Catrin Finch: Concerto Hedd Wyn

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-Subtitles	0:00:00	0:00:00
-Subtitles - -Subtitles	0:00:00	0:00:01
-"Only the purple moon	0:00:02	0:00:04
-"At the edge of the bare mountain	0:00:04	0:00:07
-"And the sound -of the old river Prysor	0:00:07	0:00:10
-"Singing in the valley."	0:00:10	0:00:12
-Catrin Finch is composing -a harp concerto...	0:00:22	0:00:26
-..for the National Youth Orchestra -of Wales.	0:00:26	0:00:29
-What's her inspiration?	0:00:30	0:00:33
-What turns a commission -into a concerto?	0:00:33	0:00:36
-The landscape? History? -Community? Love?	0:00:37	0:00:41
-All these aspects combine -in the incredible life story...	0:00:41	0:00:46
-..of poet Hedd Wyn.	0:00:46	0:00:48
-Precisely a century ago...	0:00:48	0:00:50
-..global events shattered -the tranquillity of Trawsfynydd.	0:00:50	0:00:54
-The first step is to visit his home -- Yr Ysgwrn.	0:00:54	0:01:00
-Catrin meets his family -that live there today.	0:01:00	0:01:03
-This is the story -of how Hedd Wyn started out.	0:01:09	0:01:13
-As he was the eldest son, he could -stay up late with his father.	0:01:13	0:01:19
-The younger children -and their mother would go to bed.	0:01:19	0:01:23
-Dad would compose poetry -for the local eisteddfodau...	0:01:23	0:01:29
-..such as Eisteddfod Penstryd, -Eisteddfod Llawr Plwy'...	0:01:29	0:01:33
-..and Eisteddfod Stesion.	0:01:34	0:01:36
-Dad used to enter -some of his compositions.	0:01:36	0:01:39
-He used to win sometimes, -he'd win sixpence.	0:01:39	0:01:43
-He'd write his poetry -at the table...	0:01:43	0:01:46
-..and Hedd Wyn, -his parents called him Ellis...	0:01:46	0:01:50
-..would sit across the table -writing his own poetry.	0:01:50	0:01:54
-He'd ask his father -for his approval.	0:01:54	0:01:57
-His father would say, -"Enter it in the eisteddfod...	0:01:57	0:02:00
-"..they'll give you -a fair adjudication."	0:02:01	0:02:03
-That's how it all started.	0:02:03	0:02:06
-Hedd Wyn's father couldn't afford -to employ a farm-hand.	0:02:15	0:02:19
-At the time, -the farm was self-sufficient.	0:02:19	0:02:24
-The only produce they bought -was salt, sugar and flour.	0:02:25	0:02:29
-When you're outdoors -during spring time...	0:02:31	0:02:34
-..you see something new every day.	0:02:34	0:02:37
-There are new smells, -you see something new.	0:02:37	0:02:41
-It's never the same.	0:02:41	0:02:43
-Because of what happened to him, -the Black Chair...	0:03:00	0:03:04
-..his life and his work became one, -which isn't unusual for artists.	0:03:05	0:03:12
-In a way, what he became, -what he now represents...	0:03:12	0:03:16
-..as you look at his statue...	0:03:16	0:03:21
-..he represents -the young shepherd...	0:03:21	0:03:24
-..who was sacrificed.	0:03:24	0:03:26
-There were many of them, -during the World War I.	0:03:26	0:03:30
-I think that's something which -has influenced the public psyche...	0:03:31	0:03:37
-..more than anything else -about the war.	0:03:37	0:03:40
-What effect did the war have...	0:04:28	0:04:31
-..on creative people - -poets and musicians?	0:04:31	0:04:35
-In a way, -right at the very beginning...	0:04:35	0:04:38
-..many regarded it as something -adventurous, something new...	0:04:39	0:04:44
-..and they had a duty to go.	0:04:44	0:04:46
-Soon, it struck them that they were -going to fight, going to kill...	0:04:46	0:04:50
