Pennod 1 Cerys Matthews a'r Goeden Faled
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-I'm Cerys Matthews. | 0:00:00 | 0:00:02 | |
-I've been collecting music -all my life. | 0:00:02 | 0:00:05 | |
-Music covers the spectrum -of human experience. | 0:00:06 | 0:00:09 | |
-It reveals secrets -and opens amazing doors... | 0:00:10 | 0:00:13 | |
-..when we travel back to its roots. | 0:00:13 | 0:00:16 | |
-# There stands the magnificent oak | 0:00:16 | 0:00:20 | |
-# Tw rymdi-ro rymdi radl-idl-al | 0:00:20 | 0:00:23 | |
-# I shall shelter in its shadow | 0:00:24 | 0:00:29 | |
-# Until my sweetheart -comes to meet me | 0:00:29 | 0:00:33 | |
-# Fal-di radl-idl-al | 0:00:33 | 0:00:35 | |
-# Fal-di radl-idl-al | 0:00:35 | 0:00:38 | |
-# Tw rymdi-ro rymdi radl-idl-al # | 0:00:38 | 0:00:41 | |
-# FANS SING MEN OF HARLECH TUNE# | 0:00:42 | 0:00:45 | |
-The summer of 2016 is unforgettable -because of one thing... | 0:00:53 | 0:00:57 | |
-..the Welsh football team's success -at the Euros. | 0:00:57 | 0:01:01 | |
-One chant us fans sang -to boost the players on the pitch... | 0:01:01 | 0:01:06 | |
-..was Men of Harlech. | 0:01:06 | 0:01:08 | |
-Why this song? What's the story -behind the powerful melody? | 0:01:08 | 0:01:11 | |
-"David, where you are -let all the nation go | 0:01:12 | 0:01:15 | |
-"A long tribulation is coming" | 0:01:16 | 0:01:18 | |
-Wales has a long history -of war poems. | 0:01:19 | 0:01:22 | |
-Y Gododdin from the sixth century -by the poet Aneirin... | 0:01:23 | 0:01:27 | |
-..and Dafydd Llwyd of Mathafarn's -ode... | 0:01:27 | 0:01:29 | |
-..about the Battle of Bosworth -in the 15th century. | 0:01:29 | 0:01:33 | |
-Here is poet and musician -Twm Morys... | 0:01:34 | 0:01:37 | |
-..creating a marching rhythm -with his stick... | 0:01:37 | 0:01:40 | |
-..putting Men of Harlech's melody -in a military context. | 0:01:41 | 0:01:46 | |
-"Enemies!" | 0:01:46 | 0:01:47 | |
-In the 18th century, there wasn't -a national army as there is now. | 0:01:47 | 0:01:53 | |
-Armies were small. | 0:01:54 | 0:01:56 | |
-They were more or less -private armies. Small militias. | 0:01:57 | 0:02:01 | |
-Every small army -needed a marching song. | 0:02:01 | 0:02:06 | |
-Some of these songs -have become very well known. | 0:02:07 | 0:02:10 | |
-One of them -is Captain Morgan's March. | 0:02:11 | 0:02:15 | |
-It's sung today... | 0:02:15 | 0:02:17 | |
-..as the song for the bard -at the National Eisteddfod. | 0:02:17 | 0:02:21 | |
-HE SINGS THE MELODY | 0:02:22 | 0:02:24 | |
-From the rhythm, -you know that it's a marching song. | 0:02:25 | 0:02:29 | |
-A marching song was commissioned -in the 18th century... | 0:02:34 | 0:02:39 | |
-..by the Cricieth militia, -a local army. | 0:02:39 | 0:02:44 | |
-Dafydd y Garreg Wen did that. | 0:02:45 | 0:02:47 | |
-I think that Men of Harlech -has a similar melody. | 0:02:47 | 0:02:51 | |
-Who was the army or the general? | 0:02:51 | 0:02:55 | |
-I don't know. No-one knows. | 0:02:55 | 0:02:58 | |
-There was a man with links -to these parts called Owen Wyn. | 0:02:58 | 0:03:03 | |
-He became a general -with the official army. | 0:03:03 | 0:03:07 | |
-It's likely that he developed -a small local army. | 0:03:07 | 0:03:11 | |
-That army -grew from strength to strength... | 0:03:11 | 0:03:14 | |
