Pennod 3 Cerys Matthews a'r Goeden Faled
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-* - -* | 0:00:00 | 0:00:00 | |
-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 | |
-# Ev'ry star in heaven is singing | 0:00:43 | 0:00:48 | |
-# All through the night # | 0:00:48 | 0:00:53 | |
-The magical Ar Hyd y Nos. | 0:00:53 | 0:00:55 | |
-I remember learning to play it on -the piano when I was about 7 or 8. | 0:00:55 | 0:00:59 | |
-It would send my teacher to sleep - -until I played the wrong note! | 0:00:59 | 0:01:03 | |
-It's a unique song which can be -considered a folk song, a carol... | 0:01:04 | 0:01:08 | |
-..or a lullaby. | 0:01:08 | 0:01:10 | |
-There are so many versions. | 0:01:10 | 0:01:12 | |
-Personally, I like Ryan's rendition -- with the harp as accompaniment. | 0:01:12 | 0:01:16 | |
-# Songs of sweet ethereal lightness | 0:01:17 | 0:01:23 | |
-# Wrought in realms -of peace and whiteness # | 0:01:24 | 0:01:32 | |
-Like many of our best melodies, this -one too has travelled the world. | 0:01:34 | 0:01:39 | |
-It has been translated -into many languages. | 0:01:39 | 0:01:42 | |
-There is an English recording -by the American, Paul Robeson. | 0:01:42 | 0:01:47 | |
-# All through the night # | 0:01:47 | 0:01:51 | |
-Maybe he heard the melody while -performing in London's West End. | 0:01:52 | 0:01:55 | |
-As it happens, it was at -the Theatre Royal, Drury Lane... | 0:01:56 | 0:01:59 | |
-..that the song became well known -about 200 years ago. | 0:01:59 | 0:02:03 | |
-It was an exciting time in the world -of entertainment in London. | 0:02:03 | 0:02:08 | |
-There were several theatres, -popular stars... | 0:02:08 | 0:02:12 | |
-..and composers -who produced new operas. | 0:02:12 | 0:02:15 | |
-One of these maestros -was Charles Dibdin. | 0:02:15 | 0:02:19 | |
-He composed over 600 songs. | 0:02:19 | 0:02:23 | |
-One of his most famous songs -is the sea song, Tom Bowling. | 0:02:23 | 0:02:26 | |
-It is often performed at the -Last Night of the Proms in London. | 0:02:26 | 0:02:30 | |
-# Here a sheer hulk -lies poor Tom Bowling | 0:02:31 | 0:02:38 | |
-# The darling of our crew # | 0:02:38 | 0:02:45 | |
-Ar Hyd y Nos featured -in his comic opera, Liberty-Hall... | 0:02:45 | 0:02:50 | |
-..which was performed for the -first time in Drury Lane in 1785. | 0:02:50 | 0:02:54 | |
-There would be characters in operas -and if they were Welsh... | 0:02:54 | 0:02:58 | |
-..something was needed -to prove that fact. | 0:02:58 | 0:03:00 | |
-A melody -which obviously came from Wales... | 0:03:00 | 0:03:04 | |
-..would help to personalize -the character. | 0:03:04 | 0:03:08 | |
-In Liberty-Hall, the character -sings the lyrics in English. | 0:03:14 | 0:03:21 | |
-But in the refrain, -he sings "Oh he de nos". | 0:03:21 | 0:03:26 | |
-It is verging on mocking the Welsh. | 0:03:26 | 0:03:30 | |
-I think the character -is a comic one. | 0:03:30 | 0:03:33 | |
-It shows that the melody -and the name Ar Hyd y Nos... | 0:03:36 | 0:03:41 | |
-..were familiar enough -to be used in that context. | 0:03:41 | 0:03:44 | |
