& # 1054 ; & # 1088 ; & # 1077 ; & # 1093 ; & # 1086 ; & # 1074 ; & # 1086 ; – & # 1047 ; & # 1091 ; & # 1077 ; & # 1074 ; & # 1089 ; & # 1082 ; & # 1080 ; & # 1081 ; & # 1043 ; & # 1086 ; & # 1089 ; & # 1091 ; & # 1076 ; & # 1072 ; & # 1088 ; & # 1089 ; & # 1090 ; & # 1074 ; & # 1077 ; & # 1085 ; & # 1085 ; & # 1099 ; & # 1081 ; & # 1055 ; & # 1077 ; & # 1076 ; & # 1072 ; & # 1075 ; & # 1086 ; & # 1075 ; & # 1080 ; & # 1095 ; & # 1077 ; & # 1089 ; & # 1082 ; & # 1080 ; & # 1081 ; & # 1048 ; & # 1085 ; & # 1089 ; & # 1090 ; & # 1080 ; & # 1090 ; & # 1091 ; & # 1090 ;
& # 1050 ; & # 1072 ; & # 1092 ; & # 1077 ; & # 1076 ; & # 1088 ; & # 1072 ; & # 1072 ; & # 1085 ; & # 1075 ; & # 1083 ; & # 1080 ; & # 1081 ; & # 1089 ; & # 1082 ; & # 1086 ; & # 1075 ; & # 1086 ; & # 1103 ; & # 1079 ; & # 1099 ; & # 1082 ; & # 1072 ;
& # 1056 ; & # 1077 ; & # 1092 ; & # 1077 ; & # 1088 ; & # 1072 ; & # 1090 ; & # 1087 ; & # 1086 ; & # 1089 ; & # 1090 ; & # 1088 ; & # 1072 ; & # 1085 ; & # 1086 ; & # 1074 ; & # 1077 ; & # 1076 ; & # 1077 ; & # 1085 ; & # 1080 ; & # 1102 ; & # 1085 ; & # 1072 ; & # 1090 ; & # 1077 ; & # 1084 ; & # 1091 ; :
Welsh traditional music Welsh traditional music
& # 1042 ; & # 1099 ; & # 1087 ; & # 1086 ; & # 1083 ; & # 1085 ; & # 1080 ; & # 1083 ; & # 1072 ; & # 1089 ; & # 1090 ; & # 1091 ; & # 1076 ; & # 1077 ; & # 1085 ; & # 1090 ; & # 1082 ; & # 1072 ;
5 & # 1082 ; & # 1091 ; & # 1088 ; & # 1089 ; & # 1072 ; 502 & # 1072 ; & # 1075 ; & # 1088 ; & # 1091 ; & # 1087 ; & # 1087 ; & # 1099 ;
& # 1072 ; & # 1085 ; & # 1075 ; & # 1083 ; & # 1080 ; & # 1081 ; & # 1089 ; & # 1082 ; & # 1086 ; & # 1075 ; & # 1086 ; & # 1086 ; & # 1090 ; & # 1076 ; & # 1077 ; & # 1083 ; & # 1077 ; & # 1085 ; & # 1080 ; & # 1103 ;
& # 1040 ; & # 1085 ; & # 1076 ; & # 1088 ; & # 1080 ; & # 1072 ; & # 1085 ; & # 1086 ; & # 1074 ; & # 1072 ; & # 1058 ; . & # 1042 ; .
& # 1055 ; & # 1088 ; & # 1077 ; & # 1087 ; & # 1086 ; & # 1076 ; & # 1072 ; & # 1074 ; & # 1072 ; & # 1090 ; & # 1077 ; & # 1083 ; & # 1100 ; :
& # 1040 ; & # 1073 ; & # 1091 ; & # 1083 ; & # 1100 ; & # 1093 ; & # 1072 ; & # 1085 ; & # 1086 ; & # 1074 ; & # 1056 ; . & # 1040 ; .