-..before becoming -an official regiment, 9th Lancers. | 0:03:14 | 0:03:18 | |
-Even today, the 9th Lancers' -marching song... | 0:03:18 | 0:03:24 | |
-..is Men of Harlech. | 0:03:24 | 0:03:25 | |
-That may be the origin of the song. | 0:03:26 | 0:03:30 | |
-Another regiment that used Men -of Harlech as a marching song... | 0:03:34 | 0:03:38 | |
-..was the South Wales Borderers. | 0:03:38 | 0:03:40 | |
-They, under a different name, -were part of the battle... | 0:03:40 | 0:03:44 | |
-..to defend Rorke's Drift -from the Zulus in 1879. | 0:03:44 | 0:03:47 | |
-In the Hollywood film -of the same name... | 0:03:49 | 0:03:51 | |
-..Men of Harlech was brought -to the international stage. | 0:03:51 | 0:03:55 | |
-However, the song was first recorded -as an instrumental melody. | 0:03:55 | 0:03:59 | |
-There are folk songs -which have been intended to be sung. | 0:04:01 | 0:04:05 | |
-There is also a very strong -tradition of instrumental melodies. | 0:04:05 | 0:04:10 | |
-Men of Harlech -comes into this category. | 0:04:12 | 0:04:14 | |
-It is not a folk song... | 0:04:15 | 0:04:16 | |
-..of the same nature -as Tra Bo Dau and Ar Lan y Mor. | 0:04:16 | 0:04:19 | |
-Rather, it was -an instrumental melody... | 0:04:19 | 0:04:21 | |
-..which would have been played... | 0:04:22 | 0:04:24 | |
-..by a harpist, a violinist -or a crwth player. | 0:04:24 | 0:04:26 | |
-It is only in the Welsh tradition -that many instrumental melodies... | 0:04:27 | 0:04:33 | |
-..have acquired lyrics -over the centuries. | 0:04:33 | 0:04:37 | |
-This is what has happened -to Men of Harlech. | 0:04:37 | 0:04:40 | |
-Edward Jones, the King's poet, -was one of many harpists... | 0:04:42 | 0:04:45 | |
-..who collected and published -instrumental melodies. | 0:04:45 | 0:04:48 | |
-Men of Harlech, or The March -of the Men of Harlech... | 0:04:49 | 0:04:52 | |
-..belongs to his -influential collection. | 0:04:52 | 0:04:55 | |
-The Musical and Poetical Relicks -of the Welsh Bards. | 0:04:55 | 0:04:58 | |
-We will hear more about this book -during the series... | 0:04:59 | 0:05:03 | |
-..as it forms a crucial part -of the history of Welsh music. | 0:05:04 | 0:05:07 | |
-Edward Jones, the King's bard, -came from Bala. | 0:05:10 | 0:05:14 | |
-He was a renowned harpist. | 0:05:14 | 0:05:16 | |
-Because of this, -wealthy noblemen patronised him... | 0:05:16 | 0:05:21 | |
-..to allow him to move to London -and play the harp professionally. | 0:05:21 | 0:05:25 | |
-By 1790, he was Harp-Master -to the Prince of Wales. | 0:05:25 | 0:05:30 | |
-He then became harpist -to King George IV. | 0:05:31 | 0:05:35 | |
-Edward Jones had vast interests. | 0:05:38 | 0:05:40 | |
-But his main interest -was collecting melodies. | 0:05:40 | 0:05:45 | |
-He attended eisteddfods -all over Wales. | 0:05:45 | 0:05:48 | |
-He watched competitions... | 0:05:49 | 0:05:51 | |
-..and met other people -who were interested in folk songs. | 0:05:52 | 0:05:56 | |
-He would record this music... | 0:05:57 | 0:06:02 | |
-..by making a note and writing. | 0:06:02 | 0:06:06 | |
-Edward Jones published -over 20 books. | 0:06:06 | 0:06:08 | |
-He collected over 200 -well-known melodies... | 0:06:09 | 0:06:11 | |
-..such as Dafydd y Garreg Wen, -Dadl Dau, Ar Hyd y Nos... | 0:06:12 | 0:06:15 | |
-..and Codiad yr Hedydd. | 0:06:16 | 0:06:18 | |