-They were used to represent -someone who was Welsh. | 0:03:45 | 0:03:48 | |
-How would Charles Dibdin -have come across the melody... | 0:03:55 | 0:03:58 | |
-..in the first place? | 0:03:58 | 0:04:00 | |
-The answer lies with -the King's poet, Edward Jones. | 0:04:00 | 0:04:03 | |
-He had moved from Llandderfel -to work in London. | 0:04:03 | 0:04:06 | |
-This was a period of great change -in Britain. | 0:04:06 | 0:04:09 | |
-Just before the Industrial -Revolution, the population grew. | 0:04:10 | 0:04:14 | |
-Many people, including the Welsh... | 0:04:14 | 0:04:16 | |
-..moved to cities -in search of opportunities. | 0:04:16 | 0:04:19 | |
-Edward Jones was one of these. | 0:04:19 | 0:04:21 | |
-While in London, his life revolved -around highly cultured people. | 0:04:21 | 0:04:26 | |
-He is likely to have come across -Charles Dibdin. | 0:04:26 | 0:04:29 | |
-He was one of three -famous harpists... | 0:04:29 | 0:04:34 | |
-..who worked in London -at this time. | 0:04:34 | 0:04:38 | |
-John Parry, -known as Blind Parry of Ruabon... | 0:04:39 | 0:04:41 | |
-..Edward Jones, who was harpist -to the Royal Family... | 0:04:41 | 0:04:45 | |
-..and John Parry, Bardd Alaw. | 0:04:46 | 0:04:47 | |
-The latter was Musical Director -at Vauxhall Gardens in London. | 0:04:48 | 0:04:52 | |
-These three harpists had published -many very important volumes... | 0:04:52 | 0:04:58 | |
-..which showed the world -that Wales was a musical nation. | 0:04:59 | 0:05:05 | |
-I think that Edward Jones -was at the centre of it all. | 0:05:05 | 0:05:08 | |
-He was also the focal point... | 0:05:08 | 0:05:12 | |
-..for a network of musicians -across Europe. | 0:05:12 | 0:05:16 | |
-We have a copy here of -Musical and Poetical Relicks. | 0:05:16 | 0:05:22 | |
-This is where Ar Hyd y Nos -first appeared. | 0:05:23 | 0:05:26 | |
-Edward Jones -not only published the music... | 0:05:27 | 0:05:30 | |
-..along with variations for the harp -- his own instrument... | 0:05:30 | 0:05:34 | |
-..but he also published lyrics. | 0:05:34 | 0:05:38 | |
-At the time, printing was -quite an expensive process. | 0:05:41 | 0:05:46 | |
-The music had to be engraved -on plates. | 0:05:46 | 0:05:50 | |
-Patronage was required... | 0:05:50 | 0:05:51 | |
-..and the collections were published -in London. | 0:05:52 | 0:05:54 | |
-These were not collections -for ordinary folk back in Wales. | 0:05:55 | 0:05:58 | |
-These collections -circulated amongst people... | 0:05:58 | 0:06:03 | |
-..who had the means to buy them. | 0:06:03 | 0:06:06 | |
-These were used in concerts, -often for Welsh people... | 0:06:06 | 0:06:11 | |
-..and noson lawen -entertainment evenings. | 0:06:11 | 0:06:14 | |
-Music was noted and recorded -in this method. | 0:06:14 | 0:06:18 | |
-At the time, -London was full of Welsh people... | 0:06:18 | 0:06:21 | |
-..who supported -our Welsh traditions. | 0:06:21 | 0:06:23 | |
-Many societies were set up -to take care of our heritage. | 0:06:24 | 0:06:27 | |
-Welsh Societies of London | 0:06:28 | 0:06:31 | |
