Pennod 4 Cerys Matthews a'r Goeden Faled
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Transcript
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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 | |
-# Bread of heaven, bread of heaven # | 0:00:43 | 0:00:48 | |
-Quite a few Welsh hymns -are well-known outside Wales. | 0:00:48 | 0:00:52 | |
-But if there is one that is -internationally recognized... | 0:00:52 | 0:00:56 | |
-..it has to be Cwm Rhondda. | 0:00:56 | 0:00:58 | |
-It is one of my favourites and has -travelled far from its chapel roots. | 0:00:58 | 0:01:02 | |
-It's performed in concerts, -at funerals and weddings... | 0:01:02 | 0:01:07 | |
-..and, of course, on rugby grounds. | 0:01:07 | 0:01:09 | |
-# Feed me 'til I want no more # | 0:01:11 | 0:01:17 | |
-Wales! Wales! Wales! | 0:01:17 | 0:01:21 | |
-The hymn started its journey -at Rhondda chapel, Hopkinstown... | 0:01:22 | 0:01:26 | |
-..where it was performed -for the first time in 1907. | 0:01:26 | 0:01:30 | |
-The melody was composed -by John Hughes... | 0:01:30 | 0:01:33 | |
-..who was born in Dowlais in 1873. | 0:01:34 | 0:01:36 | |
-He moved with his family to Llantwit -Fardre to work in the coal industry. | 0:01:37 | 0:01:42 | |
-He came from a musical family... | 0:01:44 | 0:01:46 | |
-..and they were prominent -at Salem chapel in Tonteg. | 0:01:46 | 0:01:50 | |
-Geoff Hughes, -John Hughes' great nephew... | 0:01:50 | 0:01:54 | |
-..owns a scrapbook which contains -documents by the composer himself. | 0:01:54 | 0:01:58 | |
-The archive is quite remarkable. | 0:01:58 | 0:02:00 | |
-A lot of it is press cuttings -going back to the 1920s and before. | 0:02:00 | 0:02:05 | |
-This particular one is -a handwritten diary by John Hughes. | 0:02:05 | 0:02:10 | |
-Towards the middle of the book -is what we believe to be... | 0:02:10 | 0:02:13 | |
-..the original manuscript -of Cwm Rhondda... | 0:02:13 | 0:02:16 | |
-..in John Hughes' own handwriting. | 0:02:16 | 0:02:18 | |
-Also in the book is a note -from John Hughes' wife, Hannah. | 0:02:18 | 0:02:24 | |
-It gives an insight into the history -of composing the hymn tune. | 0:02:24 | 0:02:28 | |
-He was late coming home from work -and told me... | 0:02:28 | 0:02:31 | |
-..he'd been waylaid by his friend, -D W Thomas... | 0:02:32 | 0:02:35 | |
-..conductor of Rhondda chapel. | 0:02:35 | 0:02:37 | |
-He wanted him to compose a hymn tune -for his Christmas festival. | 0:02:38 | 0:02:42 | |
-My husband had to wait -for inspiration before composing. | 0:02:42 | 0:02:45 | |
-Some weeks had passed when he went -to service on a Sunday morning... | 0:02:46 | 0:02:49 | |
-..and when he came home -he said, "I think I have it." | 0:02:50 | 0:02:53 | |
-It was completed -and named Rhondda... | 0:02:53 | 0:02:56 | |
-..after the chapel -for which it was composed. | 0:02:56 | 0:03:00 | |
-After a while, John Hughes heard -from musician Harry Evans... | 0:03:00 | 0:03:05 | |
-..that a tune called Rhondda -already existed. | 0:03:05 | 0:03:08 | |
-He suggested changing to Cwm Rhondda -and that's how it's been since. | 0:03:09 | 0:03:13 | |
-John Hughes was born in the middle -of the Industrial Revolution. | 0:03:17 | 0:03:21 | |
-Music was part of everyday life -in the valleys. | 0:03:21 | 0:03:24 | |
-Chapels were full to the brim. | 0:03:24 | 0:03:26 | |
-Events such as singing festivals -and eisteddfodau... | 0:03:27 | 0:03:30 | |
-..were an important part -of people's lives. | 0:03:30 | 0:03:32 | |