-They all appear -in the two volumes... | 0:06:18 | 0:06:21 | |
-..of the Musical and Poetical -Relicks of the Welsh Bards. | 0:06:21 | 0:06:24 | |
-In this collection, Edward Jones -produced a collection... | 0:06:25 | 0:06:28 | |
-..similar to famous collections in -the English tradition of the time. | 0:06:28 | 0:06:33 | |
-He tried to benefit -the Welsh people... | 0:06:34 | 0:06:37 | |
-..by placing our melodies -at the same level... | 0:06:38 | 0:06:41 | |
-..as traditional melodies of other -cultures across Europe at the time. | 0:06:42 | 0:06:47 | |
-But what about the lyrics? | 0:06:52 | 0:06:54 | |
-There are several versions including -one by John Jones - Talhaiarn. | 0:06:54 | 0:06:58 | |
-The lyrics most familiar -to us today... | 0:06:58 | 0:07:01 | |
-..are those written -by John Ceiriog Hughes... | 0:07:02 | 0:07:04 | |
-..from Llanarmon -in the Ceiriog Valley. | 0:07:04 | 0:07:07 | |
-He was one of Wales' best-known -poets and melody collectors... | 0:07:07 | 0:07:10 | |
-..and is sometimes compared to -Robert Burns in Scotland. | 0:07:11 | 0:07:15 | |
-The Welsh lyrics of the song... | 0:07:15 | 0:07:17 | |
-..feature the words -"See a white bonfire alight"... | 0:07:17 | 0:07:20 | |
-..in The Songs of Wales -by Brinley Richards in 1873. | 0:07:20 | 0:07:23 | |
-# MEN OF HARLECH # | 0:07:23 | 0:07:25 | |
-But how did the melody -become linked to football? | 0:07:27 | 0:07:30 | |
-At the Racecourse, the team runs -out to the sound of Men of Harlech. | 0:07:31 | 0:07:36 | |
-Back in 1978, when Wrexham -were promoted to Division 2... | 0:07:38 | 0:07:45 | |
-..which is now the Championship... | 0:07:45 | 0:07:47 | |
-..the club released a record -using the Men of Harlech melody... | 0:07:48 | 0:07:52 | |
-..but with their own lyrics. | 0:07:52 | 0:07:54 | |
-"Wrexham is the name, -here they come the mighty champions" | 0:07:54 | 0:07:58 | |
-# Marching like a mighty army, -Wrexham is the name # | 0:07:58 | 0:08:03 | |
-There has been a lot of discussion. | 0:08:04 | 0:08:06 | |
-The father of one of my friends... | 0:08:06 | 0:08:08 | |
-..remembers coming to see -Wales play here in the 1950s. | 0:08:09 | 0:08:12 | |
-He remembers choirs -singing Men of Harlech. | 0:08:12 | 0:08:14 | |
-It was the golden age of choirs. | 0:08:15 | 0:08:16 | |
-Rhosllannerchrugog Male Voice Choir -and other choirs in North Wales... | 0:08:17 | 0:08:21 | |
-..would travel here to watch Wales. | 0:08:21 | 0:08:23 | |
-Men of Harlech was one of the songs -they sang. | 0:08:24 | 0:08:26 | |
-Wrexham supporters adopted the song -because it was sung on the ground. | 0:08:26 | 0:08:31 | |
-The team then adopted it during -the season when they were promoted. | 0:08:32 | 0:08:36 | |
-Men of Harlech is a song that has -also been adopted by the Wales fans. | 0:08:37 | 0:08:41 | |
-It's believed that it happened -during the 1990s... | 0:08:41 | 0:08:44 | |
-..when Sam Hammam took over -in Cardiff at Ninian Park. | 0:08:44 | 0:08:48 | |
-Wrexham and Cardiff -were in the same league for a while. | 0:08:48 | 0:08:52 | |
-He probably heard the song here, -took it back to Ninian Park... | 0:08:52 | 0:08:56 | |
-..and introduced it to Cardiff fans. | 0:08:56 | 0:08:58 | |
-As a result, -Wales fans adopted it as well. | 0:08:58 | 0:09:01 | |
-It was readopted by Wales fans. | 0:09:01 | 0:09:04 | |