-The Welsh in London had three aims -by the mid 18th century. | 0:06:31 | 0:06:36 | |
-One of these was charity. | 0:06:36 | 0:06:38 | |
-They wanted to help Welsh families -who had fallen into poverty. | 0:06:39 | 0:06:43 | |
-For example, -where the father had died... | 0:06:43 | 0:06:45 | |
-..and left behind several children. | 0:06:45 | 0:06:47 | |
-Secondly, they wanted -to make collections... | 0:06:48 | 0:06:50 | |
-..in order to publish Welsh books. | 0:06:51 | 0:06:53 | |
-The most intelligent amongst them... | 0:06:53 | 0:06:57 | |
-..also wanted lectures -on Welsh topics... | 0:06:58 | 0:07:03 | |
-..in particular -Welsh poetry and literature. | 0:07:04 | 0:07:07 | |
-Y Cymmrodorion society -was established in 1751. | 0:07:08 | 0:07:11 | |
-It was a society -which held monthly meetings... | 0:07:12 | 0:07:15 | |
-..in different public houses -in London. | 0:07:15 | 0:07:18 | |
-They discussed -the culture and history of Wales. | 0:07:19 | 0:07:23 | |
-After 20 years, -another society was set up. | 0:07:24 | 0:07:27 | |
-It was some sort of splinter group. | 0:07:27 | 0:07:29 | |
-It was called Y Gwyneddigion. | 0:07:29 | 0:07:31 | |
-The members wanted it to be -less formal and more popular. | 0:07:31 | 0:07:34 | |
-Y Gwyneddigion believed it was -possible to have Welsh culture... | 0:07:35 | 0:07:39 | |
-..based on entertainment. | 0:07:39 | 0:07:41 | |
-They tried to recreate -the spirit of farmhouse kitchens... | 0:07:42 | 0:07:48 | |
-..in Snowdonia and Meirionnydd. | 0:07:48 | 0:07:51 | |
-People would gather -around the fire... | 0:07:52 | 0:07:56 | |
-..to sing penillion with the harp. | 0:07:56 | 0:08:00 | |
-Y Gwyneddigion, -like Y Cymmrodorion... | 0:08:00 | 0:08:03 | |
-..felt it was important to have -fun while celebrating being Welsh. | 0:08:03 | 0:08:07 | |
-Edward Jones joined the society -in 1783. | 0:08:08 | 0:08:12 | |
-The following year, he published -his all-important collection... | 0:08:12 | 0:08:16 | |
-..Musical and Poetical Relicks -of the Welsh Bards. | 0:08:16 | 0:08:19 | |
-The work of Edward Jones and -his friends in Y Gwyneddigion... | 0:08:19 | 0:08:24 | |
-..proved to Britain and the world -for the first time... | 0:08:24 | 0:08:28 | |
-..that Wales was a nation of song. | 0:08:28 | 0:08:31 | |
-Charles Dibdin socialized with -very cultured people in London... | 0:08:31 | 0:08:35 | |
-..at the time. | 0:08:35 | 0:08:37 | |
-He came across the melody -in Edward Jones' collection. | 0:08:37 | 0:08:40 | |
-After appearing in the opera... | 0:08:40 | 0:08:43 | |
-..it developed as an elegy song -called Poor Mary Anne. | 0:08:43 | 0:08:46 | |
-The lyrics were written by poet -and novelist, Emilia Opie. | 0:08:47 | 0:08:51 | |
-"Here beneath this willow sleepeth | 0:08:51 | 0:08:54 | |
-"Poor Mary Anne | 0:08:54 | 0:08:56 | |
-"One whom all the village weepeth | 0:08:56 | 0:08:58 | |
-"Poor Mary Anne" | 0:08:59 | 0:09:01 | |
-The tune became famous outside Wales -as a result. | 0:09:02 | 0:09:05 | |