-..and possibly die themselves.	0:04:51	0:04:53
-The effect on people -such as Wilfred Owen was immense.	0:04:53	0:04:57
-Such people would fight in the war -and when they returned home...	0:04:58	0:05:02
-..they were very aware -of the reality.	0:05:03	0:05:06
-Some die while others, -like Ivor Gurney, return...	0:05:13	0:05:16
-..and can't cope -with everyday life.	0:05:17	0:05:20
-Musicians and poets, -they become spirits...	0:05:20	0:05:28
-..living their lives -not knowing what's happening.	0:05:28	0:05:32
-It's tragic.	0:05:32	0:05:34
-I don't understand war.	0:05:43	0:05:45
-Two boys, -neither having met before...	0:05:45	0:05:49
-..fighting each other to the death -in the middle of a field.	0:05:49	0:05:54
-The one who survives, how can -he feel better about himself?	0:05:54	0:05:59
-He's killed his neighbour.	0:06:01	0:06:03
-As far as I'm concerned, World War I -was an imperialist war...	0:06:21	0:06:25
-..the remnants of the Empire -at each other's throats.	0:06:25	0:06:28
-They were related - the Kaiser -was Queen Victoria's cousin.	0:06:28	0:06:32
-Catrin, you have family links -to Germany yourself.	0:06:32	0:06:37
-Yes, Nain was German.	0:06:37	0:06:39
-She lived during World War II.	0:06:40	0:06:43
-The family were separated -between east and west in Berlin.	0:06:43	0:06:48
-That was a very difficult time. -She never wanted to return.	0:06:48	0:06:52
-It was always about life moving on. -That was important for her.	0:06:52	0:06:58
-She could remember back -to World War I...	0:06:58	0:07:02
-..when she was growing up.	0:07:02	0:07:05
-We've chronicled -our family's history in this book.	0:07:05	0:07:09
-Members of my family -fought in World War I.	0:07:09	0:07:14
-They might have been in Ypres -with Hedd Wyn...	0:07:16	0:07:20
-..fighting against Hedd Wyn.	0:07:21	0:07:23
-You don't know.	0:07:23	0:07:25
-When you think about an orchestra -of 18-year-old performers...	0:07:25	0:07:30
-..going out to perform in Berlin...	0:07:31	0:07:33
-..at the same age...	0:07:33	0:07:35
-..they would have gone -to fight in a war a century ago.	0:07:35	0:07:38
-A man named Eugene Van Fleteren -made the chair.	0:07:39	0:07:42
-He had a factory in Ypres, -right on the front line.	0:07:42	0:07:46
-The British Government wanted -to station a battery in his yard.	0:07:46	0:07:52
-They said he could move here -as a refugee.	0:07:53	0:07:55
-He arrived in Liverpool...	0:07:55	0:07:57
-..and they commissioned him -to make a Celtic chair.	0:07:58	0:08:02
-He lived within half a mile -to where Hedd Wyn died.	0:08:03	0:08:06
-That was a strange coincidence.	0:08:06	0:08:10
-Hedd Wyn travelling to Ypres -and Eugene moving here.	0:08:10	0:08:14
-He was hoping his chair -would be seen by everyone...	0:08:14	0:08:18
-..but they draped -a black cloak over it.	0:08:18	0:08:21
-In some ways, his masterpiece -never saw the light of day.	0:08:21	0:08:25
-There's a letter somewhere -from a young eight-year-old girl...	0:08:25	0:08:31
-..she lived in Corwen.	0:08:32	0:08:35
-She writes about seeing the chair -for the first time in the station.	0:08:35	0:08:39
-The train would stop -in almost every station...	0:08:40	0:08:43
-..from Birkenhead to here.	0:08:43	0:08:46
-The door would open -and people could see the chair.	0:08:46	0:08:50
