Gareth GLYN(b. 1951)
Welsh Incident
Noson yn yr opera (A Night at the Opera) (1997)[9:58]
Welsh Incident (1989)[14:28]
Dinas Barhaus (Enduring City) (2010)[18:12]
Microconcerto for double bass and orchestra (2004)[4:32]
Cariad (2008)[7:46]
Conseirto i’r Utgorn (Trumpet Concerto) (2008) [21:38]
Gwylmabsant (1994)[6:14]
Llam Carw (Stag’s Leap) (2010)[6:56]
Cyfres Fechan i Linynnau (Little Suite for Strings)(2011)[11:20]
Jonathan Pryce (narrator), Philippe Schartz (trumpet), Dominic Seldis (double-bass),
Jane Watts (organ)
BBC National Orchestra of Wales/Grant Llewellyn
Royal Ballet Sinfonia/Gavin Sutherland; Julian Bigg
rec. Hoddinott Hall, Cardiff, 9-10 December 2010 (A Night at the Opera, Enduring
City, Trumpet Concerto, Gwlmabsant, Llam Carw), 18 March 2008, Angel Studios,
London (Welsh Incident, Microconcerto, Cariad), 11 June 2010 (Little Suite)
SAIN SCD2653 [54:56 + 46:08] 
This is a fantastic CD: from the first to the last track there is interest,
variety, and sheer enjoyment. All these works are approachable and satisfying,
yet they bear repeated hearing. It would be easy to categorise Gareth Glyn’s
musical style as ‘light’ – a number of his pieces have been released on CDs
dedicated to that particular genre. However there is a much greater depth
and variety to his music that defies any easy attempt at stereotyping.
The first track on this two-CD album is close to my heart. I have to confess
that of all the musical forms, opera, is the one that I least relate to. I
have tried, but largely failed to get into Wagner, Verdi and Richard Strauss;
I do dote on G&S though!
A Night at the Opera was commissioned in 1997 for the Beaumaris Festival.
The composer has written that ‘a three act opera can take as many hours to
stage ...’ and even longer if it is part of The Ring! What this present
piece does is condense the whole operatic experience into ‘one-twentieth’
of the time. The work begins with a mini-overture and is followed by a series
of solos, duets, ensembles, recitatives and choruses – minus the vocal parts!
Glyn has introduced all the passion, anger, love and humour into a short piece
that is well constructed and delightfully scored. It is my kind of ‘Night
at the Opera’.
The title track of the CD, Welsh Incident is a marvellous piece. When
one takes the poetry of Robert Graves, the music of Gareth Glyn, and the voice
of the Welsh actor Jonathan Pryce one is guaranteed success. In addition there
is a virtuosic part for double-bass which is beautifully played by Dominic
Seldis. The action of this ‘narration’ takes place in the sea-side town of
Criccieth: it concerns the arrival of ‘aliens’ on a local beach. Do not try
to read too much into the text: just enjoy the lovely language and the striking
imagery that owes not a little to Dylan Thomas’s Under Milk Wood. It
is one of my discoveries of 2011!
The following piece is a much more serious work that owes something to the
musical style of Aaron Copland. Enduring City was written to celebrate
the 300th anniversary of the founding of New Bern, which was the
first permanent seat of the colonial government of the US state of North Carolina.
It is an historical portrayal of the city with an optimistic nod to the future.
The work has number of sections which refer to people and events in the city’s
history. Enduring City opens with a reflection of John Lawson and then
Christoph von Graffenried who were the founding fathers. The next movement
considers the history of ‘Tryon Palace’, which was the governor’s residence.
In this music a variety of historical styles are rehearsed including ‘fife
and drum’ bands, minuets and African slave music. The conclusion of this section
combines all these elements into a riotous coda. The following movement considers
the various conflicts that have beset the city, including a major battle during
the Civil War, which is then followed by a long and beautiful meditation on
‘reconciliation and beauty’. Enduring City concludes with a positive
look to the future. This is not light music: it is an involved and vital work
which is written in an approachable language. It is probably the most important
work presented in this retrospective CD.
The Microconcerto for double-bass and orchestra is a little masterpiece. It
was commissioned by BBC Radio 3 as part of its ‘Endangered Species’ series
which was an attempt to encourage young people to take up instruments that
were less popular. Gareth Glyn writes that it is the intention of this short
work (lasting just 4½ minutes) to explore ‘the full range of the double bass
– pitch, technique, style, and so on ...’ It is an interesting and often striking
exploration. The main ‘slow movement’ theme is gorgeous – I never knew the
double-bass could be so expressive and play so ‘high’. It is a work that nods
to Charlie Mingus without being in any way a jazz concerto. It should be a
Prom favourite!
