Sinfonia Cymru & Llŷr Williams Programme

Sinfonia Cymru & Llŷr Williams

Rossini: Overture to ‘The Italian Girl in Algiers’

Mozart: Piano Concerto No. 24 in C minor, K.491

Schubert: Symphony No. 5 in Bb, D. 485

Mendelssohn: Piano Concerto No. 1 in G minor, Op. 25

Conductor: Gareth Jones

Piano: Llŷr Williams

Fri 21st Nov, 7.30pmGwe 21st Tach, 7.30yh

Pontyberem Memorial HallNeuadd Goffa Pontyberem

Sat 22nd Nov, 7.30pmSad 22nd Tach, 7.30yh

Aberystwyth Arts CentreCanolfan Celfyddydau Aberystwyth

Sun 23rd Nov, 3.00pmSul 23rd Tach, 3.00yh

The Riverfront, NewportGlan yr Afon, Casnewydd

Concert Programme £2Rhaglen Gyngerdd £2

0800 052 1812 bbc.co.uk/now

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CELTIC IMPRESSIONS ARGRAFFION CELTAIDD

Friday • Gwener 28.11.14, 7.30pmAberystwyth Arts Centre • Canolfan y Celfyddydau Aberystwyth

***CHRISTMAS CELEBRATIONS

DATHLU’R NADOLIGHosted by • Cynhelir gan Wynne Evans

Thursday • Iau 18.12.14, 7.30pmSt David’s Hall, Cardiff • Neuadd Dewi Sant, Caerdydd

Friday • Gwener 19.12.14, 7.30pmBrangwyn Hall, Swansea • Neuadd Brangwyn, Abertawe

Saturday • Sadwrn 20.12.14, 3pm & 7pmSir Thomas Picton School, Haverfordwest

Ysgol Syr Thomas Picton, Hwlffordd

***THOMAS SØNDERGÅRD & BENJAMIN GROSVENOR

Beethoven, Haydn & Mozart

Wednesday • Mercher 04.02.15, 7.30pmBrangwyn Hall, Swansea • Neuadd Brangwyn, Abertawe


BBC NOW Sinfonia Cymru Nov 210x148mm.indd 1 04/11/2014 17:18

Musical Director Cyfarwyddwr CerddoriaethGareth Jones

Guest Leader / Director Arweinydd Gwadd / CyfarwyddyddBartosz Woroch

Sinfonia Cymru: Curate Curadur Sinfonia CymruJonathan Davies James Thomas Charlie MacClure Luc Morris Steffan Morris

Trustees YmddiriedolwyrLucy Stout Michael SalterGareth Cheesman

Toks DadaDavid Jackson Geraint LewisIan MorrisSophie Rashbrook

Management Gweinyddiaeth

Sophie Lewis James ThomasEmerald Skeete Elizabeth Day

Luc Morris

Sebastian Pennar Simon Howes Toks Dada

Chair CadeiryddHonorary President Llywydd AnrhydeddusCompany Secretary Ysgrfiennydd Cwmni

Kempton Rees Gaye WilliamsCatrin SlaterMatt Cawardine PalmerPeter Bellingham

General Manager Rheolwr CyffredinolOrchestra Manager Rheolwr y GerddorfaAdministrator GweinyddyddArts & Business Cymru Creative Intern Intern Creadigol Arts & Business Cymru Marketing & Communications Officer Swyddog Marchnata a [email protected]

Rossini: Overture to ‘The Italian Girl in Algiers’

Mozart: Piano Concerto No. 24 in C minor, K.491

Interval Egwyl

Schubert: Symphony No. 5 in Bb, D. 485

Mendelssohn: Piano Concerto No. 1 in G minor, Op. 25

Piano: Llŷr Williams

Conductor Arweinydd: Gareth Jones

0800 052 1812 bbc.co.uk/now

BBC

Nat

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Cer

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CELTIC IMPRESSIONS ARGRAFFION CELTAIDD

Friday • Gwener 28.11.14, 7.30pmAberystwyth Arts Centre • Canolfan y Celfyddydau Aberystwyth

***CHRISTMAS CELEBRATIONS

DATHLU’R NADOLIGHosted by • Cynhelir gan Wynne Evans


Friday • Gwener 19.12.14, 7.30pmBrangwyn Hall, Swansea • Neuadd Brangwyn, Abertawe

Saturday • Sadwrn 20.12.14, 3pm & 7pmSir Thomas Picton School, Haverfordwest

Ysgol Syr Thomas Picton, Hwlffordd

***THOMAS SØNDERGÅRD & BENJAMIN GROSVENOR

Beethoven, Haydn & Mozart

Wednesday • Mercher 04.02.15, 7.30pmBrangwyn Hall, Swansea • Neuadd Brangwyn, Abertawe


BBC NOW Sinfonia Cymru Nov 210x148mm.indd 1 04/11/2014 17:18

November 2014 Tachwedd 2014 www.sinfoniacymru.co.uk 4

Foreword

Firstly, a warm welcome to you all; Friends,

Patrons and Supporters to what promises to

be a memorable series of concerts. As well

as returning to two of our main venues in

Pontyberem and Newport, this series sees

Sinfonia Cymru’s first ever visit to Aberystwyth -

a first of many we hope.

This year marks the tenth anniversary of a

musical partnership – one that began shortly

after I heard a brilliant young accompanist

in the BBC Cardiff Singer of the World

Competition.

I had been made aware previously of Llŷr

Williams by the music critic, Rian Evans, who

spoke of him in the loftiest terms, but it was

only when I heard him for myself accompanying

in the 2003 competition that I was really

mesmerised by the sheer musicality and

intellect of his playing.