-Cwm Rhondda became popular -outside chapel very quickly. | 0:03:33 | 0:03:37 | |
-During the First World War, -it was used as a campaign melody. | 0:03:37 | 0:03:41 | |
-It was also sung in the trenches. | 0:03:42 | 0:03:44 | |
-In his autobiography, -Goodbye To All That... | 0:03:45 | 0:03:48 | |
-..Robert Graves talks about -the Welsh soldiers singing. | 0:03:48 | 0:03:52 | |
-Unlike other soldiers, who sang -music from the music hall... | 0:03:52 | 0:03:58 | |
-..the Welsh soldiers sang hymns. | 0:03:58 | 0:04:01 | |
-You can imagine the soldiers, -trying to conquer their fears... | 0:04:01 | 0:04:05 | |
-..gathering together -to sing such a hymn. | 0:04:06 | 0:04:09 | |
-These hymns provided a boost -to the soldiers and their families. | 0:04:10 | 0:04:14 | |
-This was noted by an officer -in the Welsh Fusiliers in a letter. | 0:04:14 | 0:04:18 | |
-His men allayed their home-sickness -by singing Cwm Rhondda. | 0:04:18 | 0:04:22 | |
-What's the history behind the words? | 0:04:24 | 0:04:26 | |
-The popular English version, -Guide Me, Oh Thou Great Jehovah... | 0:04:26 | 0:04:30 | |
-..is Peter Williams' translation of -William Williams Pantycelyn's words. | 0:04:30 | 0:04:35 | |
-"Arglwydd, arwain drwy'r anialwch" | 0:04:36 | 0:04:38 | |
-But when the hymn -was first performed in 1907... | 0:04:38 | 0:04:42 | |
-..it was with Welsh words -by Ann Griffiths. | 0:04:42 | 0:04:46 | |
-Ann Griffiths is a prominent figure -in the history of Welsh literature. | 0:04:49 | 0:04:53 | |
-She lived at the same time -as William Williams Pantycelyn... | 0:04:53 | 0:04:57 | |
-..in the 18th century. | 0:04:57 | 0:04:58 | |
-She never moved from her home -in Dolwar Fach in Montgomeryshire. | 0:04:59 | 0:05:04 | |
-When she was in her twenties... | 0:05:04 | 0:05:06 | |
-..she attended Methodist meetings -in Pontrobert. | 0:05:06 | 0:05:09 | |
-This was the beginning -of her spiritual pilgrimage. | 0:05:09 | 0:05:12 | |
-Ann Griffiths is considered -one of Wales' main hymn writers... | 0:05:13 | 0:05:18 | |
-..and indeed one of Wales' -most important poets. | 0:05:19 | 0:05:22 | |
-In fact, that is based -on very little material. | 0:05:23 | 0:05:28 | |
-Pantycelyn wrote -over 800 Welsh hymns. | 0:05:30 | 0:05:34 | |
-Each one of them has several verses. | 0:05:34 | 0:05:36 | |
-Ann Griffiths only wrote -73 individual verses. | 0:05:37 | 0:05:42 | |
-She never intended for her work -to be for congregations to sing. | 0:05:42 | 0:05:49 | |
-She was expressing her own -personal experiences and thoughts. | 0:05:50 | 0:05:55 | |
-Most of Ann Griffiths' work -would have disappeared... | 0:05:55 | 0:05:59 | |
-..were it not for Ruth Hughes, -the maid at Dolwar Fach. | 0:05:59 | 0:06:02 | |
-She memorised the verses... | 0:06:03 | 0:06:04 | |
-..and transferred them orally -to John Hughes. | 0:06:04 | 0:06:07 | |
-He then transcribed them and -kept them for future generations. | 0:06:07 | 0:06:12 | |
-Something would prey on her mind. | 0:06:12 | 0:06:16 | |
-In fact, her sister -and some friends... | 0:06:16 | 0:06:18 | |
-..describe her -entering a sort of trance. | 0:06:19 | 0:06:21 | |
-In this time of deep reflection... | 0:06:22 | 0:06:26 | |
-..her thoughts on the Bible would -come out in the form of verses. | 0:06:27 | 0:06:32 | |
-She did this to convey -her experience... | 0:06:32 | 0:06:34 | |
-..not in order to provide singing -material for congregations. | 0:06:34 | 0:06:38 | |
-# Guide Me, Oh Thou Great... # | 0:06:40 | 0:06:43 | |