-Every carving on this chair, -there's a story behind it.	0:08:53	0:08:57
-This is the Christian cross.	0:08:59	0:09:01
-The Celtic cross inside it.	0:09:01	0:09:04
-These four are light, darkness, -fire and water...	0:09:04	0:09:07
-..all the elements mankind requires.	0:09:08	0:09:10
-Behind the crosses -is an intertwined ribbon.	0:09:11	0:09:15
-There's no beginning or ending -to it - it signifies eternity...	0:09:15	0:09:19
-..yesterday, today, -tomorrow and beyond.	0:09:19	0:09:23
-Further up, two nocturnal creatures -face away from the sun...	0:09:23	0:09:29
-..unable to face -goodness and justice.	0:09:29	0:09:32
-They turn away in shame.	0:09:33	0:09:35
-Here, a two-headed serpent -looks forwards and backwards.	0:09:35	0:09:42
-"What is our purpose in life?"	0:09:43	0:09:44
-The circles of life -and the four axis.	0:09:45	0:09:49
-The underworld keeping an eye -on passing time.	0:09:49	0:09:52
-This is the eternal flame -from the beginning of time.	0:09:53	0:09:56
-I once hosted four people -from London.	0:09:56	0:10:00
-I think they were important people.	0:10:00	0:10:02
-I watched them arriving.	0:10:03	0:10:05
-They weren't wearing suits -off the peg.	0:10:06	0:10:09
-They were made-to-measure suits.	0:10:09	0:10:12
-I told them that the red dragon -signified the Welsh nation.	0:10:12	0:10:18
-The serpent signified the English!	0:10:19	0:10:21
-The serpent's tail -is wrapped around the Welshman...	0:10:21	0:10:25
-..telling him to do as it wishes.	0:10:25	0:10:27
-The Englishman sat over there, -looked at me and said "sorry"!	0:10:27	0:10:32
-I liked that!	0:10:34	0:10:35
-I liked that very much.	0:10:36	0:10:38
-He joined the army -and they gave him 14 days of leave.	0:10:53	0:10:58
-It was a wet year.	0:10:59	0:11:01
-He stayed home for an extra week -to help bring in the hay.	0:11:02	0:11:06
-Because of that, -he was classed as a deserter.	0:11:06	0:11:09
-The Military Police arrived -and took him from the hay field.	0:11:09	0:11:15
-They took him to the jail -in Blaenau.	0:11:15	0:11:18
-He was transferred to Litherland, -and from there, taken to France.	0:11:18	0:11:22
-He was thrust -right into the front line.	0:11:22	0:11:25
-He'd written Yr Arwr here.	0:11:25	0:11:27
-Since they took him -from the hay field...	0:11:27	0:11:30
-..he left everything at home.	0:11:30	0:11:33
-He had to rewrite it from memory -on his way to the front line.	0:11:33	0:11:39
-"The Hero.	0:11:41	0:11:43
-"Cry restless deep my years	0:11:45	0:11:49
-"And my anguish heard -on ragged stone	0:11:49	0:11:53
-"For the girl of nature I was before	0:11:53	0:11:58
-"I cry to the stormy winds -and cold seas	0:11:58	0:12:02
-"I might weep -for I do not see my dearest	0:12:04	0:12:08
-"Sons of princes -the sunny country of my childhood	0:12:08	0:12:13
-"When there was no penance -throughout our days	0:12:13	0:12:17
-"And in its ruby summers we walked."	0:12:17	0:12:22
-It was quite an achievement for him -to send the poem to the Eisteddfod.	0:12:26	0:12:32
-The soldiers would send letters home -chronicling the events they'd seen.	0:12:33	0:12:38
-They took some time to find -a high-ranking officer...	0:12:39	0:12:43
-..who could speak Welsh...	0:12:43	0:12:47
-..to say it was fine -for it to be sent to Wales.	0:12:47	0:12:51
-.	0:13:10	0:13:10
-.	0:13:14	0:13:14
-# Funeral March - Chopin #	0:13:15	0:13:17