-It's my turn -to create another version now... | 0:09:10 | 0:09:12 | |
-..with Gwenan Gibbard -and Mason Neely. | 0:09:13 | 0:09:16 | |
-# Fierce the beacon's light -is flaming | 0:09:20 | 0:09:23 | |
-# With its tongues of fire -proclaiming | 0:09:24 | 0:09:27 | |
-# Chieftains, -sundered to your shaming | 0:09:28 | 0:09:31 | |
-# Strongly now unite | 0:09:32 | 0:09:35 | |
-# At her call, all Arfon rallies | 0:09:36 | 0:09:40 | |
-# War cries -rend her hills and vallies | 0:09:40 | 0:09:44 | |
-# Troop on troop, -with headlong sallies | 0:09:44 | 0:09:47 | |
-# Hurtle to the fight | 0:09:48 | 0:09:51 | |
-# Chiefs lie dead and wounded | 0:09:52 | 0:09:55 | |
-# Yet, where first was grounded | 0:09:57 | 0:09:59 | |
-# Freedom's flag -still holds the crag | 0:10:01 | 0:10:04 | |
-# Her trumpet still is sounded | 0:10:04 | 0:10:07 | |
-# There we'll keep -her banner flying | 0:10:09 | 0:10:12 | |
-# While the pale lips of the dying | 0:10:12 | 0:10:16 | |
-# Echo to our shouts defying | 0:10:17 | 0:10:20 | |
-# Harlech for the right! | 0:10:23 | 0:10:27 | |
-# Shall the Saxon army shake you | 0:10:37 | 0:10:39 | |
-# Smite, pursue and overtake you? | 0:10:40 | 0:10:44 | |
-# Men of Harlech, God will make you | 0:10:45 | 0:10:48 | |
-# Victors, blow for blow | 0:10:48 | 0:10:51 | |
-# Now avenging Briton | 0:10:52 | 0:10:55 | |
-# Smite as he has smitten | 0:10:57 | 0:10:59 | |
-# Let your rage on history's page | 0:11:01 | 0:11:04 | |
-# In Saxon blood be written | 0:11:05 | 0:11:07 | |
-# His lance is long, -but yours is longer | 0:11:09 | 0:11:12 | |
-# Strong his sword, -but yours is stronger | 0:11:13 | 0:11:16 | |
-# One stroke more, -and now you're wronger | 0:11:17 | 0:11:22 | |
-# At your feet, lies low # | 0:11:25 | 0:11:30 | |
-. | 0:11:37 | 0:11:37 | |
-Subtitles | 0:11:39 | 0:11:39 | |
-Subtitles - -Subtitles | 0:11:39 | 0:11:41 | |
-Ladies and gentlemen, I'm about -to sing the greatest love song... | 0:11:42 | 0:11:47 | |
-..that has ever been written. | 0:11:47 | 0:11:49 | |
-In any language. You name it. | 0:11:50 | 0:11:51 | |
-Russian, French, German, Spanish, -Dutch. Anything you like. | 0:11:51 | 0:11:55 | |
-This is the one. | 0:11:55 | 0:11:56 | |
-# Why is it anger, O Myfanwy # | 0:11:57 | 0:12:08 | |
-So many different themes -inspire people to compose lyrics. | 0:12:10 | 0:12:14 | |
-But none inspires poets -more than love. | 0:12:14 | 0:12:17 | |
-Except, of course, for heartbreak. | 0:12:17 | 0:12:19 | |
-# Your gentle cheeks, -O sweet Myfanwy # | 0:12:20 | 0:12:28 | |
-The marriage of the melody and the -melancholic words full of longing... | 0:12:28 | 0:12:32 | |
-..is so powerful. | 0:12:33 | 0:12:34 | |
-It touches us deeply. | 0:12:34 | 0:12:37 | |
-The famous Joseph Parry from -Merthyr Tydfil composed the melody. | 0:12:37 | 0:12:42 | |
-It's hard to believe that the song -was not originally written in Welsh. | 0:12:42 | 0:12:47 | |
-What's surprising -about the history of Myfanwy... | 0:12:47 | 0:12:50 | |
-..is that the English version, -Arabella, came first. | 0:12:51 | 0:12:54 | |
-It was composed by American Welshman -Thomas Gwallter Price, Cuhelyn... | 0:12:54 | 0:12:59 | |
-..who lived in Pennsylvania. | 0:12:59 | 0:13:01 | |
-That poem provided the inspiration -for the song. | 0:13:02 | 0:13:05 | |