-In the Songs of Wales collection, -put together by Brinley Richards... | 0:09:06 | 0:09:10 | |
-..the Welsh lyrics made -their first appearance, in 1873. | 0:09:10 | 0:09:14 | |
-They were written by one of Wales' -most well-known poets... | 0:09:15 | 0:09:19 | |
-..John Ceiriog Hughes -from Denbighshire. | 0:09:19 | 0:09:22 | |
-Accompanying me on the piano to sing -a special arrangement of the song... | 0:09:26 | 0:09:30 | |
-..is Mason Neely. | 0:09:30 | 0:09:32 | |
-# Ev'ry star in heaven is singing | 0:09:39 | 0:09:44 | |
-# All through the night | 0:09:46 | 0:09:50 | |
-# Hear the glorious music ringing | 0:09:51 | 0:09:56 | |
-# All through the night | 0:09:57 | 0:10:02 | |
-# Songs of sweet ethereal lightness | 0:10:03 | 0:10:08 | |
-# Wrought in realms -of peace and whiteness | 0:10:09 | 0:10:14 | |
-# See, the dark gives way -to brightness | 0:10:16 | 0:10:21 | |
-# All through the night | 0:10:22 | 0:10:26 | |
-# Look, my love, -the stars are smiling | 0:10:34 | 0:10:39 | |
-# All through the night | 0:10:40 | 0:10:44 | |
-# Lighting, soothing and beguiling | 0:10:46 | 0:10:51 | |
-# Earth's sombre plight | 0:10:52 | 0:10:56 | |
-# So, when age brings -grief and sorrow | 0:10:58 | 0:11:03 | |
-# From each other we can borrow | 0:11:04 | 0:11:10 | |
-# Faith in our sublime tomorrow | 0:11:12 | 0:11:18 | |
-# All through the night # | 0:11:20 | 0:11:28 | |
-. | 0:11:29 | 0:11:29 | |
-Subtitles | 0:11:35 | 0:11:35 | |
-Subtitles - -Subtitles | 0:11:35 | 0:11:36 | |
-# Amazing Grace | 0:11:36 | 0:11:42 | |
-# How sweet the sound # | 0:11:45 | 0:11:50 | |
-Former President Obama got -the audience to raise the roof... | 0:11:51 | 0:11:55 | |
-..by singing Amazing Grace -together... | 0:11:55 | 0:11:58 | |
-..at the funeral -of pastor Clementa Pinckney. | 0:11:58 | 0:12:01 | |
-The hymn has been a firm favourite -for American leaders... | 0:12:01 | 0:12:04 | |
-..and was sung at the funerals -of Gerald Ford and Ronald Reagan... | 0:12:05 | 0:12:08 | |
-..to name but two. | 0:12:09 | 0:12:10 | |
-It's well known -all over the world... | 0:12:10 | 0:12:12 | |
-..and over 3,000 versions -have been recorded... | 0:12:13 | 0:12:15 | |
-..including our own version -in Welsh, Pererin Wyf. | 0:12:16 | 0:12:20 | |
-Iris Williams' version of Amazing -Grace dates back to the 1970s. | 0:12:21 | 0:12:26 | |
-But the history of the original song -goes back considerably further. | 0:12:26 | 0:12:31 | |
-It's easy to think that -Amazing Grace is an American hymn. | 0:12:31 | 0:12:34 | |
-But the origins of the English -lyrics are a bit closer to home. | 0:12:35 | 0:12:39 | |
-The first verse was written by -John Newton from England... | 0:12:39 | 0:12:43 | |
-..in the 18th century. | 0:12:44 | 0:12:45 | |
-He went to sea at a young age... | 0:12:46 | 0:12:48 | |
-..and became the captain -of a slave ship... | 0:12:48 | 0:12:51 | |
-..after working in the navy -for a while. | 0:12:51 | 0:12:54 | |
-He was considered to be a nasty man -and was very strict and immoral. | 0:12:54 | 0:13:00 | |
-It was a ghastly trade... | 0:13:01 | 0:13:03 | |