-"Why must I live in this grim age	0:13:20	0:13:25
-"When, to a far horizon, God	0:13:25	0:13:29
-"Has ebbed away, and man, with rage	0:13:29	0:13:31
-"Now wields the sceptre and the rod?	0:13:32	0:13:34
-"Man raised his sword, -once God had gone	0:13:34	0:13:37
-"To slay his brother, and the roar	0:13:38	0:13:40
-"Of battlefields now casts upon	0:13:41	0:13:43
-"Our homes the shadow of the war.	0:13:43	0:13:46
-"The harps to which we sang -are hung	0:13:47	0:13:50
-"On willow boughs, and their refrain	0:13:50	0:13:53
-"Drowned by the anguish of the young	0:13:54	0:13:57
-"Whose blood is mingled -with the rain."	0:13:58	0:14:02
-Hedd Wyn didn't appreciate -the enormity of war at the time.	0:14:06	0:14:09
-He was a rural boy. -The war didn't affect us here.	0:14:10	0:14:13
-He was a rural farmer.	0:14:14	0:14:16
-His weapons were a pick and shovel - -that was his world.	0:14:16	0:14:22
-When he went to war, -he carried a rifle.	0:14:24	0:14:27
-In some ways, he was defenceless -when he faced the enemy.	0:14:27	0:14:32
-The whole point -of the European Union...	0:14:38	0:14:41
-..is to prevent the mayhem of the -two world wars of the 20th century.	0:14:41	0:14:45
-After World War I, an unjust peace -existed leading to World War II.	0:14:45	0:14:50
-It's a frightening prospect -composing music...	0:15:02	0:15:05
-..for an orchestra -of 120 young musicians.	0:15:05	0:15:08
-I could hear the music -in my head...	0:15:08	0:15:11
-..but putting it on paper -was a problem.	0:15:11	0:15:13
-Sections for the bassoon, -percussion...	0:15:14	0:15:16
-..tuba, trumpet, violin and so on.	0:15:16	0:15:19
-To help me organise -the composition...	0:15:21	0:15:23
-..I studied for a course -in composing with John Hardy...	0:15:24	0:15:27
-..in the Welsh College -of Music and Drama.	0:15:27	0:15:30
-I've been commissioned -to write a harp concerto.	0:15:31	0:15:35
-How long is the commission?	0:15:35	0:15:38
-Whatever I choose, -but up to 20 minutes.	0:15:38	0:15:41
-You're playing the harp section.	0:15:41	0:15:43
-You're playing the harp section. - -Yes.	0:15:43	0:15:45
-How long - 20 minutes? -For you and them?	0:15:45	0:15:48
-There's about 120 -of them in the orchestra.	0:15:49	0:15:52
-There's a triple wind section...	0:15:52	0:15:55
-..full brass, four percussion, -four harps...	0:15:56	0:16:00
-Four harps? Fantastic.	0:16:00	0:16:02
-And myself - five harps.	0:16:02	0:16:05
-That section alone -is quite a challenge.	0:16:05	0:16:08
-There are a lot of staves -to deal with.	0:16:10	0:16:13
-What kind of style?	0:16:13	0:16:16
-Modernism or something...?	0:16:17	0:16:20
-It starts with the cadenza.	0:16:20	0:16:22
-It starts with the cadenza. - -At the start? Cadenza at the start?	0:16:22	0:16:25
-It starts just with the harp.	0:16:25	0:16:27
-Instead of the cadenza appearing -at the end of the movement...	0:16:28	0:16:32
-..I want the beginning -to be a cadenza for the harp.	0:16:32	0:16:36
-How do you want the audience to feel -straight after they hear it...?	0:16:36	0:16:41
-For the first time?	0:16:41	0:16:44
-I guess I want them to feel -as if they've been on a journey...	0:16:44	0:16:52
-..and feel as if they have an idea -what Hedd Wyn's life was like.	0:16:52	0:16:58
-They feel the different aspects -of his life.	0:16:59	0:17:03