-The words used for the hymn tune -were written by great hymnodists. | 0:06:43 | 0:06:47 | |
-Even though, the hymn was initially -refused by some independent chapels. | 0:06:47 | 0:06:52 | |
-This was because it was linked -with crowds singing outside chapel. | 0:06:52 | 0:06:57 | |
-In one newspaper article, -the vicar of Blaenavon... | 0:06:58 | 0:07:01 | |
-..said Cwm Rhondda was -"not fit for a place of worship... | 0:07:02 | 0:07:05 | |
-"..as it was too often sung at -football matches and in charabancs." | 0:07:05 | 0:07:09 | |
-The Prince of Wales, Edward... | 0:07:11 | 0:07:13 | |
-..was known as the Sporting Prince. | 0:07:13 | 0:07:16 | |
-He visited the Arms Park -for the first time in 1924... | 0:07:16 | 0:07:19 | |
-..for the Wales v Ireland match. | 0:07:19 | 0:07:21 | |
-For the first time... | 0:07:23 | 0:07:24 | |
-..probably in order for the prince -to hear the crowd's good singing... | 0:07:25 | 0:07:29 | |
-..the band conductor turned around -to conduct the crowd... | 0:07:30 | 0:07:35 | |
-..rather than just playing -independently... | 0:07:35 | 0:07:38 | |
-..and leaving the crowd -to sing as they wished. | 0:07:38 | 0:07:42 | |
-That's when the tradition of the -band leading the crowd started. | 0:07:42 | 0:07:46 | |
-That set the tradition -for the future. | 0:07:47 | 0:07:53 | |
-Even though the tune -is quite lively... | 0:07:53 | 0:07:56 | |
-..it had a peaceful effect -on the crowd... | 0:07:56 | 0:07:58 | |
-..at the National Eisteddfod -in Treorchy in 1928. | 0:07:59 | 0:08:01 | |
-Conservative Prime Minister, -Stanley Baldwin... | 0:08:02 | 0:08:05 | |
-..visited the Eisteddfod. | 0:08:05 | 0:08:06 | |
-He walked on to the stage... | 0:08:07 | 0:08:09 | |
-..and there was a crowd at the back -singing The Red Flag in Welsh. | 0:08:09 | 0:08:13 | |
-The announcer on the stage -got annoyed. | 0:08:13 | 0:08:17 | |
-He didn't want Mr Baldwin -to think... | 0:08:17 | 0:08:19 | |
-..that the Eisteddfod -was chaotic or communist! | 0:08:19 | 0:08:22 | |
-He shouted, -"Let Mr Baldwin hear Cwm Rhondda." | 0:08:23 | 0:08:27 | |
-They all responded. | 0:08:27 | 0:08:29 | |
-An event which could have been -dangerously chaotic... | 0:08:29 | 0:08:32 | |
-..turned into a more peaceful -and respectable incident. | 0:08:33 | 0:08:36 | |
-Cwm Rhondda has to be -the most popular hymn tune... | 0:08:37 | 0:08:41 | |
-..to come out of Wales. | 0:08:41 | 0:08:42 | |
-I can't think of any other hymn that -is sung in so many different places. | 0:08:42 | 0:08:47 | |
-The fact that it is bilingual has -made it internationally popular. | 0:08:47 | 0:08:52 | |
-It has now been translated -into 18 languages! | 0:08:52 | 0:08:55 | |
-We must thank -two of our main hymnodists... | 0:08:56 | 0:08:59 | |
-..Ann Griffiths -and William Williams Pantycelyn. | 0:08:59 | 0:09:03 | |
-We must also thank John Hughes -for putting Cwm Rhondda on the map. | 0:09:03 | 0:09:08 | |
-I'm going to sing it with Osian -Rowlands' COR and Mason Neely... | 0:09:08 | 0:09:12 | |
-..at Tabernacle Chapel, Cardiff. | 0:09:12 | 0:09:14 | |
-# Oooh | 0:09:16 | 0:09:20 | |
-# Oooh | 0:09:20 | 0:09:23 | |
-# Guide me, O thou great Jehovah | 0:09:23 | 0:09:28 | |
-# Pilgrim through this barren land | 0:09:29 | 0:09:34 | |
-# I am weak, but thou art mighty | 0:09:35 | 0:09:41 | |
-# Hold me with thy powerful hand | 0:09:41 | 0:09:46 | |
-# Bread of heaven, bread of heaven | 0:09:47 | 0:09:53 | |
-# Feed me 'til I want no more | 0:09:54 | 0:09:58 | |
-# Feed me 'til I want no more | 0:10:00 | 0:10:06 | |