-..when you consider -the suffering that took place. | 0:13:03 | 0:13:08 | |
-He was also kept as a slave -for a while... | 0:13:09 | 0:13:11 | |
-..by a black princess in Africa. | 0:13:11 | 0:13:15 | |
-He had witnessed -both sides of the trade. | 0:13:16 | 0:13:20 | |
-In 1748, during a storm -near the coast of Donegal... | 0:13:21 | 0:13:25 | |
-..he experienced -a religious conversion. | 0:13:26 | 0:13:28 | |
-He pleaded with God to save him. | 0:13:29 | 0:13:32 | |
-John Newton survived the storm -and everything changed. | 0:13:32 | 0:13:35 | |
-His seafaring days ended... | 0:13:35 | 0:13:37 | |
-..and he became a cleric in Olney, -Buckinghamshire. | 0:13:37 | 0:13:40 | |
-During his time there... | 0:13:40 | 0:13:42 | |
-..he published a collection of hymns -called Olney Hymns. | 0:13:42 | 0:13:46 | |
-One of the hymns he wrote -was Amazing Grace. | 0:13:47 | 0:13:51 | |
-It was about the experience -of becoming a Christian. | 0:13:51 | 0:13:54 | |
-Apparently he wrote this hymn -to be sung at a prayer meeting... | 0:13:55 | 0:14:00 | |
-..at the beginning of the new year -in 1772. | 0:14:00 | 0:14:03 | |
-The hymn did not become popular -in Britain straight away. | 0:14:04 | 0:14:08 | |
-But interestingly, it was included -in hymn books in America. | 0:14:09 | 0:14:12 | |
-The beginning of the 19th century... | 0:14:12 | 0:14:15 | |
-..was the time -of the Second Great Awakening. | 0:14:15 | 0:14:18 | |
-It became very well known as a -gospel song in southern counties... | 0:14:18 | 0:14:22 | |
-..amongst black people and slaves. | 0:14:23 | 0:14:25 | |
-It's ironic that John Newton, -the merciless master... | 0:14:25 | 0:14:30 | |
-..wrote a hymn that went on -to become a firm favourite... | 0:14:30 | 0:14:34 | |
-..and give comfort -and spiritual strength... | 0:14:35 | 0:14:38 | |
-..to the people he used to abuse. | 0:14:38 | 0:14:40 | |
-The lyrics carry a message -of forgiveness and salvation. | 0:14:40 | 0:14:47 | |
-"Amazing Grace, how sweet the sound | 0:14:49 | 0:14:52 | |
-"That saved a wretch like me | 0:14:53 | 0:14:56 | |
-"I once was lost but now am found | 0:14:57 | 0:15:01 | |
-"Was blind but now I see" | 0:15:02 | 0:15:05 | |
-The hymn quickly became part -of the Afro-American repertoire. | 0:15:07 | 0:15:11 | |
-By then, musician William Walker -from South Carolina... | 0:15:11 | 0:15:15 | |
-..had amalgamated two traditional -melodies - Gallaher and St Mary... | 0:15:15 | 0:15:19 | |
-..to form New Britain. | 0:15:19 | 0:15:21 | |
-This is the tune we associate -with the lyrics. | 0:15:21 | 0:15:25 | |
-# Thank God I'm found # | 0:15:25 | 0:15:28 | |
-In the 1960s, it became -a protest song... | 0:15:28 | 0:15:31 | |
-..at civil rights marches -in America. | 0:15:32 | 0:15:34 | |
-Campaigner and queen of gospel -singing, Mahalia Jackson... | 0:15:34 | 0:15:38 | |
-..would sing it regularly. | 0:15:38 | 0:15:41 | |
-# But now | 0:15:41 | 0:15:46 | |
-# I, oh # | 0:15:46 | 0:15:51 | |
-# Through many days # | 0:15:52 | 0:15:57 | |