It inspired me to approach Llŷr to see whether

he would consider joining the orchestra

to create a major project, which led to us

performing the cycle of five Beethoven

Piano Concertos. We completed them in

the Orchestra’s 10th Anniversary Concert in

2006, and inspired by this whole experience,

we began immediately to discuss further

collaborations.

It is an extremely rare situation that an

orchestra, soloist and conductor are able to

www.sinfoniacymru.co.uk November 2014 Tachwedd 2014 5

enjoy such an enduring collaboration, but that

has been precisely the case here. To date, we

have enjoyed performing over a dozen concerti

by Beethoven, Mozart, Schumann, Chopin,

Rachmaninov and Shostakovich.

These concerts will raise further that total and

I am particularly thrilled to have persuaded Llŷr

to perform Mendelssohn Concerto No 1, a new

piece for him and a longtime favourite of mine.

Enjoy!

Yn gyntaf, croeso cynnes i chi gyd; Gyfeillion,

Noddwyr, a Chefnogwyr oll i’r hyn sy’n addo i

fod yn gyfres gofiadwy o gyngherddau. Wrth I

ni hefyd ddychwelyd yn nôl i’n prif neuaddau,

mae’r cyfres yma yn gweld ymweliad cyntaf

Sinfonia Cymru i Aberystwyth - y cyntaf o lawer

gobeithiwn.

Mae blwyddyn yma hefyd yn nodi’r degfed

pen-blwydd o phartneriaeth cerddorol – un

a ddechreuodd yn fuan ar ôl i mi chlywed

gyfeilydd ifanc wych yn cystadleuaeth BBC

Canwr y Byd Caerdydd.

Fe ddes i’n ymwybodol o Llyr Williams yn

gynharach gan y feriniad cerddoriaeth Rian

Evans, a siaradodd amdano gyda iaith

eithafol, dim ond pan glywais i ef yn cyfeilio

yn cystadleuaeth 2003 y roeddwn i cefais i fy

hudo gan ei gerddoroldeb a deallusrwydd.

Cefais fy ysbrydoli i ofyn Llyr os y gallai

ystyried ymuno’r gerddorfa i creu prosiect

mawr, a arweiniodd i ni berfformio cylchred

o bump Concerto Piano gan Beethoven.

Fe gwblhaeon ni’r cylchred yn Cyngerdd

Penblwydd y Gerddorfa yn deng mlwydd oed

yn 2006, ac wedi ysbrydoli gan y profiad yma,

fe ddechreuon ni drafod cydweithrediadau

arall ar unwaith.

Prin iawn y gewch sefyllfa lle mae cerddorfa,

unawdydd ac arweinydd yn gallu mwynhau’r

fath o partneriaeth parhaol, ond dyma’r

achos yn union yma. Hyd at nawr rydym wedi

mwynhau perfformio dros deuddeg concerti

gan Beethoven, Mozart, Schumann, Chopin,

Rachmaninov a Shostakovich.

Bydd y cyngherddau yma yn codi’r nifer yma

eto ac roeddwn i wrth fy modd at gallu annog

Llyr i berfformio Consierto Rhif 1 Mendelssohn,

sydd yn darn newydd iddo ef ac un o’n

ffefrynau i ers amser.

Mwynhewch!

Gareth Jones

Musical Director

Cyfarwyddwr Cerddoriaeth


Sinfonia Cymru

Sinfonia Cymru is a young and progressive

chamber orchestra from Wales. The orchestra

is made up of musicians in the early stages of

their careers and is the first and only orchestra

of its kind to be revenue-funded by the Arts

Council of Wales. Sinfonia Cymru is directed

by founding conductor and Musical Director

Gareth Jones.

Sinfonia Cymru works in partnership with

The Royal Welsh College of Music and

Drama (RWCMD) through the Professional

Pathway Bursary scheme and regular

performances at The Dora Stoutzker Hall.

Sinfonia Cymru is also resident orchestra

at The Riverfront, Newport and performs in

venues across Wales.

The orchestra works with Young Classical

Artists Trust to create opportunities for the

next generation of solo artists including the

orchestra’s current Leader/Director Bartosz

Woroch. Sinfonia Cymru has worked with a

number of celebrated guest artists including

Bryn Terfel, Llŷr Williams, Paul Watkins, Carlo

Rizzi, and Alina Ibragimova.

The orchestra enjoys a long-standing

relationship with Deutsche-Gramophon harpist

Catrin Finch. Past projects with Catrin include

Classic BRIT nominated album ‘Blessing’ with

John Rutter, which reached number one in BBC

Radio 3’s classical chart, and a performance at

Universal Live ‘Yellow Lounge’.

Collaboration forms a key part of Sinfonia

Cymru’s work. In 2013 Sinfonia Cymru worked

with Ballet Cymru on TIR & Celtic Concerto

(featuring Cerys Matthews and Catrin Finch),

an award-winning production of Romeo and

Juliet at The Riverfront, as well as with The Clod

Ensemble on ‘Anatomie in Four Quarters’ at

Wales Millennium Centre.

In 2013 Sinfonia Cymru embarked on a major

project to develop and launch a new way of

working for chamber orchestras. This included

establishing Curate, a group that brings together

orchestral musicians, administrators and

other young creatives to express their artistic

ideas and develop their own projects.