-"Why shoots wrath's lightning - -Arabella | 0:13:06 | 0:13:08 | |
-"From those jet eyes? -What clouds thy brow? | 0:13:09 | 0:13:12 | |
-"Those cheeks -that once with love blush'd on me | 0:13:14 | 0:13:16 | |
-"Why are they pale -and bloodless now?" | 0:13:17 | 0:13:20 | |
-What about the Welsh lyrics? | 0:13:21 | 0:13:23 | |
-They were written by Mynyddog, or -Richard Davies from Llanbrynmair. | 0:13:23 | 0:13:27 | |
-He also wrote the lyrics -to Sosban Fach... | 0:13:28 | 0:13:30 | |
-..and the libretto for -Joseph Parry's opera, Blodwen. | 0:13:31 | 0:13:34 | |
-It is likely that the publisher, -Isaac Jones, Treherbert... | 0:13:34 | 0:13:38 | |
-..commissioned the Welsh lyrics -to go with the English ones. | 0:13:38 | 0:13:42 | |
-They were both published together -in 1875... | 0:13:42 | 0:13:45 | |
-..when Joseph Parry's song -was first published. | 0:13:45 | 0:13:48 | |
-Some believe -that Myfanwy was a real person. | 0:13:51 | 0:13:56 | |
-There is a character -in Jack Jones' novel... | 0:13:56 | 0:13:58 | |
-..Off to Philadelphia -in the Morning... | 0:13:59 | 0:14:01 | |
-..who was meant to be a girlfriend -of Joseph Parry's. | 0:14:02 | 0:14:05 | |
-People believe she was Myfanwy -in the song but I don't think so. | 0:14:05 | 0:14:09 | |
-We don't know -what Mynyddog had in mind. | 0:14:09 | 0:14:13 | |
-But I suspect -that he chose the name at random. | 0:14:14 | 0:14:18 | |
-It was a name that could be sung -easily and which suited the song. | 0:14:18 | 0:14:22 | |
-Myfanwy was first performed at the -university in Aberystwyth in 1875... | 0:14:23 | 0:14:29 | |
-..at a concert to celebrate -the birthday of Joseph Parry. | 0:14:30 | 0:14:33 | |
-It became very popular through -the Morriston Orpheus Choir... | 0:14:36 | 0:14:42 | |
-..between the two world wars. | 0:14:42 | 0:14:44 | |
-They rendered the song famous. | 0:14:44 | 0:14:46 | |
-That's how the song -travelled all over the world. | 0:14:46 | 0:14:49 | |
-# That fills your eyes -so dark and clear? # | 0:14:49 | 0:14:58 | |
-Ivor Sims and Morriston Orpheus -Choir' recording of Myfanwy... | 0:14:59 | 0:15:03 | |
-..became very popular after WWII. | 0:15:03 | 0:15:05 | |
-A large number of army personnel -lived abroad. | 0:15:06 | 0:15:09 | |
-Their families at home -sent in requests... | 0:15:09 | 0:15:11 | |
-..to a radio programme called -Two-Way Family Favourites. | 0:15:12 | 0:15:15 | |
-Myfanwy was a symbol of longing -for the mother country. | 0:15:15 | 0:15:21 | |
-I remember hearing this programme -as a child... | 0:15:21 | 0:15:25 | |
-..and the words "And that was -the Morriston Orpheus Choir... | 0:15:25 | 0:15:29 | |
-"..under the conductorship -of Ivor E Sims singing Myfanwy." | 0:15:29 | 0:15:32 | |
-I think that contributed greatly -to the popularity of the choir... | 0:15:33 | 0:15:37 | |
-..as well as the song itself. | 0:15:37 | 0:15:40 | |
-What's interesting about the -recording is that it's very slow. | 0:15:42 | 0:15:45 | |
-The reason for that was that it -had to fill one side of the record. | 0:15:46 | 0:15:51 | |
-There is another amusing detail -about this recording. | 0:15:51 | 0:15:55 | |
-It was the day of recording at -the Tabernacle chapel in Morriston. | 0:15:56 | 0:16:00 | |
-One member of the choir always -brought his dog to rehearsals. | 0:16:00 | 0:16:04 | |