I really enjoyed Cariad, which is an arrangement or reworking of a
number of Welsh folksongs with the theme of love (cariad). This is light-music
at its very best with lots of lovely tunes, harmonies and effective orchestration.
Look out for a few nods to the brass band tradition. Ardderchog!
The second CD begins with an impressive Trumpet Concerto. This is a good substantial
work that is composed in a modern but not ‘difficult’ style. Each of the three
movements has a title, which is in Welsh. The first is ‘Hyder’ meaning confidence
– which is expressed in music that at times is ‘impetuous, quiet or assured’.
It is exciting music that is well-balanced and evokes a variety of moods and
emotions. The middle movement is entitled ‘Hiraeth’ which the composer suggests
is untranslatable, but means something akin to ‘nostalgia’ or ‘longing’. Certainly
Glyn has written heartfelt, almost valedictory music that uses the lyrical
tones of the trumpet to such good effect. The finale is based on ‘Hwyl’ which
in this usage means ‘farewell’. It is a romp from start to finish, with a
gorgeous big tune emerging at the halfway mark. The work closes with rhythmic
excitement which the composer suggests is somewhere between laughter and tears.
This is a great concerto that demands to be in the repertoire of all good
trumpet players. There are so few good examples of the genre: Gareth Glyn’s
is one of the best.
It is always good to hear the organ in its secular guise. The concerted piece
Gwlymabsant was commissioned by the BBC and was first performed on
1 March 1994 with the present soloist, Jane Watts. Gareth Glyn points put
that the title literally means ‘the festival of a patron saint’ which was
for many years a tradition on Ynys Môn (Anglesey). It was originally
a joyous religious festival which changed character over the years into an
opportunity for dancing, drinking and feasting. This dichotomy is represented
in the music, although the emphasis appears to be on the festivities rather
than a deep meditation on the life of ‘any’ saint! The work is full of Mathias-like
rhythmic vitality and angular melodies. A real show-stopper!
Llam Carw (Stag’s Leap) is based on a Welsh legend about St. Eilian. He was
sent to Ynys Môn as a Papal emissary in the 5th century. One
of his early acts was the ‘righteous’ blinding of a certain Cadwallon Lawhir
(Cadwallan Long-hand) as a rather severe punishment for cattle rustling. However,
the king begged for his sight to be restored. St Eilian agreed on the condition
that he - or was it the Papacy - were granted the land that his stag could
cover before being brought down by Cadwallan’s hounds. However, the stag leapt
across a mighty gorge and escaped the dogs and ran far and wide. Much more
land was gained than anyone imagined. The location of the jump is called ‘Llam
Carw’ and is located near the town of Amlwch in Anglesey. The subject makes
an ideal opportunity for an exciting and musically satisfying little tone
poem. The work is in two sections with a ‘leap’ lasting a few seconds in the
middle of the piece. The first section is the chase and a highly coloured
‘scherzo’ with some clever orchestration. The leap is cleverly contrived –
brass over tremolo strings and then the stag is free (rhyddid) and with tonally
unambiguous music escapes the threat of death.
Llam Carw is an excellent example of programme music which does not
rely too heavily on the listener following a detailed narrative – chase/leap
of faith/freedom is a fairly universal emotion that can be understood without
the appurtenances of medieval hagiography. However, the story is a good one
and deserves to be remembered.
The final work on this retrospective CD is the absolutely charming Little
Suite for Strings. To my ear this is a work that is right up there with
all the best ‘string orchestra’ pieces in the British music repertoire. The
work is divided into five movements – Strings on the Wing, Waltz, Moto perpetuo,
Prayer and Hoedown. Perhaps the opening movement is the most impressive and
the waltz is a little gem. The concluding Hoedown is as good as the slightly
better known example from Rodeo by Aaron Copland!
Only two minor complaints about this CD – firstly it is a wee bit short –
with just over 100 minutes of music on two discs. And secondly, the liner
notes are difficult to read: maroon-ish text on grey, shiny paper!
This is a great double CD that will give much pleasure and entertainment to
listeners. However, there is also a great deal of music here that is deeper
and requires our attention and concentration. Gareth Glyn is one of the best
composer’s around and I guess that he deserves a greater popularity. This
CD is an important step in that direction. I await (eagerly) a release of
his fine symphony.
John France
Gareth Glyn is one of the best composer’s around and I guess that he deserves a greater popularity.