-# Open now the crystal fountain | 0:10:07 | 0:10:12 | |
-# Whence the healing stream -doth flow | 0:10:13 | 0:10:18 | |
-# Let the fire and cloudy pillar | 0:10:19 | 0:10:24 | |
-# Lead me all my journey through | 0:10:25 | 0:10:30 | |
-# Strong deliverer, strong deliverer | 0:10:30 | 0:10:36 | |
-# Be thou still -my strength and shield | 0:10:37 | 0:10:43 | |
-# Be thou still -my strength and shield | 0:10:43 | 0:10:49 | |
-# When I tread the verge of Jordan | 0:10:50 | 0:10:55 | |
-# Bid my anxious fears subside | 0:10:56 | 0:11:01 | |
-# Death of death -and hell's destruction | 0:11:02 | 0:11:07 | |
-# Land me safe on Canaan's side | 0:11:08 | 0:11:13 | |
-# Songs of praises, -songs of praises | 0:11:14 | 0:11:20 | |
-# I will ever give to thee | 0:11:21 | 0:11:26 | |
-# I will ever give to thee | 0:11:27 | 0:11:32 | |
-# Songs of praises, -songs of praises | 0:11:33 | 0:11:39 | |
-# I will ever give to thee | 0:11:39 | 0:11:45 | |
-# I will ever give to thee # | 0:11:46 | 0:11:55 | |
-. | 0:11:55 | 0:11:55 | |
-Subtitles | 0:12:01 | 0:12:01 | |
-Subtitles - -Subtitles | 0:12:01 | 0:12:03 | |
-If we want to record something -for posterity... | 0:12:04 | 0:12:07 | |
-..we use our phones to take -a photo or video. | 0:12:07 | 0:12:09 | |
-We can share it straight away. | 0:12:09 | 0:12:11 | |
-Years ago, collectors would write -notes and words on paper. | 0:12:12 | 0:12:16 | |
-But a little over a century ago... | 0:12:16 | 0:12:19 | |
-..Thomas Edison invented -this machine - the phonograph. | 0:12:19 | 0:12:23 | |
-It was the beginning of a new era -in the world of recording. | 0:12:23 | 0:12:27 | |
-The phonograph -was a revolutionary development. | 0:12:27 | 0:12:30 | |
-It gave people the opportunity -to record music for the first time. | 0:12:30 | 0:12:34 | |
-The machine changed -how people enjoyed entertainment... | 0:12:35 | 0:12:38 | |
-..by letting them listen to music -any time and anywhere. | 0:12:38 | 0:12:42 | |
-But phonograph or no phonograph... | 0:12:43 | 0:12:45 | |
-..were it not for individuals -who collected songs for years... | 0:12:45 | 0:12:49 | |
-..many of our favourite melodies -would have been long forgotten. | 0:12:49 | 0:12:53 | |
-People such as Robert Burns in -Scotland, Cecil Sharp in England... | 0:12:53 | 0:12:57 | |
-..and Alan Lomax in America. | 0:12:57 | 0:12:59 | |
-J Lloyd Williams, is a key figure -in the history of these collections. | 0:12:59 | 0:13:04 | |
-He was one of the founders -of the Welsh Folk-Song Society. | 0:13:04 | 0:13:08 | |
-One of the first songs -he collected was Tra Bo Dau. | 0:13:08 | 0:13:12 | |
-Tra Bo Dau is significant... | 0:13:15 | 0:13:18 | |
-..because it was one of the first -songs J Lloyd Williams collected. | 0:13:18 | 0:13:23 | |
-However, the song also came -from members of his own family... | 0:13:23 | 0:13:27 | |
-..his wife and her sister, both of -whom lived in Cricieth at the time. | 0:13:27 | 0:13:33 | |
-This is what J Lloyd Williams said -in a radio interview in 1938. | 0:13:33 | 0:13:39 | |
-"I arranged a song taught to my wife -and her sister by their father... | 0:13:39 | 0:13:43 | |
-"..who was a seaman. | 0:13:44 | 0:13:45 | |
-"The song proved most agreeable. | 0:13:45 | 0:13:48 | |
-"It was called Tra Bo Dau. | 0:13:48 | 0:13:50 | |
-"It was clear at once that -there is a fundamental difference... | 0:13:51 | 0:13:54 | |
-"..between melodies -composed by harpists... | 0:13:55 | 0:13:58 | |