-The dog would always lie quietly -and behave himself. | 0:16:04 | 0:16:07 | |
-But when the producer of the record -came to the rehearsal... | 0:16:07 | 0:16:12 | |
-..he said the dog had to go outside. | 0:16:12 | 0:16:14 | |
-The dog was put in the chapel porch. | 0:16:15 | 0:16:18 | |
-In the middle of the recording, -between the two verses... | 0:16:20 | 0:16:23 | |
-..the dog was obviously fed up -and he started barking. | 0:16:23 | 0:16:26 | |
-The barking can still be heard -on the record! | 0:16:26 | 0:16:30 | |
-Myfanwy was published -during the industrial revolution. | 0:16:32 | 0:16:36 | |
-By the end of the 19th century, -with the population growing... | 0:16:37 | 0:16:41 | |
-..the valleys filled -with the sound of male voice choirs. | 0:16:41 | 0:16:45 | |
-# Oh, great Jesus # | 0:16:45 | 0:16:50 | |
-Welsh male voice choirs... | 0:16:50 | 0:16:52 | |
-..have their roots in the -latter half of the 19th century. | 0:16:53 | 0:16:56 | |
-The two main establishments -responsible for this... | 0:16:57 | 0:17:00 | |
-..were the workplace and the chapel -- and the rise of nonconformism. | 0:17:00 | 0:17:06 | |
-The growth in choirs -was linked to those two things... | 0:17:06 | 0:17:10 | |
-..particularly when people -flooded into industrial areas... | 0:17:10 | 0:17:14 | |
-..from rural Wales. | 0:17:14 | 0:17:15 | |
-They looked for ways -of sticking together... | 0:17:15 | 0:17:18 | |
-..and for ways of coping with their -new, unfamiliar circumstances. | 0:17:19 | 0:17:23 | |
-The men in mixed choirs... | 0:17:23 | 0:17:26 | |
-..would sometimes break away -and sing some items on their own. | 0:17:26 | 0:17:33 | |
-They started to develop -as musical units. | 0:17:33 | 0:17:36 | |
-Before long, from the 1870s on... | 0:17:36 | 0:17:38 | |
-..male voice choirs -were set up independently. | 0:17:39 | 0:17:43 | |
-That's when -the National Eisteddfod... | 0:17:44 | 0:17:47 | |
-..started offering prizes -for male voice choirs. | 0:17:47 | 0:17:50 | |
-They became a central part -of musical life in Wales. | 0:17:52 | 0:17:57 | |
-In 1872, a choir of 500 members -from the Welsh Valleys... | 0:17:57 | 0:18:01 | |
-..proved that Wales -was the land of song... | 0:18:01 | 0:18:04 | |
-..in a prestigious -choral competition in London. | 0:18:04 | 0:18:08 | |
-The story about Y Cor Mawr, -or the Big Choir, led by Caradog... | 0:18:08 | 0:18:12 | |
-..from the South Wales -Choral Union, is amazing. | 0:18:12 | 0:18:16 | |
-It was the first group to represent -ordinary people from Wales. | 0:18:17 | 0:18:22 | |
-This was before any organization -such as the Assembly, the Senedd... | 0:18:23 | 0:18:27 | |
-..or any football or rugby union. | 0:18:27 | 0:18:30 | |
-This was the first group -to represent ordinary folk. | 0:18:30 | 0:18:33 | |
-They represented industrial Wales... | 0:18:34 | 0:18:36 | |
-..from Brynmawr and Ebbw Vale -in Gwent all the way to Llanelli. | 0:18:36 | 0:18:40 | |
-They would meet to rehearse... | 0:18:40 | 0:18:42 | |
-..in preparation for the competition -at Crystal Palace. | 0:18:42 | 0:18:46 | |
-They went on to win the competition! | 0:18:46 | 0:18:48 | |
-They were ordinary people -who had mastered important works... | 0:18:48 | 0:18:52 | |
-..by famous European composers. | 0:18:52 | 0:18:54 | |