& # 1054 ; & # 1088 ; & # 1077 ; & # 1093 ; & # 1086 ; & # 1074 ; & # 1086 ; – & # 1047 ; & # 1091 ; & # 1077 ; & # 1074 ; & # 1086 ;
1. The distinctive features of common people music in Wales & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; ..3
2. Plethyn & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; ..6
3. Boys of the Lough & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; 7
4. Rag Foundation & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; .8 4. Rag Foundation…………………………………………………………….8
5. Fernhill & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; ..9 5. Fernhill……………………………………………………………………..9
6. The Renaissance of Welsh traditional music & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; & # 8230 ; .12
1.The distinctive features of common people music in Wales
Wales is the lone Gaelic state with a wholly unbroken tradition of harp music, where the music, technique, and manner have been passed down orally from harper to harper over the centuries. Wales is best known for its large-ensemble choral vocalizing. But this princedom lying along Britain ‘s southwesterly shore besides has a proud Celtic tradition of smaller, more tightly knit sets that perform native instrumentals and common people vocals. Wales is a land of vocal, Sung either by male voice choirs or crowds at rugger lucifers. But there has been singing of all mode of vocals in all mode of topographic points, from the Canu’r Pwnc
intonation of Bible in chapel to the abusive rimes sung in saloon. All that is normally known about Welsh poesy is that it comes in signifiers of mind-boggling complexness. But there is a great assortment of meter and tone. Sets such as Pigyn Clust are mining these venas in new and startling ways, juxtaposing tunes, and poetry signifiers.
In Ireland and Scotland, because traditional music is better established, the orthodoxies excessively are stronger. While instrumentalists improve technically – and there are some phenomenally accomplished participants and vocalists – there is small invention, beyond frequently ill-conceived coactions with instrumentalists from incompatible traditions. If the Chieftains eventually stopped coming to town so a similar set playing similar music would shortly make full the vacuity – Lunasa, for case. Should Aly Bain, the Boys of the Lough ‘s violinist, lay down his bow so Catriona MacDonald would step in.
But in Wales instrumentalists are rediscovering, animating and re-explaining their traditional music, which is important to the development of their civilization. Of all the Gaelic states it is Wales where the traditional music is most interesting and most critical.
The bardic and eisteddfod traditions have long dominated Welsh music and, partially as a consequence, the Celtic music roar which propelled Irish, Scots, Breton and even Galician music into the international limelight, someway left Wales behind. Several first-class creative persons have made inroads through the old ages, notably the harp-playing brothers Dafydd and Gwyndaf Roberts of Ar Log, the singer/harpist Sian James, 70s group Plethyn and ardent dance set Calennig.
The Welsh have a drastically different manner of playing, mostly due to the nature of the music itself. Their music is ornamented through subject and fluctuation, a more classical manner, instead than through the kind of ornamentation heard in Scots and Irish music. Due to this love of Baroque-like manner, the Welsh adopted the ternary harp as their national instrument, taking advantage of the three rows of strings to play a broad assortment of fluctuations on traditional Welsh tunes. ( Triple-strung harps have two diatonic rows on either side, and a row of accidentals up the center, which the harpist plays by making between the outer strings to play ) . The harp is of class the instrument most closely identified with Wales. But though it ‘s accorded the highest regard at that place, the violin and the squeeze box are possibly embraced with greater fondness. Cadmiums trying the traditions of both have late been released, but for many hearers these will be debuts instead than studies. The squeezebox anthology Megin
( bellows ) is particularly good. The scope of repertory, and even instruments, is singular, from the robust melodeon dance music of Meg and Neil Browning from North Wales to John Morgan ( clearly influenced by harp participants ) whose duet concertina combines the dignity of a church organ with the daintiness of a flute. The inclusive nature of this choice is important excessively ; participants from the south-eastern, urban, ( post- ) industrial part hang-up shoulders with those from the Marches, the rural and mostly English-speaking country running along the boundary line. It even includes the Brecon Hornpipe
and Dic y Cymro
played by John Kirkpatrick – the most celebrated of English box participants who lives on the eastern side, in Shropshire. So the Cadmium draws on and expresses the complex world and the profusion of Wales, recognizing that music will non be confined by metropolis nor countryside, linguistic communication nor national boundary. Those instrumental traditions were non good known, and the violin surely suffered in the spiritual resurgences of the nineteenth century, when many were burned. But at least they did non vanish wholly. The bray harp, the instrument of medieval bards, so the provincials of South Wales, and bagpipes – of which there were assorted local sorts – were non so fortunate. Tunes and mentions to participants remain and in recent old ages Ceri Rhys Matthews and Jonathan Shorland have recreated bagpipes and researched their repertories, while William Taylor has reconstructed the smaller bray harp. Such endeavors are academically fraught, but musically really exciting. That there are no Masterss from whom to larn the niceties of phrasing, speech pattern and the fast one of grace-notes – those inside informations of public presentation which distinguish traditional music – is a sedate loss, but it does give the modern-day instrumentalist enviable freedom.