-"..and those that came from -the voice and hearts of singers." | 0:13:58 | 0:14:03 | |
-J Lloyd Williams -was a lecturer in botany... | 0:14:04 | 0:14:06 | |
-..at the university in Bangor... | 0:14:07 | 0:14:09 | |
-..and he also worked there -as musical director. | 0:14:09 | 0:14:12 | |
-In 1905-06, J Lloyd Williams brought -a group of students together... | 0:14:12 | 0:14:17 | |
-..and set up a choir -which he called Y Canorion. | 0:14:17 | 0:14:21 | |
-Y Canorion would go out -and sing folk songs... | 0:14:21 | 0:14:25 | |
-..arranged by J Lloyd. | 0:14:25 | 0:14:27 | |
-But they also went home to their -native areas during the holidays... | 0:14:28 | 0:14:32 | |
-..and collected melodies. | 0:14:32 | 0:14:34 | |
-They then brought them back -to Bangor... | 0:14:35 | 0:14:37 | |
-..so that J Lloyd -could arrange the melodies... | 0:14:37 | 0:14:40 | |
-..and the choir could perform them -at important events. | 0:14:40 | 0:14:44 | |
-His great vision was that -a school of Welsh composers... | 0:14:44 | 0:14:50 | |
-..would develop in Wales in the 20th -century who would use the melodies. | 0:14:50 | 0:14:55 | |
-He ignited the enthusiasm -of many individuals... | 0:14:55 | 0:15:00 | |
-..to go out and collect -traditional melodies. | 0:15:00 | 0:15:04 | |
-This provided the foundations -for the Welsh Folk-Song Society. | 0:15:04 | 0:15:09 | |
-Collecting melodies | 0:15:10 | 0:15:14 | |
-Collecting Welsh melodies and songs -started in the 18th century... | 0:15:15 | 0:15:19 | |
-..with John Parry Ddall -and Edward Jones, Bardd y Brenin. | 0:15:19 | 0:15:23 | |
-The latter published 20 books. | 0:15:23 | 0:15:26 | |
-These included Musical and Poetical -Relicks of the Welsh Bards in 1784. | 0:15:26 | 0:15:30 | |
-He also published The Bardic Museum -and Hen Ganiadau Cymru in 1820. | 0:15:31 | 0:15:35 | |
-Iolo Morganwg -and John Parry, Bardd Alaw... | 0:15:36 | 0:15:40 | |
-..also recorded melodies -in the same period. | 0:15:40 | 0:15:43 | |
-In the mid 19th century... | 0:15:44 | 0:15:47 | |
-..the first volume of Welsh -folk songs to include lyrics... | 0:15:47 | 0:15:52 | |
-..was published. | 0:15:52 | 0:15:54 | |
-This was the Ancient National -Airs of Gwent and Morgannwg... | 0:15:55 | 0:15:59 | |
-..by Maria Jane Williams. | 0:15:59 | 0:16:02 | |
-One important figure who provided -patronage for people like Maria... | 0:16:04 | 0:16:08 | |
-..was Lady Llanover, whose -bardic name was Gwenynen Gwent. | 0:16:08 | 0:16:11 | |
-She promoted -traditional Welsh culture... | 0:16:11 | 0:16:14 | |
-..and held -an influential campaign... | 0:16:14 | 0:16:17 | |
-..to popularise the traditional -Welsh costume as we know it today. | 0:16:17 | 0:16:22 | |
-She was a member -of Cymreigyddion Y Fenni. | 0:16:22 | 0:16:25 | |
-This was a society to promote -Welsh culture in the area. | 0:16:25 | 0:16:31 | |
-Wales, and in particular -Abergavenny... | 0:16:31 | 0:16:34 | |
-..were becoming more anglicized -at the time. | 0:16:34 | 0:16:38 | |
-One of this society's main roles -was to arrange eisteddfodau. | 0:16:38 | 0:16:43 | |
-Lady Llanover was -the main patron of these events. | 0:16:44 | 0:16:48 | |
-She was particularly interested -in music... | 0:16:49 | 0:16:53 | |
-..and traditional Welsh music. | 0:16:54 | 0:16:57 | |
-Two important competitions were a -competition on the triple harp... | 0:16:58 | 0:17:03 | |
-..and a competition -to collect folk songs. | 0:17:03 | 0:17:07 | |
-The winner of the triple harp -competition... | 0:17:07 | 0:17:11 | |