-They create a picture -in their mind...	0:17:03	0:17:07
-..about the man and the events -he'd witnessed.	0:17:08	0:17:13
-We begin with a poem called Atgof.	0:17:13	0:17:16
-"Only the purple moon -at the edge of the bare mountain	0:17:16	0:17:19
-"And the sound of the old river -Prysor singing in the valley."	0:17:19	0:17:22
-I was thinking of using -the woodwind and doing this.	0:17:23	0:17:26
-Sort of tinkly in a way.	0:17:27	0:17:29
-That type of thing.	0:17:30	0:17:32
-That comes back and forth -between the...	0:17:33	0:17:36
-..between the woodwind instruments.	0:17:37	0:17:40
-With that, I want to create -something fluid, a misty scene.	0:17:41	0:17:46
-It sounds like a happy feeling.	0:17:46	0:17:49
-Is it still happy and perfect -in your mind?	0:17:50	0:17:54
-At the beginning, it is.	0:17:55	0:17:58
-His home was a happy place, -from what I gather.	0:17:59	0:18:02
-He wanted to stay at home.	0:18:04	0:18:06
-That scene... I think that -the opening scene is a happy scene.	0:18:06	0:18:11
-I want to move on -to the second part, about the war.	0:18:11	0:18:15
-"The harps to which we sang -are hung	0:18:16	0:18:18
-"On willow boughs, -and their refrain."	0:18:18	0:18:21
-It's the strong, -angry feeling of war.	0:18:21	0:18:24
-You can rise from -the musical tonal language...	0:18:25	0:18:33
-..and do something angrier, -so to speak.	0:18:34	0:18:38
-Some harsh notes on the harp.	0:18:38	0:18:40
-You can create sounds when you -press the pedal between notes...	0:18:40	0:18:44
-..crashes and bangs.	0:18:44	0:18:46
-I've found a lovely poem about love.	0:18:48	0:18:52
-The final verse is...	0:18:52	0:18:54
-.."Some day, through the weather, -a day will come	0:18:55	0:18:58
-"Two will become one in this world."	0:18:58	0:19:00
-I want the piece to build -to that point.	0:19:01	0:19:05
-It's a simple piece, it's in ten.	0:19:05	0:19:08
-The orchestra meet to rehearse -during a summer school in Lampeter.	0:19:34	0:19:38
-This place inspired a five-year-old -Catrin to become a harpist.	0:19:38	0:19:45
-How does it feel -to be part of something...	0:19:49	0:19:52
-..where you have so many musicians - -100, 120 musicians?	0:19:52	0:19:56
-I was part of the National Youth -Orchestra of Great Britain...	0:19:57	0:20:01
-..for six years.	0:20:01	0:20:03
-That included playing a prom -every summer...	0:20:03	0:20:07
-..in a venue like the Albert Hall.	0:20:07	0:20:10
-We'd play Mahler's 3rd Symphony.	0:20:10	0:20:12
-You're a small part, -you're one of 120...	0:20:12	0:20:15
-..but you're important.	0:20:16	0:20:18
-You're helping...	0:20:19	0:20:20
-You're helping... - -To create a complete composition.	0:20:20	0:20:22
-It's a remarkable process.	0:20:24	0:20:26
-When you see over 100 youngsters, -18 years or younger...	0:20:34	0:20:40
-..just heading to Europe happily -to perform the music in Berlin...	0:20:41	0:20:47
-..you think back to a century ago...	0:20:47	0:20:50
-..about 100 youngsters -of a similar age...	0:20:50	0:20:53
-..heading to Europe to fight a war.	0:20:53	0:20:55
-Today, Europe is easily accessible.	0:20:58	0:21:00
-They catch a bus in Cardiff and -within six hours, they're abroad.	0:21:01	0:21:06
-We're privileged.	0:21:20	0:21:22
-When you look at our lives, -the lives of youngsters...	0:21:22	0:21:26
-..they're so fortunate, -they have opportunities.	0:21:26	0:21:30