Ned Thomas had noted in his revelatory book The Welsh Extremist
that ‘when two Welsh talkers meet the subject of conversation is the province of the linguistic communication ‘ . What Welsh traditional music was played tended to function the cause of a civilization in crisis, instead than show it. So like a cramped toenail, it grew inward. “ Between about 1980 and 1990 there was about no consciousness of what was traveling on elsewhere, ” a Welsh instrumentalist late told me. “ Wales became Albania. ” In modern times a whole gamut of outstanding sets are doing their presence felt, including The Kilbride Brothers, Rag Foundation, Aberjaber and folk-rock set Blue Horses, Fernhill.
This three from Powys in mid-Wales, together for 25 old ages, are celebrated for near vocal harmoniousnesss laid over a trim instrumental mix of guitar, mandolin, Sn whistling and concertina. Siblings Linda Healy and Roy Griffiths, along with their friend John Gittins, have pioneered a more intimate vocalizing manner, based on the Plygain choral tradition. Nowhere is that more evident than in Plethyn ‘s a cappella rendering of the Welsh traditional vocal “ Cainc Yr Aradwr ” ( “ The Ploughboy ‘s Song ” ) , from this outstanding 1994 album, whose rubric is Welsh for “ Yesterday ‘s Cider. ”
3. Boys of the Lough
Boys of the Lough are one of the past Masterss of Celtic music, uniting members from several Celtic traditions with a long history ; where other Celtic groups last a few old ages, the Boys are now in their 3rd decennary and retain two of their earliest members. Like that other long-running act the Chieftans, their music tends to the formal ; faultless technique and sensitiveness, with big, sometimes classical-style agreements, and really tight ensemble playing. They lack the fire and raggedness of other groups ; the overall feeling is of a group of skilled, well-integrated instrumentalists playing together for the pure pleasance of it.
The history of the Boys has several turns and bends. The group was formed in 1967, as a three of Cathal McConnell, Tommy Gunn of Fermanagh and Robin Morton from Portadown. Tommy Gunn subsequently dropped out and the staying couple recorded “ An Irish Jubliee ” in 1969. At the sametime, Shetland violinist Aly Bain and singer/guitarist Mike Whelans were playing on the Scots common people circuit. The two couple met up at the Falkirk common people festival where they played together and some clip subsequently, in 1971 came together for good. Dick Gaughan of Leith replaced Mike in 1972 and this batting order recorded the first ‘official ‘ group album in 1972. Dick, in bend, left in 1973 and was replaced by Dave Richardson of Northumberland, conveying in new instruments including, cittern, banjo and mandolin. This batting order continued for several twelvemonth, touring widely in Europe and America and let go ofing 6 albums, two of them recorded unrecorded. Live at Passim ‘s was recorded at Passim ‘s in Cambridge, Massachusetts, and Wish You Were Here comes from a circuit of the Scots Highlands and Islands. Robin Morton left in 1979 and was replaced with Dave Richardson ‘s brother, Tich, on guitar. Tich was killed in a route accident in late 1983. After some clip, the set came together once more with new members Christy O ‘ Leary and John Coakley and have kept that batting order of all time since.