2013 also saw the development of UnButtoned

at Chapter Arts Centre; a collaboration with

BAFTA-Cymru award winning musician Tom

Raybould, featuring a score which integrates live

and electronic musical performance with live

reactive visuals. Described by Gramophone as

“a radical overhaul of the concert experience”,

UnButtoned was performed at the Bristol

Proms in July 2014 alongside an experimental

collaboration by Tom Morris (Director, Bristol Old

Vic) named ‘Towards a Staged Concert’

(★★★★ Bristol Post). The UnButtoned team

has since gone on to develop their new

immersive project ‘Unease’ which features

musical ideas from UnButtoned with innovative

technology and production by video artist John

Collingswood, immersive experience producers

Yellobrick with theatre director Gerald Tyler.


In 2014 Sinfonia Cymru worked with actor

Richard Harrington (star of S4C Y Gwyll /

Hinterland), with harpist Catrin Finch alongside

young conductor Ben Gernon, Bryn Terfel, and

on an experimental collaboration with Tom

Morris (Original Director War Horse, Artistic

Director Bristol Proms) at The Bristol Proms.

The orchestra also played a major role in the

‘Emerging Classical Talent in the EU’ project;

an extraordinary International collaboration

that brought together a number of European

partners for concerts across Europe and

culminated in Sinfonia Cymru’s Small Nations

Big Sounds Festival, which it delivered in Cardiff

in partnership with RWCMD. The orchestra

looks forward to performing with Laura Van Der

Heijden and Rachel Podger in 2015.

Mae Sinfonia Cymru yn gerddorfa siambr

blaengar o Gymru. Mae’r gerddorfa yn cynnwys

cerddorion ar ddechrau eu gyrfaoedd a

dyma’r gerddorfa gyntaf, a’r unig un gerddorfa

siambr i gael cyllid refeniw gan Gyngor

Celfyddydau Cymru. Mae Sinfonia Cymru yn

cael ei gyfarwyddo gan ei arweinydd sefydlol a

Chyfarwyddwr Cerddoriaeth, Gareth Jones.

Mae Sinfonia Cymru yn gweithio mewn

partneriaeth â Choleg Brenhinol Cerdd a

Drama Cymru drwy gynllun Bwrsari Llwybrau

Proffesiynol ac yn perfformio’n rheolaidd

yn Neuadd Dora Stoutzker. Sinfonia Cymru

yw’r gerddorfa breswyl yng Nglan-yr-Afon,

Casnewydd ac mae’n perfformio mewn nifer o

leoliadau ledled Cymru.

Mae’r gerddorfa’n gweithio gyda’r

Ymddiriedolaeth ar gyfer Artistiaid Clasurol

Ifanc i greu cyfleoedd ar gyfer y genhedlaeth

nesaf o artistiaid sy’n unawdwyr gan gynnwys

Arweinydd/ Cyfarwyddwr cyfredol y gerddorfa,

Bartosz Woroch. Mae Sinfonia Cymru wedi

gweithio gyda nifer o artistiaid gwadd enwog

gan gynnwys Bryn Terfel, Llŷr Williams, Paul

Watkins, Carlo Rizzi, ac Alina Ibragimova.

Mae’r gerddorfa’n ymfalchïo yn y berthynas

dda sydd ganddi â Catrin Finch, telynores y

Deutsche-Gramophon. Ymhlith y prosiectau

a wnaed yn y gorffennol gyda Catrin

mae’r albwm ‘Blessing’ gyda John Rutter

a enwebwyd ar gyfer BRIT Clasurol, ac a

gyrhaeddodd rhif un yn siart cerddoriaeth


glasurol BBC Radio 3, a pherfformiad yn

‘Yellow Lounge’ Universal Live.

Mae cydweithrediadau yn ffurfio rhan

allweddol o waith Sinfonia Cymru. Yn ystod

2013, bu Sinfonia Cymru yn gweithio gyda

Ballet Cymru ar gyfer TIR & Celtic Concerto

(gyda Cerys Matthews a Catrin Finch) mewn

cynhyrchiad o Romeo and Juliet yng Nglan yr

Afon a enillodd wobr, yn ogystal ag ‘Anatomie

in Four Quarters’ gan The Clod Ensemble yng

Nghanolfan Mileniwm Cymru.

Yn ystod 2013, dechreuodd Sinfonia Cymru

ar brosiect mawr i ddatblygu a lansio ffordd

newydd o weithio ar gyfer cerddorfeydd

siambr. Roedd hwn yn cynnwys sefydlu

Curadur, grŵp sy’n dod â cherddorion

cerddorfaol, gweinyddwyr a phobl greadigol

ifanc eraill at ei gilydd i fynegi eu syniadau

artistig a datblygu eu prosiectau eu hunain.

Yn 2013, datblygwyd UnButtoned yng

Nghanolfan Gelfyddydau’r Chapter;

cydweithrediad gyda’r cerddor Tom Raybould,

sydd wedi ennill gwobr BAFTA Cymru,

yn cynnwys sgôr sy’n cyfuno perfformiad

electronig a byw gydag adweithiau gweledol

byw. Wedi ei ddisgrifio gan Gramophone fel

“atgyweiriad radicalaidd o’r brofiad cyngerdd,

cafodd UnButtoned ei berfformio ym Mhroms

Bryste yn Gorffenaf 2014 ochr yn ochr â

cydweithrediad arbrofol gan Tom Morris

(Cyfarwyddydd, Bristol Old Vic) ag enwyd

‘Towards a Staged Concert’

(★★★★ Bristol Post). Mae tîm UnButtoned wedi

mynd ymlaen i ddatblygu eu prosiect trochol

newydd, ‘Unease’ sy’n cynnwys syniadau

cerddorol o UnButtoned gyda technoleg a

cynhyrchiant arloesol gan artist fideo John

Collingswood, cynhyrchwyr profiadau trochol

Yellobrick a cyfarwyddydd theatr Gerald Tyler.

