002. Eifion was actually present at the very first Festival in 1969 as accompanist to Côr Meibion Cwmfelin (to be re- named Côr Meibion Llanelli) and later became and remains its Musical Director. This is a choir that under Eifion developed a reputation for excellent Concert Performances, high quality recordings and success at the National Eisteddfod of Wales. The Llanelli Choir also sang at the Festival in 1996 and 1998. Eifion has contributed to the Festival in three ways: firstly, as MD in 1998 when the Choir sang a varied and exciting repertoire including Sloop John B, Soldiers Chorus, Bring Him Home (from Les Misérables) and Amen; secondly, as a memorable Tenor soloist in four Festivals (as mentioned above) including as a soloist within Choral items, e.g, in Pwy Fydd Yma (Ymhen Can Mlynedd) and thirdly, as an arranger of Welsh language items that were very well received by Festival audiences, e.g, Y Dref Wen, Gwawrio Mae’r Bore and Yr Anthem Geltaidd. We were very pleased that he was again at the 2016 Festival to conduct Ride The Chariot, which featured LWMVC chorister, Will Rees as soloist. Eifion himself had sung the solo line in the 2000 Festival!

Alwyn Humphreys, MBE, Musical Director of the 2004 and 2010 Festivals Alwyn, originally from Anglesey, graduated in music at the University of Hull and Trinity College, London and was the Musical Director of the renowned Morriston Orpheus Choir for 25 years and is now their Conductor Emeritus. He has written over 200 male voice arrangements and today still combines a busy career as a guest conductor with work as a television and radio presenter. He made a significant contribution to the success of the 2004 and 2010 Festivals through his dynamic and inspirational conducting skills. Especially memorable were the Festival Choir’s rendition in the 2004 Festival of the African Trilogy, An American Trilogy and By Babylon’s Wave and in the 2010 Festival of You Raise Me Up, Nazareth and Y Tangnefeddwyr. Alwyn’s other significant contribution to the Festival is his memorable male voice choir arrangements such as I’m Gonna Walk, Rachie, The Wonder of You, and Unwaith Eto’n Nghymru Annwyl. In addition, the Festival has featured his medleys of popular Welsh hymns and in the 2016 Festival, his arrangement of Songs from the First World War was very well received.

Edward-Rhys Harry, Musical Director of the 2012, 2014, 2016 and 2018 Festivals. Edward-Rhys Harry became Musical Director of the London Welsh Male Voice Choir in January 2010. He is from Penclawdd on the Gower Peninsula. His music qualifications include the following: B.Mus. MA (in Choral Conducting) M.Mus, PGCE, PG Dip.Mus.Tech and most recently a Doctorate (in composition). He is also the MD of several other Choirs, including the London Welsh Chorale, the Harry Ensemble and the City of Canterbury Chamber Choir, is the Conductor-in-Residence of the British Sinfonietta Orchestra and the Musical Director of the Llangollen International Eisteddfod.

He is gifted, charismatic and very hardworking and made a significant contribution to the development and success of the Festival. It is useful to identify three factors: firstly, his teaching skills and his background as voice coach improved both the quality and learning of items in the Festival. For the first time choirs were provided with Learning CDs where for each item the voice parts and accompaniment had been separately recorded and then also brought together; this was an invaluable aid to learning; secondly, he proved in four