Current Lineup Current Lineup
Aly Aly Bain FiddleCathal McConnell Flute and Tin Whistle, VocalsDave Richardson Mandolin, cithern, English concertina, button accordionChristy O ‘ Leary Uileann pipes, Sn whistling, mouth-organ and vocalsChris Newman Guitar
4. Rag Foundation
Woollard ‘s set, Rag Foundation, from Swansea, is one of several groups of immature urban instrumentalists who have come to traditional music in the manner they have come to the Welsh linguistic communication, through oppugning their individuality, their cultural peculiarity. They have been described by the trade imperativeness as the most dynamic set to emerge from Wales for many old ages. Their current albums ‘Minka ‘ and ‘South by SouthWest ‘ have been critically acclaimed by imperativeness, Television, wireless and festival organizers. They have toured extensively in many states as far apart as Canada, Latvia, India, Holland, Egypt, Hungary and France every bit good as the UK. Woollard ‘s ain narrative is rather singular: introduced to traditional music by a fiddle participant entering a session for a trip-hop outfit he was in, he began researching vocals of his part, came across Phil Tanner & # 8230 ; and discovered he was his great uncle. But Woollard ‘s manner owes every bit much to Tom Jones and Shirley Bassey – the entire committedness to the vocal of the working category, pub vocalist of South Wales – as it does to folk music. When Rag Foundation performed for the first clip in London the people running the locale were surprised when two busloads of immature urban ravers pitched up excessively. “ We have this followers of clubbers who come unit of ammunition with us, ” Woollard explained. “ What we ‘re making is dance music, which is what they ‘re into. Ours is merely an older version of it. ” Even so, it is the power of the traditional vocal that inspires Rag Foundation, and Woollard inhabits instead than work the stuff. “ I want to convey these vocals to an audience my age, but I do n’t desire to lodge membranophone and bass all over them. It ‘s in the public presentation. If you ‘re honest in your bringing what you ‘re singing approximately will come across. ”
5. Fernhill. 5. Fernhill.
Since they formed in 1996, Fernhill have become of import cultural embassadors for Wales and its music, holding toured in 20 states including public presentations for the King of Swaziland and the President of Mozambique. ‘These make bolding musical deconstructionists have become the premier movers in a harvest of gifted sets shooting new life and an exciting modern-day moral force into traditional Welsh music ‘ .
LIVE BAND LINE-UP Julie Murphy vocals
Richard Llewellyn guitar
Cass Meurig violin
Tomos Williams cornet
Andy Coughlan dual bass
Paradoxically they merely had one Welsh member when they achieved national attending, bagpiper and guitar player Ceri Rhys Matthews from the Swansea vale. Yet Essex-born Julie Murphy has lived in Wales for many old ages and, wholly absorbed in the civilization and history of the state, sings confidently in the Welsh linguistic communication when the juncture demands it. Not that they play entirely Welsh music. They besides perform English common people vocals, impassioned Breton melodies and vivacious Gallic vocals while to the full encompassing the modern roots political orientation, presenting the influences of their many travels, notably African and Eastern European music.
Julie Murphy met Ceri Matthews at art college in Maidstone, and when the class was over she returned to Wales with him, larning the linguistic communication and absorbing the civilization. Although she had no common people background to talk of, Murphy developed a natural feel for executing traditional vocals, and she and Matthews started working as a couple. They met Jonathan Shorland in 1986 when they were on the same measure at the Pontardawe common people festival. Shorland joined them on phase playing the hornpipe, a Welsh horn pipe, and they started working together with three other instrumentalists as a music and art group called Saith Rhyfeddod. Raised in the New Forest, Shorland had become obsessed by reed instruments as a fan of David Munro & # 8217 ; s music programme on Radio 3 piece at Aberystwyth University. He became an expert in Celtic traditions, larning to do bagpipes and going extensively in Eastern Europe and Brittany, playing on a regular basis with Breton instrumentalists. He is said to be the first individual to present the bombard into Welsh music.