Yn 2014, gweithiodd Sinfonia Cymru gyda’r

actor Richard Harrington (seren Y Gwyll /

Hinterland S4C), gyda Catrin Finch a Ben

Gernon, Bryn Terfel ac ar prosiectau addysg

arbennig yn ysgolion Casnewydd. Cymerodd

y gerddorfa prif rhan mewn prosiect ‘Emerging

Classical Talen in the EU’; cydweithrediad

rhyngwladol eithriadol ddaeth â nifer o

phartneriaid Ewropeaidd i’w gilydd ar gyfer

cyngherddau ledled Ewrop ac arweiniodd i

Gwyl Cenhedloedd Bach Synau Mawr Sinfonia

Cymru y gyflwynodd mewn partneriaeth gyda

CBCDC. Mae’r gerddorfa yn edrych ymlaen

i berfformio gyda Laura Van Der Heijden a

Rachel Podger yn 2015.


Llŷr WilliamsPiano

Welsh pianist, Llŷr Williams, is widely admired

for his profound musical intelligence, and for

the expressive and communicative nature

of his interpretations. He has worked with

orchestras around the world, including the

BBC National Orchestra of Wales, Scottish

Chamber Orchestra, London Philharmonic

Orchestra, London Symphony Orchestra,

BBC Philharmonic Orchestra, Hallé Orchestra,

London Mozart Players, Sinfonia Cymru, I

Pomeriggi Musicali, Meininger Hofkapelle,

Berner Kammerorchester, Limburgs Symphony

and the Mozarteum Orchestra in Salzburg. He

also appears at the BBC Proms in London and

has given many remarkable performances at

the Edinburgh International Festival, including a

sensationally received performance of Charles

Ives’ Concord Sonata in 2010. He is a regular

performer in the Wigmore Hall’s main piano

series.

In the autumn 2014 Williams is embarking on

a complete Beethoven Piano Sonata Cycle

spread over three years, both at the Wigmore

Hall and Royal Welsh College of Music &

Drama in Cardiff. His previous Beethoven

cycles around the UK included an epic two-

week period in August 2011 at Greyfriars Kirk

in Edinburgh during the Festival, for which

he received a prestigious South Bank Show

award. Since September 2013, Williams has

been collaborating with the Elias Quartet in

a residency at Glasgow Royal Concert Halls

and over the next two seasons they will be

exploring Beethoven’s piano sonatas and string

quartets, in a series of concerts and talks.

Llŷr Williams is a regular performer at the

East Neuk Festival in Scotland, Handelsbeurs

Concertzaal Gent, and in the Piano aux

Jacobins series in Toulouse. He is also

currently artist in residence at Galeri

Caernarfon in Wales. Highlights in 2013/14

season included recitals at the Piano aux

Jacobins in Toulouse, St George’s Hall in

Liverpool, 3 solo Beethoven programmes at the

Gilmore International Keyboard Festival in the

USA and appearances at East Neuk Festival

featuring an all Schubert programme. He also

worked with the Scottish Chamber Orchestra

and Meininger Hofkapelle. 2014/15 season will

see further appearances with SCO featuring

Beethoven’s Piano Concerto No.1 and Piano

Concerto No.2. A regular collaborator with

violinist Alexander Janiczek, they will appear

together in Salzburg and Wigmore Hall in

2015/16 season.

His latest release Wagner Without Words

(Signum, August 2014), reflects Williams’

intimate relationship with operatic music.

Alongside original piano music by Wagner


himself, and the transcriptions by Liszt and

Glenn Gould, Williams’ own arrangements

of Parsifal were highly praised in the press.

Williams had previously recorded two solo

albums for Signum, the first one in 2010 with

music by Mussorgsky, Debussy and Liszt

and the second in 2012 featuring works by

Liszt. Summer 2012 saw a release of a live

CD from the East Neuk Festival, containing

Beethoven’s Op109 and Op110 sonatas,

available at http://www.eastneukfestival.

com/ Llŷr Williams is the subject of two films

produced for S4C: the first of which won a

Welsh BAFTA for Best Music Programme, and

the second featured his debut at Carnegie

Hall. Llŷr Williams’ great love of lieder led him

to become one of the official accompanists at

the BBC Cardiff Singer of the World Competition.

Born in 1976 in Pentrebychan, North Wales,

Llŷr Williams read music at The Queen’s

College, Oxford and went on to take up

a postgraduate scholarship at the Royal

Academy of Music where he won every

available prize and award. He is also an

Honorary Fellow of the Royal Welsh College of

Music and Drama. He was an active member

of the Live Music Now! scheme for several

years, was selected for Young Concert Artists

in 2002. From 2003-2005 he was a BBC

New Generation Artist and in 2004 received a

Borletti- Buitoni Trust award.


Mae’r pianydd Gymraeg, Llŷr Williams yn cael

ei edmygu am ei deallusrwydd cerddorol,

ac am natur fynegiannol a chyfathrebol

ei ddehongliadau. Mae ef wedi gweithio

gyda cherddorfeydd ledled y byd, gan

gynnwys Cerddorfa Genedlaethol Gymreig

y BBC, Scottish Chamber Orchestra, London

Philharmonic Orchestra, London Symphony

Orchestra, BBC Philharmonic Orchestra,

Hallé Orchestra, Sinfonia Cymru, I Pomeriggi

Musicali, Berner Kammerorchester, a’r

Mozarteum Orchestra yn Salzburg. Mae ef

hefyd wedi ymddangos ym Mhroms y BBC yn

Llundain ac wedi rhoi llawer o berfformiadau

rhyfeddol yng Ngŵyl Ryngwladol Caeredin,

gan gynnwys perfformiad o Concord Sonata

Charles Ives yn 2010. Mae ef yn

berfformiwr rheolaidd yn prif gyfres piano

Neuadd Wigmore.