-The hymn was successful in Britain -during the same period. | 0:15:57 | 0:16:00 | |
-The song was in the charts -for 67 weeks. | 0:16:00 | 0:16:04 | |
-The artist -was American Judy Collins. | 0:16:04 | 0:16:09 | |
-RECORDING OF WELSH VERSION, -PERERIN WYF | 0:16:15 | 0:16:20 | |
-Pererin Wyf was responsible... | 0:16:21 | 0:16:22 | |
-..for bringing Iris Williams -to the attention of the nation. | 0:16:23 | 0:16:27 | |
-Her recording went to No.1 -in the Welsh charts. | 0:16:27 | 0:16:30 | |
-This may never have happened... | 0:16:30 | 0:16:32 | |
-..without Disc a Dawn producer -Ruth Price. | 0:16:33 | 0:16:35 | |
-She came up with the idea -of asking Iris to perform the song. | 0:16:36 | 0:16:39 | |
-This is what happened. | 0:16:40 | 0:16:41 | |
-We had a group of girls from -the Rhondda who sang beautifully. | 0:16:42 | 0:16:47 | |
-They were called Y Canolwyr -at first. | 0:16:47 | 0:16:51 | |
-They wanted to sing Amazing Grace. | 0:16:52 | 0:16:56 | |
-They weren't allowed to sing -Amazing Grace. | 0:16:57 | 0:17:00 | |
-That was reserved for Iris Williams. | 0:17:00 | 0:17:03 | |
-So we decided they would sing -with Iris Williams. | 0:17:03 | 0:17:07 | |
-We then needed Welsh lyrics. | 0:17:08 | 0:17:10 | |
-Ruth Price approached me -and told me about Iris Williams... | 0:17:10 | 0:17:14 | |
-..who was a new voice -and a new face. | 0:17:15 | 0:17:17 | |
-She needed Welsh lyrics for Amazing -Grace and could I translate them? | 0:17:17 | 0:17:21 | |
-He tried for a day or so and -then he told me that he'd failed. | 0:17:22 | 0:17:25 | |
-Or at least -the words didn't come to him easily. | 0:17:25 | 0:17:28 | |
-She asked if I'd done the lyrics. -I told her I'd only done a little. | 0:17:29 | 0:17:33 | |
-So I told him not to worry -and that I'd sort something out. | 0:17:33 | 0:17:36 | |
-I phoned him the following day... | 0:17:37 | 0:17:38 | |
-..and told him -I'd found someone to translate it. | 0:17:39 | 0:17:42 | |
-So I asked who it was. | 0:17:42 | 0:17:44 | |
-So I asked who it was. - -Mr William Williams, Pantycelyn! | 0:17:44 | 0:17:46 | |
-# Wedi gorchfygu a mynd drwy | 0:17:47 | 0:17:56 | |
-# Dymhestloedd dwr a than # | 0:17:57 | 0:18:06 | |
-It is 300 years since the birth -of our greatest hymn writer. | 0:18:06 | 0:18:10 | |
-As a young man, -he intended to be a doctor. | 0:18:10 | 0:18:14 | |
-But after hearing Howel Harris -preaching, he was born again... | 0:18:14 | 0:18:18 | |
-..and he joined the Methodists. | 0:18:18 | 0:18:21 | |
-He was one of the main leaders -of the revival in the 18th century. | 0:18:21 | 0:18:25 | |
-He wrote nearly 1,000 hymns. | 0:18:25 | 0:18:29 | |
-He started writing poetry... | 0:18:30 | 0:18:32 | |
-..quite soon after experiencing -this religious conversion. | 0:18:32 | 0:18:36 | |
-In his hymns, he tried to define -the feelings and credo... | 0:18:36 | 0:18:43 | |
-..of thousands of Methodists -and their state of mind. | 0:18:43 | 0:18:49 | |
-He uses the same image as the one -in Pererin Wyf in many of his hymns. | 0:18:51 | 0:18:58 | |