Potato teamed up with Blowzabella & # 8217 ; s ex-hurdy gurdy participant Nigel Eaton, ensuing in the experimental Whirling Pope Joan undertaking which made a large impact with its alternate beat and disputing stuff. Besides involved in the undertaking was Andy Cutting, a melodeon and squeeze box one from Harrow brought up in a household steeped in English traditional music. When invited on a British Council circuit in Gaza, Murphy invited Andy Cutting to attach to her. When in 1996 Tim Healey of Beautiful Jo Records invited Julie Murphy, Ceri Matthews and Jonathan Shorland to lend to a digest of Celtic music, they roped in Andy Cutting. The consequence was Fernhill, who have later toured extensively and produced a series of all right albums which reaffirm the rich spirit of Welsh common people music while traveling boldly into new countries. Blending hautboy with bagpipes, diatonic squeeze box, guitar and legion other instruments they have challenged all prepossessions about common people music, recognizing no spliting line between Welsh dance music and the roots music of Kenya, Pakistan or any point beyond. They now work chiefly as a three of Murphy, Matthews and Cutting, but all are involved with other instrumentalists as they strive to interrupt down farther barriers between musical manner and the audience it entreaties to. They have recorded three critically acclaimed albums ; the latest, Whilia, was a top 20 album in the Folk Roots canvass 2000. Fernhill created a new musical landscape from the autochthonal dance beat and common people poesy of Wales. Julie Murphy ‘s passionate vocalizing combined with guitar, violin, dual bass and cornet produces a sound both gutsy and enchanting.
In 2001 the set contributed a public presentation to the movie ‘Beautiful Mistake ‘ about the Welsh music scene which includes public presentations by James Dean Bradfield, Catatonia, Super Furry Animals, and Gorkys Zygotic Mynci. Julie Murphy besides collaborated with antique velvet belowground member John Cale ; he accompanied her on a path from her solo album Black Mountains Revisited ( a MOJO common people album of 99 ) .
6. The Renaissance of Welsh traditional music
Manic Street Preachers, Catatonia and even Tom Jones assure Welsh people that their individuality is non naff. Gorki ‘s Zygotic Mynki, Super Furry Animals and Datblygu prove that so it ‘s cool – and that singing in Welsh is no obstruction to commercial success. Peoples are get downing to retrieve that the Velvet Underground laminitis member John Cale ‘s first linguistic communication is Welsh ( earlier this twelvemonth he was in Cardiff working with instrumentalists who prefer to execute in it ) .
is portion of a turning motion in Wales, one that is non out to continue the old common people music, but to do it come alive, to take a breath once more. While he has a great cognition and regard for the old melodies and the old ways, he is non hestitant to force it every bit much as the vocal requires.
Neil has contributed three pieces to the festival. The first is consecutive traditional music for squeeze box, guitar and bodhran. The 2nd is an original melody that is unquestionably modern-day, gambling into a planetary sod while still keeping a distinguishable Welsh air to it. The 3rd is another traditional melody ( title terra incognita ) , but with the concomitant of classical guitar, it takes on a new and different feeling.
dramas orally learned tunes and fluctuations with lucidity and passion. Her fluctuations are vivacious, pealing out with the sound merely a triple-strung harp can do. She besides plays the more common single-strung harp attractively on several of the paths.
There are many grounds for this renewed assurance ; the turning appetency for the music of other civilizations, a grade of political liberty and, non least, the success of those who did give themselves to the cause of Welsh. They may non hold produced much great music, but they assured that non merely is the linguistic communication surviving, people can discourse in it in some security, relax and merely acquire on with life.
So they are get downing to look about them, chop their manner through the overgrown and about disregarded waies to the spring of their traditional music. It ‘s still fluxing. The new Rough Guide to the Music of Wales CD opens with a harp melody by Llio Rhydderch, who was brought up in a master-pupil instruction tradition that stretches back to the 14th century. There ‘s besides a recording she made of her instructor Nansi Richards, who was steeped in the aesthetic and technique of 18th century harpists. What is striking and reviewing about both participants is their power. If you find most Gaelic harp music plinking and fey, the strength every bit good as the beauty of this ancient music will be a welcome surprise.
The Welsh tradition is untasted, ” says Neil Woollard, joyously. “ So the music is more unfastened to reading. I know we ‘ve got the perfect chance here, puting the parametric quantities of what you can make.
Tradition ” is the organic component of universe civilization. Pop music by its very nature is disposable. The lone hereafter for a great dad vocal is as nostalgia. The tradition nevertheless is dateless and reclaimable and is renewed as each coevals discovers its roots. – Billy Bragg, instrumentalist