Yn yr hydref 2014 mae Williams yn cychwyn ar

Gylchred cyflawn o Sonatau Piano Beethoven

wedi lledaenu dros dair blynedd yn Neuadd

y Wigmore ac yng Ngholeg Brenhinol Cerdd

a Drama Cymru yng Nghaerdydd. Roedd ei

gylchredau Beethoven blaenorol o amgylch y

DU yn cynnwys pythefnos arwrol yn Awst 2011

yn Greyfriars Kirk yng Nghaeredin yn ystod

yr Ŵyl, gamp ag enillodd ef wobr fawreddog

Sioe South Bank. Ers Medi 2013, mae Williams

wedi bod yn cydweithredu gyda’r Pedwarawd

Elias mewn preswyliad yn Neuaddau Brenhinol

Glasgow a dros y ddau tymor nesaf fe

fydden nhw yn archwilio sonatau piano a

phedwarawdau llinynnol Beethoven, mewn

cyfres o gyngherddau a sgyrsiau.

Mae ei rhyddhad diwethaf Wagner Without

Words (Signum, Awst 2014), yn adlewyrchu

perthynas agos Williams gyda cherddoriaeth

operatig. Ochr yn ochr â cherddoriaeth

wreiddiol ar gyfer y piano gan Wagner ei

hun, a’r trawsgrifiadau gan Liszt a Glenn

Gould, cafodd trefniadau Williams ei hun

o Parsifal ei chanmol yn uchel yn y wasg.

Recordiodd Williams dau albwm unawdol ar

gyfer Signum yn flaenorol. Yr un cyntaf yn

2010 gyda cherddoriaeth gan Mussorgsky,

Debussy a Liszt a’r ail yn 2012 yn cynnwys

gweithiau gan Liszt. Mae Llŷr Williams yn

destun dwy ffilm wedi cynhyrchu ar gyfer S4C:

enillodd y cyntaf BAFTA Gymreig am Raglen

Cerddoriaeth Gorau, a’r ail yn cynnwys ei

berfformiad cyntaf yn Neuadd Carnegie.

Wedi ei eni yn 1976 ym Mhentrebychan,

Gogledd Cymru, Darllenodd Llŷr Williams

cerddoriaeth yng Ngholeg Queens,

Rhydychen ac aeth ymlaen i gymryd

ysgoloriaeth ôl-raddedig yn Royal Academy

of Music lle enillodd bob gwobr ar gael.

Mae ef hefyd yn Gymrawd Anrhydeddus yng

Ngholeg Brenhinol Cerdd a Drama Cymru.

Roedd ef hefyd yn aelod actif yn y cynllun

Live Music Now! am nifer o flynyddoedd,

gafodd ei ddewis am Artistiaid Cyngerdd

Ifanc yn 2002. O 2003-2005 roedd ef yn

Artist Cenhedlaeth Newydd y BBC ac yn

2004 derbynodd gwobr ymddiriedaeth

Borletti- Buitoni.


Gareth Jones began his conducting career

as a member of Music Staff of Welsh National

Opera, which he joined in 1990. While

there he conducted an extensive range of

repertoire including Un Ballo in Maschera, Il

Barbiere di Siviglia, Turandot, Nabucco, La

Traviata, Ernani, Die Fledermaus, Eugene

Onegin, The Yeomen of the Guard, Faust, La

Boheme, Fidelio, Billy Budd, The Carmelites,

Carmen, Katya Kabanova, The Cunning

Little Vixen, Jenufa, Le Nozze di Figaro, Der

Fliegende Hollander, Madama Butterfly, La

Cenerentola, The Magic Flute andHansel

and Gretel. In 2009 and 2010, Gareth

conducted Aida at the Bregenz Festival. He

has conducted The Mikado for Vancouver

Opera and English National Opera and

returned to the RNCM, his alma mater, in

2011 to conduct Barber’s Vanessa.

In 1996, Gareth formed Sinfonia Cymru which,

in recent years, has established itself as Wales’

premier chamber orchestra. Many prominent

artists have worked with Gareth and the

orchestra including Dennis O’Neill, Rebecca

Evans, Simon Keenlyside, Joseph Calleja, Gwyn

Hughes Jones, Jean Phillipe Collard, Peter

Donohoe, David Pyatt, Michael Collins, Chloe

Hanslip, Catrin Finch, Guy Johnston, Liwei Qin,

Alina Ibragimova, Jiafeng Chen and Llyr Williams.

Gareth JonesConductor Arweinydd

As a result of a highly acclaimed Gala concert

given by Sinfonia Cymru in April 2000 with

Bryn Terfel, which included a performance

of “Wotan’s Farewell”, a special bond has

developed between Bryn, Gareth and the

orchestra. Gareth has worked with Bryn Terfel

on numerous projects including the disc

“We’ll Keep a Welcome”, opera galas at the

Faenol, Henley and Hampton Court Festivals

and an S4C recording of Handel’s “Messiah”.

In addition Gareth has conducted more than

sixty concerts worldwide with Bryn, including

his BBC Proms debut with Renee Fleming

and Bryn in works by Wagner and Strauss.

Gareth has been the regular conductor at the

Faenol Festival where he has worked with

international singers such as Andrea Bocelli,

Angela Gheorghiu, Rolando Villazon, Renee

Fleming, Carlos Alvarez and Diana Damrau.