-The National Youth Orchestra of -Wales began just after World War II.	0:21:30	0:21:36
-It was an opportunity to show -what composing music was all about.	0:21:36	0:21:40
-The joint education committee -developed it.	0:21:40	0:21:44
-It's important to appreciate -these opportunities.	0:21:44	0:21:48
-First off all, -the whistles are coming over...	0:22:32	0:22:35
-..a little bit too strong -and piercing.	0:22:35	0:22:38
-I always talk about the cutbacks -in musical education.	0:22:38	0:22:43
-I can't thank the joint education -committee enough...	0:22:43	0:22:47
-..and the crew of volunteers -that work so hard...	0:22:47	0:22:51
-..to create these opportunities -for the orchestra.	0:22:51	0:22:55
-We must celebrate it.	0:22:57	0:22:58
-At times, I felt for... Joss, can -you give a little more of your solo?	0:23:02	0:23:07
-250...	0:23:08	0:23:10
-.	0:24:20	0:24:20
-Subtitles	0:24:24	0:24:24
-Subtitles - -Subtitles	0:24:24	0:24:26
-Crossing the sea from Wales -to Berlin is some journey...	0:24:55	0:25:00
-..even for the orchestra -and the crew of 150.	0:25:00	0:25:03
-The family comes along too.	0:25:04	0:25:06
-A special adventure -for Ana Gwen and Pegi Wyn.	0:25:06	0:25:10
-I joined the orchestra in Germany.	0:25:58	0:26:01
-It was an opportunity to perform -in the Berlin's Concert House...	0:26:01	0:26:05
-..one of the world's greatest halls.	0:26:06	0:26:08
-"Only the purple moon	0:26:13	0:26:15
-"At the edge of the bare mountain	0:26:16	0:26:19
-"And the sound -of the old river Prysor	0:26:20	0:26:23
-"Singing in the valley."	0:26:24	0:26:26
-.	0:34:04	0:34:04
-Subtitles	0:34:08	0:34:08
-Subtitles - -Subtitles	0:34:08	0:34:10
-"The harps to which we sang are hung	0:34:10	0:34:14
-"On willow boughs, and their refrain	0:34:14	0:34:18
-"Drowned by the anguish -of the young..."	0:34:20	0:34:23
-APPLAUSE	0:44:17	0:44:19
-What a fantastic evening.	0:44:29	0:44:31
-A great night for the orchestra...	0:44:31	0:44:33
-..a great night for the composers.	0:44:34	0:44:36
-A fantastic concert, -so much enthusiasm and feeling.	0:44:48	0:44:51
-You felt the nation's emotion -in the music.	0:44:51	0:44:55
-A new piece of music -performed by a wonderful harpist!	0:44:56	0:45:00
-I think what's so moving -about the concerto...	0:45:09	0:45:13
-..the way in which she has obviously -identified very personally...	0:45:13	0:45:19
-..with the narrative, with -the poetry, with the individual...	0:45:19	0:45:23
-..Hedd Wyn, behind the poetry.	0:45:23	0:45:26
-I feel that it's a musical -and an emotional journey.	0:45:26	0:45:30
-Great performance, -absolutely extraordinary.	0:45:31	0:45:34
-I've never seen something like that.	0:45:34	0:45:36
-It's really captivated everything...	0:45:41	0:45:43
-..that's been so fantastic -about this course.	0:45:44	0:45:47
-The young energy and talent...	0:45:47	0:45:49
-..trying to harness that -and bring it all together...	0:45:49	0:45:52
-..new pieces, new challenges, -enormous challenges.	0:45:52	0:45:55
-It's been a wonderful upward -learning curve for us all...	0:45:56	0:45:59
-..for all the way -and I feel that we've arrived.	0:45:59	0:46:03
-Cymru am byth, I think.	0:46:05	0:46:07
-S4C Subtitles by Adnod Cyf.	0:46:32	0:46:34
-.	0:46:34	0:46:34

Catrin Finch: Concerto Hedd Wyn

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