-He sees the people of earth going on -pilgrimages throughout their lives. | 0:18:58 | 0:19:04 | |
-In the end, they go to heaven. | 0:19:04 | 0:19:08 | |
-In fact, he is borrowing -an image or a metaphor... | 0:19:08 | 0:19:11 | |
-..from the first books -of the Old Testament. | 0:19:11 | 0:19:15 | |
-Many people remember the story -of Moses leading the Jews. | 0:19:15 | 0:19:20 | |
-According to the story, Moses -was in the desert for 40 years. | 0:19:20 | 0:19:24 | |
-They walked through the desert. | 0:19:24 | 0:19:26 | |
-Sometimes, when they don't know -where they are going... | 0:19:26 | 0:19:30 | |
-..a column of fog shows them -the way during the day... | 0:19:30 | 0:19:34 | |
-..and a column of fire at night. | 0:19:34 | 0:19:36 | |
-These same images -are used in Pererin Wyf. | 0:19:36 | 0:19:41 | |
-It's become a metaphor -of earthly Christian life. | 0:19:41 | 0:19:45 | |
-He tries to reach heaven. | 0:19:46 | 0:19:50 | |
-From Egypt to Canaan, -from this earth to heaven. | 0:19:50 | 0:19:54 | |
-One image, -which is psychologically important. | 0:19:54 | 0:19:58 | |
-William Williams' message -in Pererin Wyf... | 0:19:59 | 0:20:02 | |
-..and John Newton's message -in Amazing Grace... | 0:20:02 | 0:20:05 | |
-..were equally as powerful. | 0:20:05 | 0:20:07 | |
-They both lived in the same era and -they both fought against slavery. | 0:20:07 | 0:20:11 | |
-They left their mark -on generations to come. | 0:20:11 | 0:20:15 | |
-It is a spiritual anthem which has -united different cultures... | 0:20:15 | 0:20:19 | |
-..from across the world. | 0:20:19 | 0:20:20 | |
-It's my turn now, to sing -a bluegrassy version... | 0:20:21 | 0:20:24 | |
-..with Mason Neely. | 0:20:25 | 0:20:27 | |
-# Amazing grace! -How sweet the sound | 0:20:31 | 0:20:37 | |
-# That saved a wretch like me | 0:20:38 | 0:20:43 | |
-# I once was lost, but now am found | 0:20:44 | 0:20:50 | |
-# Was blind, but now I see | 0:20:51 | 0:20:56 | |
-# 'Twas grace -that taught my heart to fear | 0:20:57 | 0:21:02 | |
-# And grace my fears relieved | 0:21:03 | 0:21:09 | |
-# How precious did that grace appear | 0:21:10 | 0:21:16 | |
-# The hour I first believed | 0:21:16 | 0:21:21 | |
-# The Lord hath promised good to me | 0:21:48 | 0:21:54 | |
-# His word my hope secures | 0:21:55 | 0:22:00 | |
-# He will my shield and portion be | 0:22:01 | 0:22:06 | |
-# As long as life endures | 0:22:07 | 0:22:12 | |
-# Yea, when this flesh and heart -shall fail | 0:22:13 | 0:22:19 | |
-# And mortal life shall cease | 0:22:20 | 0:22:25 | |
-# I shall possess within the veil | 0:22:26 | 0:22:32 | |
-# A life of joy and peace | 0:22:33 | 0:22:38 | |
-# When we've been there -ten thousand years | 0:22:39 | 0:22:45 | |
-# Bright shining as the sun | 0:22:46 | 0:22:51 | |
-# We've no less days -to sing God's praise | 0:22:52 | 0:22:58 | |
-# Than when we first begun | 0:22:59 | 0:23:03 | |
-# We've no less days -to sing God's praise | 0:23:05 | 0:23:12 | |
-# Than when we first begun # | 0:23:13 | 0:23:22 | |
-S4C Subtitles by Testun Cyf. | 0:23:41 | 0:23:43 |