Concert work in the United Kingdom has

included appearances with the Halle

Orchestra, Scottish Chamber Orchestra,

the Orchestra of Welsh National Opera,

Royal Scottish National Orchestra, BBC

National Orchestra of Wales, Royal Liverpool

Philharmonic Orchestra, Royal Philharmonic

Orchestra, the Philharmonia Orchestra, the

Ulster Orchestra, English Chamber Orchestra

and the Manchester Camerata.


Recent engagements include Madama

Butterfly for Welsh National Opera, the UK

premiere of Philip Glass’s A Perfect American

for English National Opera and a Scandinavian

tour with Bryn Terfel of an all-Wagner

programme. Engagements in 2014 include

concerts with Bryn Terfel and the Orchestre

National de Belgique in Paris and Brussels,

performances of Showboat with Cape Town

Opera both in Cape Town and a UK tour,

performances of A Perfect American in

Brisbane Festival and a concert performance

of Sweeney Todd with Bryn Terfel at

Llangollen International Eisteddfod.

Dechreuodd Gareth Jones ar ei yrfa

arweinydd fel aelod o Staff Cerddorol Opera

Cenedlaethol Cymru, yr ymunodd ag ef yn

1990. Tra ei fod yno, arweiniodd amrywiaeth

eang o repertoire gan gynnwys Un Ballo in

Maschera, Il Barbiere di Siviglia, Turandot,

Nabucco, La Traviata, Ernani, Die Fledermaus,

Eugene, La Boheme, Fidelio, Billy Budd, The

Carmelites, Carmen, Katya Kabanova, The

Cunning Little Vixen, Jenufa, Le Nozze di

Figaro, Madama Butterfly, The Magic Flute

a Hansel and Gretel. Yn 2009 a 2010,

arweiniodd Gareth Aida yng Ngŵyl Bregenz.

Yn ogystal â hyn, mae Gareth wedi arwain

llawer iawn o cyngerddau ledled y byd gyda

Bryn Terfel, gan gynnwys y recordiad “We’ll

Keep a Welcome”, operau mawreddog yng

ngwyliau’r Faenol, Henley a Llys Hampton

a recordiad S4C o “Messiah” Handel. Yn

ogystal, mae Gareth wedi arwain mwy na

chwe deg cyngerdd ledled y byd gyda Bryn,

gan gynnwys ei ymddangosiad cyntaf yn

Proms y BBC gyda Renee Fleming a Bryn

mewn gweithiau gan Wagner a Strauss.

Mae Gareth hefyd wedi arwain yng Ngŵyl y

Faenol lle mae wedi gweithio gyda chantorion

rhyngwladol fel Andrea Bocelli, Angela

Gheorghiu, Rolando Villazon, Renee Fleming,

Carlos Alvarez a Diana Damrau.

Mae gwaith cyngherddau yn y Deyrnas

Unedig wedi cynnwys ymddangosiadau gyda

Cherddorfa Hallé, Cerddorfa Siambr yr Alban,

Cerddorfa Opera Cenedlaethol Cymru, Opera

Cenedlaethol Brenhinol yr Alban, Cerddorfa

Genedlaethol Cymru’r BBC, Cerddorfa

Ffilharmonig Frenhinol Lerpwl, y Gerddorfa

Ffilharmonig, Cerddorfa Wlster, Cerddorfa

Siambr Lloegr a Camerata Manceinion.

Mae ymrwymiadau diweddar yn cynnwys

Madama Butterfly ar gyfer Opera

Cenedlaethol Cymru. Perfformiad cyntaf y

DU o A Perfect American gan Philip Glass

ar gyfer Opera Cenedlaethol Lloegr a taith

Sgandinafaidd o rhaglen oll-Wagner gyda

Bryn Terfel âg Orchestre National de Belgique

ym Mharis a Brussels, perfformiad o Showboat

gyda Opera Cape Town yn Cape Town ac ar

taith y DU, perfformiad o A Perfect American

yng Ngwyl Brisbane a perfformiad cyngerdd o

Sweeney Todd gyda Bryn Terfel yn Eisteddfod

Ryngwladol Llangollen.


From the taut pizzicato strings of its opening

moments, to the crashing triumphal fanfare

of the conclusion, this piece is every inch the

typical Rossini Overture. The opening pizzicato

phrases bristle with energy, as oboe and clarinet

solos intone a downward, questioning phrase.

Rossini then sets his orchestral machinery in

motion with an insouciantly catchy melody in the

woodwind, its infectious levity offset by abrupt

interjections from the brass and percussion.

Flourishes and melodic fragments gradually

add colour to Rossini’s increasingly complex

musical landscape, but it veers sideways at

the last moment, into an unexpected reprise

of the opening theme. The bustling activity

that underpins this mischievous tune once

again erupts into a blaze of glory for the whole

orchestra, unleashing the “glittering sensations”

for which Rossini was renowned.

O linynnau pizzicato tynn ei eiliadau agoriadol,

i ffanffer orfoleddus aruthrol y diweddglo, mae’r

darn hwn yn Agorawd Rossini nodweddiadol o’i

ddechrau i’w ddiwedd. Mae’r cymalau pizzicato

agoriadol yn ferw o egni, wrth i unawdau obo a

chlarinét lafarganu cymal disgynnol, ymholgar.