Festivals that he has the conducting skills to motivate and bring about the best from the choristers he directs; thirdly, his skills in arranging and composition led to new arrangements of traditional hymns such as Rhys and !2 !2 arrangement of The Impossible DreamAPPENDIX was very 7:well Festival received. HeConductors returned to conduct his third Festival in 1992 arrangementand a highlight of was The hisImpossible interpretation Dream of wasMy Way. very well received. He returned to conduct his third Festival in 1992 and a highlight was his interpretation of My Way. Haydn James, Musical Director of 9 Festivals (1986, 1988, 1990, 1994, 1996, 2000, 2002, 2006, 2008) Haydn wasJames, born Musical in Nantyfyllon Director near of 9Maesteg, Festivals achieved (1986, 1988, BSc and1990, MSc 1994, Degrees 1996, 2000,in Science 2002, at 2006, the University 2008) of HaydnWales, wasAberystwyth born in Nantyfyllonand later a nearDoctorate Maesteg, at London achieved University. 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He is now a Vice President of the London Welsh Male Voice Choir and keeps in close touch with the Choir. Haydn was an enthusiastic and charismatic conductor of both the LWMVC and of the Festival Choirs. While Haydncontinuing was to an enjoy enthusiastic conducting and traditional charismatic Welsh conductor hymns, ofoperatic both the and LWMVC gospel andclassics, of the he Festival had a significantChoirs. While role continuingin widening to the enjoy Festival’s conducting repertoire traditional in three Welsh ways: hymns, firstly, operatic through and the gospel introduction classics, ofhe more had asongs significant from rolethe inmusicals, widening such the There Festival’s is Nothing repertoire Like ain Dame, three Theways: Circle firstly, of Life,through Rhythm the ofintroduction Life, Love ofChanges more songs Everything from andthe themusicals, Les Misérables such There trilogy, is Nothing secondly, Like aby Dame, encouraging The Circle the of commissioning Life, Rhythm of of Life, arrangements Love Changes by theEverything gifted Paul and Batemanthe Les Misérables (now also atrilogy, Choir secondly,Vice President) by encouraging such as When the commissioningthe Saints Go Matchingof arrangements In, Down by By the The gifted Riverside Paul andBateman Memory (now and also thirdly, a Choir by Vice his President)own arrangements such as Whensuch theas ofSaints You’ll Go Never Matching Walk In, Alone, Down Let By ItThe Be Riverside Me and Anthemand Memory from Chessand thirdly,. In this by context,his own wearrangements were very pleased such as that of heYou’ll was Never again Walkat the Alone, 2016 FestivalLet It Be to Meconduct and hisAnthem arrangement from Chess of Rita. In MacNeil’s this context, composition, we were veryWorking pleased Man, that with he David was Williamsagain at asthe soloist 2016 . Festival to conduct his arrangement of Rita MacNeil’s composition, Working Man, with David Williams as soloist. D. Eifion Thomas, Musical Director of the 1998 Festival and Soloist in 1994, 1996, 2000 and 2002. EifionD. Eifion was Thomas, actually presentMusical at Director the very of first the Festival 1998 Festival in 1969 and as accompanist Soloist in 1994, to Côr 1996, Meibion 2000 Cwmfelin and 2002. (to be re- namedEifion was Côr actually Meibion present Llanelli) at and the later very became first Festival and remainsin 1969 itsas Musicalaccompanist Director. to Côr This Meibion is a choir Cwmfelin that under (to beEifion re- developednamed Côr a Meibion reputation Llanelli) for excellent and later Concert became Performances, and remains itshigh Musical quality Director. recordings This and is asuccess choir that at theunder National Eifion Eisteddfoddeveloped aof reputation Wales. The for Llanelliexcellent Choir Concert also Performances,sang at the Festival high quality in 1996 recordings and 1998. and Eifion success has atcontributed the National to theEisteddfod Festival of in Wales.three ways: The Llanellifirstly, as Choir MD alsoin 1998 sang when at the the Festival Choir sang in 1996 a varied and 1998.and exciting Eifion repertoire has contributed including to Sloopthe Festival John Bin, threeSoldiers ways: Chorus, firstly, Bringas MD Him in 1998Home when (from the Les Choir Misérables sang a) variedand Amen; and exciting secondly, repertoire as a memorable including TenorSloop soloistJohn B in, Soldiers four Festivals Chorus, (as Bring mentioned Him Home above) (from including Les Misérables as a soloist) and within Amen; Choral secondly, items, e.g,as a in memorable Pwy Fydd YmaTenor ( Ymhensoloist inCan four Mlynedd Festivals) and (as thirdly, mentioned as an above) arranger including of Welsh as languagea soloist withinitems thatChoral were items, very e.g, well in received Pwy Fydd by FestivalYma (Ymhen audiences, Can Mlynedd e.g, Y Dref) and Wen, thirdly, Gwawrio as an arranger Mae’r Bore of Welsh and Yr language Anthem itemsGeltaidd. that Wewere were very very well pleased received that by heFestival was againaudiences, at the e.g,2016 Y FestivalDref Wen, to conductGwawrio Ride Mae’r The Bore Chariot, and Yr which Anthem featured Geltaidd. LWMVC We werechorister, very Willpleased Rees that as soloist.he was againEifion athimself the 2016 had Festivalsung the to solo conduct line in Ride the 2000The Chariot, Festival! which featured LWMVC chorister, Will Rees as soloist. Eifion himself had sung the solo line in the 2000 Festival! Alwyn Humphreys, MBE, Musical Director of the 2004 and 2010 Festivals Alwyn,Alwyn Humphreys,originally from MBE, Anglesey, Musical graduated Director in of music the 2004 at the and University 2010 Festivals of Hull and Trinity College, London and wasAlwyn, the originally Musical fromDirector Anglesey, of the renownedgraduated Morristonin music atOrpheus the