-This was the origin of the concept -of Wales, the land of song. | 0:18:54 | 0:18:58 | |
-This was something that the Welsh -could do better than anyone else. | 0:18:58 | 0:19:02 | |
-The Morriston Orpheus Choir -was once asked to sing Myfanwy... | 0:19:09 | 0:19:13 | |
-..at the beginning of a wedding -service as the bride walked in. | 0:19:13 | 0:19:18 | |
-The person who made the request was -none less than Michael Heseltine. | 0:19:18 | 0:19:23 | |
-I tried to explain to him -that a song about heartbreak... | 0:19:24 | 0:19:30 | |
-..wasn't suitable for a wedding. | 0:19:30 | 0:19:33 | |
-But he said, "Oh no, we love -the song. We love the piece. | 0:19:34 | 0:19:37 | |
-"It's so romantic." | 0:19:38 | 0:19:39 | |
-So that's what was performed. | 0:19:39 | 0:19:41 | |
-But of course, she's afraid -of telling her lover... | 0:19:42 | 0:19:45 | |
-..that her feelings for him -have faded. | 0:19:45 | 0:19:49 | |
-He has to ask these questions - -why won't you talk to me? | 0:19:50 | 0:19:55 | |
-Why don't your cheeks -no longer blush when you see me? | 0:19:55 | 0:19:59 | |
-She's promised her hand to him. | 0:19:59 | 0:20:02 | |
-In the end, he decides -there is no point carrying on. | 0:20:02 | 0:20:06 | |
-He releases her -from the promises she made. | 0:20:07 | 0:20:11 | |
-He asks for her hand -as he bids her farewell. | 0:20:11 | 0:20:15 | |
-It's a perfect song -for a choir to sing. | 0:20:16 | 0:20:19 | |
-Because of the tension and relief -in the fantastic melody... | 0:20:20 | 0:20:24 | |
-..and the serious nature -of the lyrics... | 0:20:24 | 0:20:26 | |
-..it works in a simple way, and -that's how I'm going to perform it. | 0:20:27 | 0:20:31 | |
-Emily Pimm-Edwards is my Myfanwy. | 0:20:32 | 0:20:35 | |
-# Why is it anger, O Myfanwy | 0:20:38 | 0:20:43 | |
-# That fills your eyes -so dark and clear? | 0:20:44 | 0:20:50 | |
-# Your gentle cheeks, -O sweet Myfanwy | 0:20:52 | 0:20:56 | |
-# Why blush they not -when I draw near? | 0:20:58 | 0:21:02 | |
-# Where is the smile -that once most tender | 0:21:04 | 0:21:09 | |
-# Kindled my love so fond, so true? | 0:21:11 | 0:21:16 | |
-# Where is the sound -of your sweet words | 0:21:17 | 0:21:22 | |
-# That drew my heart to follow you? | 0:21:26 | 0:21:30 | |
-# What have I done, O my Myfanwy | 0:21:33 | 0:21:38 | |
-# To earn your frown? -What is my blame? | 0:21:39 | 0:21:44 | |
-# Was it just play, -my sweet Myfanwy | 0:21:45 | 0:21:50 | |
-# To set your poet's love aflame? | 0:21:52 | 0:21:57 | |
-# You truly once to me -were promised | 0:21:58 | 0:22:04 | |
-# Is it too much to keep your part? | 0:22:05 | 0:22:10 | |
-# I wish no more your hand, Myfanwy | 0:22:11 | 0:22:17 | |
-# If I no longer have your heart | 0:22:18 | 0:22:25 | |
-# Myfanwy, -may you spend your lifetime | 0:22:28 | 0:22:32 | |
-# Beneath the midday -sunshine's glow | 0:22:33 | 0:22:38 | |
-# And on your cheeks O may the roses | 0:22:39 | 0:22:43 | |
-# Dance for a hundred years or so | 0:22:45 | 0:22:50 | |
-# Forget now -all the words of promise | 0:22:51 | 0:22:55 | |
-# You made to one -who loved you well | 0:22:57 | 0:23:02 | |
-# Give me your hand, -my sweet Myfanwy | 0:23:04 | 0:23:13 | |
-# But one last time | 0:23:14 | 0:23:16 | |
-# To say "farewell" # | 0:23:18 | 0:23:32 | |
-S4C Subtitles by Testun Cyf. | 0:23:51 | 0:23:53 | |
-. | 0:23:54 | 0:23:54 |