Yna, mae Rossini yn rhoi ei beirianwaith

cerddorol ar waith gydag alaw ddidaro, fachog

gan y chwythbrennau, y caiff ei hysgafnder

heintus ei wrthbwyso gan ebychiadau gan yr

offerynnau pres a tharo. Mae darnau blodeuog

a rhannau melodaidd yn ychwanegu lliw yn

raddol at gefndir cerddorol cynyddol gymhleth

Rossini, ond mae’n gwyro i’r ochr ar y funud olaf, i

ailadrodd y thema agoriadol yn annisgwyl. Mae’r

gweithgarwch bywiog sy’n sail i’r alaw ddireidus

hon yn ffrwydro’n ogoneddus unwaith eto gyda’r

gerddorfa gyfan, gan ryddhau’r “cynyrfiadau

disglair” yr oedd Rossini’n enwog amdanynt.

Rossini (1792- 1868)

Overture to ‘The Italian Girl in Algiers’

Agorawd i ‘The Italian Girl in Algiers’


1. Allegro

2. Larghetto

3. Allegretto

Mozart’s 24th piano concerto, which at its 1786

premiere in Vienna was played and conducted

from the piano by the composer, is regarded

by many as a unique work. In addition to the

unusually prominent role of the woodwind,

Mozart also flouted convention by opening

with a waltz rhythm in three-four, and by

maintaining a dark-hued minor key setting until

the end. The concerto begins with a smoothly

ominous melody in the strings and lower

woodwind which ends with a sudden, jagged

cadence. The piano repeats this uneasy

phrase, and embellishes it with rippling chords

that are echoed in the woodwind. There is a

furious piano cadenza, but its whirling anger

gives way to a cautiously restrained Larghetto.

In this second movement, the piano begins,

and the orchestra echoes the soloist; however,

despite the tentative optimism of the melody,

it never truly leaves behind the nervous

energy of the opening. The Allegretto returns

to the enigmatic shadiness of the opening,

and its tentative tune is refracted through a

series of eight variations. Prominent woodwind

solos briefly lighten the mood, but these hints

of major-key sunlight are inescapably lured

back into the machinery of a C minor cadence,

whose darkness is completed by rippling

arpeggios in the piano.

1. Allegro

2. Larghetto

3. Allegretto

Mae llawer o’r farn bod 24ain concerto piano

Mozart, a chwaraewyd ac a gyfeiliwyd o’r

piano gan y cyfansoddwr pan gafodd ei

berfformio gyntaf yn Fienna ym 1786, yn waith

unigryw. Yn ogystal â rôl anarferol o amlwg y

chwythbrennau, roedd Mozart hefyd yn herio

confensiwn trwy agor gyda rhythm walts tri-

pedwar, a thrwy gynnal cywair lleiaf ag arlliw

tywyll iddo tan y diwedd. Mae’r concerto’n

dechrau gydag alaw fygythiol o lyfn gan y

llinynnau a’r chwythbrennau isaf sy’n gorffen

gyda diweddeb sydyn, ddanheddog. Mae’r

piano’n ailadrodd y cymal anesmwyth hwn,

ac yn ychwanegu ato gyda chordiau byrlymus

sy’n cael eu hadleisio gan y chwythbrennau.

Ceir cadenza piano ffyrnig, ond mae ei ddicter

chwyrlïol yn ildio i Larghetto gochelgar o gynnil.

Yn yr ail symudiad hwn, mae’r piano’n dechrau,

ac mae’r gerddorfa’n adleisio’r unawdwr; ond,

er gwaethaf optimistiaeth betrus yr alaw, nid yw

byth yn rhydd rhag egni nerfus yr agoriad. Mae’r

Allegretto yn dychwelyd i naws enigmatig yr

agoriad, ac mae ei alaw betrus yn cael ei gwyro

trwy gyfres o wyth amrywiad. Mae unawdau

chwythbrennau amlwg yn ysgafnhau’r naws am

ychydig, ond mae’r awgrymiadau hyn o olau

haul trwy’r cywair mwyaf yn cael eu denu’n ôl yn

anochel i beirianwaith diweddeb C leiaf, yr ategir

ei thywyllwch gan arpegios byrlymus y piano.

Mozart (1756-91)

Piano Concerto No. 24 in C minor, K.491

Concerto Piano Rhif 24 yn C leiaf, K.491


1. Allegro

2. Andante con moto

3. Menuetto. Allegro molto

4. Allegro vivace

In the weeks before Franz Schubert composed

his fifth symphony in 1816, he wrote that he

had been captivated by the “magic notes of

Mozart”. Schubert, like Mozart, died tragically

young, having produced a mind-boggling

catalogue of works for every classical genre,

astounding in their quality and quantity. In this

symphony, the spirit of Schubert’s predecessor

is very much alive, and can be heard in the

effortless arc of the opening theme, which

is bathed in a radiant harmonic glow, only

occasionally darkened by flashes of the

minor key, or diminished chords. The second

movement retains the poise of the opening

theme, weaving it into a serenely lilting

melody which is passed between instruments

in six-eight time. The Menuetto inverts the

rising and falling motif with an angrily rustic

dance, interspersed with a calmer central

section. The concluding Allegro Vivace rapidly

recaps the musical terrain explored thus far in

condensed form, always retaining a sense of

classical poise, and finishes with a final flourish

of radiant joy.