University Choir for of 25Hull years and Trinityand is College,now their London Conductor and Emeritus.was the Musical He has Directorwritten overof the 200 renowned male voice Morriston arrangements Orpheus and Choir today for still 25 combines years and a isbusy now career their asConductor a guest conductorEmeritus. Hewith has work written as a televisionover 200 maleand radio voice presenter. arrangements He made and todaya significant still combines contribution a busy to thecareer success as a ofguest the 2004conductor and 2010with work Festivals as a televisionthrough his and dynamic radio presenter. and inspirational He made conducting a significant skills. contribution Especially to the memorable success ofwere the the2004 Festival and 2010 Choir’s Festivals rendition through in the his 2004 dynamic Festival and of inspirationalthe African Trilogyconducting, An Americanskills. Especially Trilogy andmemorable By Babylon’s were Wavethe Festival and in Choir’s the 2010 rendition Festival in ofthe You 2004 Raise Festival Me Up, of theNazareth African and Trilogy Y Tangnefeddwyr., An American Trilogy Alwyn’s and other By significantBabylon’s contributionWave and in to the the 2010 Festival Festival is his of memorableYou Raise Memale Up, voice Nazareth choir arrangementsand Y Tangnefeddwyr. such as I’m Alwyn’s Gonna other Walk significant, Rachie, Thecontribution Wonder to of the You, Festival and Unwaith is his memorable Eto’n Nghymru male Annwyl. voice choir In addition arrangements, the Festival such ashas I’m featured Gonna hisWalk medleys, Rachie, of Thepopular Wonder Welsh of hymnsYou, and and Unwaith in the 2016 Eto’n Festival, Nghymru his Annwyl. arrangement In addition of Songs, the Festival from the has First featured World his War medleys was very of popularwell received. Welsh hymns and in the 2016 Festival, his arrangement of Songs from the First World War was very well received. Edward-Rhys Harry, Musical Director of the 2012, 2014, 2016 and 2018 Festivals. Edward-Rhys HarryHarry, became Musical Musical Director Director of the 2012,of the 2014,London 2016 Welsh and Male2018 VoiceFestivals. Choir in January 2010. He is Edward-Rhysfrom Penclawdd Harry on thebecame Gower Musical Peninsula. Director His ofmusic the qualificationsLondon Welsh include Male Voicethe following: Choir in B.Mus. January MA 2010. (in Choral He is fromConducting) Penclawdd M.Mus, on thePGCE, Gower PG Peninsula. Dip.Mus.Tech His musicand most qualifications recently a include Doctorate the following:(in composition). B.Mus. HeMA is(in also Choral the Conducting)MD of several M.Mus, other PGCE, Choirs, PG including Dip.Mus.Tech the London and most Welsh recently Chorale, a Doctorate the Harry (in composition).Ensemble and He the is alsoCity theof MDCanterbury of several Chamber other Choir,Choirs, is theincluding Conductor-in-Residence the London Welsh of Chorale,the British the Sinfonietta Harry Ensemble Orchestra andand the MusicalCity of CanterburyDirector of the Chamber Llangollen Choir, International is the Conductor-in-Residence Eisteddfod. of the British Sinfonietta Orchestra and the Musical Director of the Llangollen International Eisteddfod. He is gifted, charismatic and very hardworking and made a significant contribution to the development and Hesuccess is gifted, of the charismatic Festival. Itand is usefulvery hardworking to identify three and factors:made a firstly,significant his teachingcontribution skills to and the hisdevelopment background and as successvoice coach of the improved Festival. both It is the useful quality to identify and learning three factors: of items firstly, in the his Festival. teaching For skills the and first his time background choirs were as voiceprovided coach with improved Learning bothCDs thewhere quality for eachand learningitem the of voice items parts in the and Festival. accompaniment For the firsthad timebeen choirs separately were providedrecorded andwith thenLearning also broughtCDs where together; for each this was item an the invaluable voice parts aid toand learning; accompaniment secondly, hehad proved been inseparately four recorded and then also brought together; this was an invaluable aid to learning; secondly, he proved in four Festivals that he has the conducting skills to motivate !3and bring about the best from the choristers he directs; thirdly,Festivals his that skills he in has arranging the conducting and composition skills to motivate led to new and arrangements bring about theof traditional best from hymns the choristers such as he Rhys directs; and Crugybarthirdly, his andskills of in Price,arranging Ellers and and composition In Memoriam led to (contained new arrangements within a ofmedley traditional entitled hymns Cadwyn such asO RhysEmynau and Cymraeg) and arrangements of other items such as Somewhere and A Welsh Prayer. He has also written new compositions such as Gweddi’r Arglwydd (The Lord’s Prayer), Can You Hear Me? (about the suffering experienced in conflict), The Man We Never Knew (that commemorates the sacrifices made in World War 1) and Don’t Go Chasing Shadows (a tribute to the victims of the Aberfan tragedy of October 1966). All of these have been sung and enjoyed in recent London Welsh RAH Festivals.

Keith Warren (a LWMVC chorister since 1970, a former Choir Chairman and former Festival Secretary)

48 APPENDIX 8: Where to find the Royal Albert Hall Music

49 APPENDIX 8: Where to find the Royal Albert Hall Music

50 APPENDIX 8: Where to find the Royal Albert Hall Music

51 APPENDIX 8: Where to find the Royal Albert Hall Music

52 APPENDIX 8: Where to find the Royal Albert Hall Music

53 APPENDIX 8: Where to find the Royal Albert Hall Music

54 APPENDIX 8: Where to find the Royal Albert Hall Music

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