1. Allegro

2. Andante con moto

3. Menuetto. Allegro molto

4. Allegro vivace

Yn yr wythnosau cyn i Franz Schubert

gyfansoddi ei bumed symffoni ym 1816,

ysgrifennodd ei fod wedi’i gyfareddu gan

“nodau hud Mozart”. Bu farw Schubert, fel

Mozart, yn druenus o ifanc, ac yntau wedi

cynhyrchu catalog rhyfeddol o waith ar gyfer

pob genre clasurol, a oedd yn syfrdanol o ran ei

ansawdd a’i faint. Yn y symffoni hon, mae ysbryd

rhagflaenydd Schubert yn fyw, a gellir ei glywed

yn arc diymdrech y thema agoriadol, sy’n fôr o

gynhesrwydd harmonig, a dywyllir ar brydiau

yn unig gan fflachiadau o’r cywair lleiaf, neu

gordiau cywasg. Mae’r ail symudiad yn cadw

cydbwysedd y thema agoriadol, gan ei gwau’n

alaw felodaidd, dawel sy’n cael ei throsglwyddo

rhwng offerynnau mewn amser chwech-wyth.

Mae’r Menuetto yn gwrth-droi’r motiff codi a

gostwng gyda dawns wledig ddig, wedi’i brithio

â rhan ganolog dawelach. Mae’r Allegro Vivace

terfynol yn ailadrodd yr arddulliau cerddorol a

archwiliwyd hyd yma yn gyflym ar ffurf gryno,

gan gadw ymdeimlad o gydbwysedd clasurol

bob amser, ac yn gorffen gyda darn blodeuog

olaf o lawenydd gorfoleddus.

Schubert (1797-1828)

Symphony No. 5 in Bb, D. 485

Symffoni Rhif 5 yn Bb, D. 485


1. Molto allegro con fuoco

2. Andante

3. Presto—Molto allegro e vivace

Felix Mendelssohn, yet another prodigy,

plunges us straight into the swirling drama of

the Romantic era, in his breathtaking piano

concerto from 1831. With a mighty crescendo

in the orchestra, the piano erupts onto the

scene, stating the proudly defiant theme before

diving into a breathtaking display of virtuosity.

An oasis of calm emerges, bathed in the warm

glow of string chords, but the smooth piano

tune is punctuated by savage chords in the

orchestra. A sudden hunting call in the brass

drives a seemingly inevitable conclusion off

course, leaving the piano alone in a desolate

musical limbo, until it is rescued by a cello

melody of exquisite tenderness in three-

four. The consolatory mood of this Andante

is occasionally sullied by remnants of earlier

uncertainty, but the gentle accompaniment of

the piano provides a blissful sense of calm.

An abrupt fanfare in the brass signals a return

to the drama of the opening movement, and

with lightning-bolt arpeggios and runs, the

piano launches into an infectiously playful

tune, propelling the concerto to its dazzling

conclusion.

1. Molto allegro con fuoco

2. Andante

3. Presto—Molto allegro e vivace

Mae Felix Mendelssohn, oedd yn rhyfeddod

arall, yn ein taflu’n syth i ddrama droellog y

cyfnod Rhamantaidd, yn ei goncerto piano

syfrdanol o 1831. Gyda chresendo mawr yn y

gerddorfa, mae’r piano’n ffrwydro i’r amlwg,

gan ddatgan y thema herfeiddiol yn falch

cyn cychwyn ar arddangosiad syfrdanol o

feistrolaeth. Mae cordiau llinynnol cynnes

yn creu gwerddon o lonyddwch, ond ceir

ysbeidiau o gordiau ffyrnig gan y gerddorfa yn

ystod yr alaw biano lyfn. Mae cri hela sydyn

gan yr offerynnau pres yn newid cyfeiriad yr

hyn sy’n ymddangos yn ddiweddglo anochel,

gan adael y piano ar ei ben ei hun mewn

limbo gerddorol ddiffaith, tan iddo gael ei

achub gan alaw soddgrwth lesmeiriol o dyner

mewn amser tri-pedwar. Caiff naws gysurol yr

Andante hwn ei difwyno ar adegau gan olion

ansicrwydd cynharach, ond mae cyfeiliant

ysgafn y piano yn darparu ymdeimlad braf

o dawelwch. Mae ffanffer sydyn gan yr

offerynnau pres yn arwydd o ddychwelyd

i ddrama’r symudiad agoriadol, a chydag

arpegios a rhediadau cyflym iawn, mae’r

piano’n dechrau alaw heintus o chwareus, gan

arwain y concerto i’w ddiweddglo syfrdanol.

Mendelssohn (1809-1847)

Piano Concerto in G minor, Op. 25

Concerto Piano yn G leiaf, Op. 25

(c) Sophie Rashbrook


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Timpani/Percussion

First Violins

Second Violins

Violas

DoubleBass

TrumpetsHorns

OboesFlutes

BassoonsClarinets

Conductor

Violin 1

Bartosz Woroch

Ricky Gore

Georgie Leo

Alix Lagasse

Lily Whitehurst

Simran Singh

Violin 2

Hugh Blogg

Rebecca Smith

Emily Pettet

Bethan Allmand

Colin McKee

Lydia Marshall

Viola

Jenny Lewisohn

Charlotte Bonneton

Rhiannon James

Miguel Angel

Cello

Chris Graves

Steffan Morris

Alistair Howes

Rozzie Curlett

Double Bass

Seb Pennar

Dave Johnson

Flute

Sarah Bennett

Jack Welch

Oboe

Mary Noden

Karla Powell

Clarinet

Greg Hearle

Rhodri Taylor

Bassoon

Gareth Humphreys

Bartosz Kwasecki

Horn

Hugh Sisley

Meilyr Hughes

Trumpet

Jason Lewis

Chris Hart

Timpani/Percussion

Rhys Matthews

Percussion

Paul Stoneman

2014: Thank you from

Sinfonia Cymru & Llŷr Williams Programme

Documents

Transcript of Sinfonia Cymru & Llŷr Williams Programme