-..would win a brand-new triple harp -donated by Lady Llanover. | 0:17:11 | 0:17:16 | |
-By promoting the instrument... | 0:17:16 | 0:17:19 | |
-..they were also promoting -the music played on the harp. | 0:17:19 | 0:17:24 | |
-They were old Welsh melodies -composed for the triple harp. | 0:17:25 | 0:17:30 | |
-At the turn -of the 20th century... | 0:17:31 | 0:17:33 | |
-..the Folk-Song Society was founded -in London. | 0:17:34 | 0:17:37 | |
-In 1906, the Welsh -followed a similar route... | 0:17:37 | 0:17:41 | |
-..as J Lloyd Williams founded -the Welsh Folk-Song Society. | 0:17:41 | 0:17:46 | |
-There were other collectors too, -such as Mary Davies... | 0:17:46 | 0:17:51 | |
-..Grace Gwyneddon Davies -and Ruth Herbert Lewis. | 0:17:51 | 0:17:54 | |
-They would travel the length -and breadth of the country... | 0:17:54 | 0:17:58 | |
-..recording songs -using the phonograph. | 0:17:58 | 0:18:01 | |
-It was very difficult -to get songs from people. | 0:18:03 | 0:18:07 | |
-The Revival was still -very influential. | 0:18:07 | 0:18:10 | |
-The Revival only took place -a few years previously - 1904-05... | 0:18:10 | 0:18:14 | |
-..and there was also the Revival -of the 19th century. | 0:18:14 | 0:18:18 | |
-People weren't keen to disclose -these songs... | 0:18:18 | 0:18:22 | |
-..which were obviously -very different from hymns. | 0:18:22 | 0:18:26 | |
-Some people were also quite -scared of the phonograph. | 0:18:30 | 0:18:35 | |
-It was a relatively new development -in technology at the time. | 0:18:35 | 0:18:39 | |
-People were somewhat suspicious. | 0:18:39 | 0:18:42 | |
-I remember reading about -Ruth Herbert Lewis... | 0:18:42 | 0:18:46 | |
-..visiting the workhouse in Holywell -to collect songs. | 0:18:46 | 0:18:50 | |
-People were surprised to hear -their own voices being played back. | 0:18:51 | 0:18:56 | |
-They said, "This clever machine -can talk as well." | 0:18:57 | 0:19:00 | |
-It was all quite new at the time. | 0:19:01 | 0:19:03 | |
-One of the Society's aims was to -collect and publish folk songs. | 0:19:04 | 0:19:10 | |
-J Lloyd Williams also wanted people -to learn more about melodies... | 0:19:10 | 0:19:15 | |
-..on an academic level. | 0:19:15 | 0:19:17 | |
-Tra Bo Dau was studied thoroughly... | 0:19:18 | 0:19:20 | |
-..and one interesting detail -was discovered. | 0:19:20 | 0:19:23 | |
-Tra Bo Dau is a particular example -of a folk song... | 0:19:23 | 0:19:28 | |
-..which has a characteristic that is -very common in Welsh folk songs. | 0:19:28 | 0:19:33 | |
-The only problem is that -this characteristic appears... | 0:19:33 | 0:19:38 | |
-..in the middle of Tra Bo Dau -rather than at the beginning. | 0:19:38 | 0:19:42 | |
-It happens with the words -"Cyfoeth nid yw ond oferedd". | 0:19:42 | 0:19:46 | |
-There is quite a bit of repetition -on the fifth note. | 0:19:46 | 0:19:51 | |
-# Wealth is but a vanity # | 0:19:52 | 0:19:56 | |
-If we look at the folk song -tradition more generally... | 0:19:56 | 0:20:00 | |
-..this repetition of notes usually -happens at the beginning of a song. | 0:20:01 | 0:20:05 | |
-Let's consider Ar Lan Y Mor -for example. | 0:20:06 | 0:20:08 | |
-# Beside the sea, -red roses growing # | 0:20:09 | 0:20:12 | |
-In Tra Bo Dau, this happens in -the second half of the song... | 0:20:12 | 0:20:17 | |
-..rather than at the beginning. | 0:20:18 | 0:20:19 | |
-This suggests that two folk songs... | 0:20:20 | 0:20:25 | |
-..have possibly been amalgamated -to create Tra Bo Dau. | 0:20:25 | 0:20:29 | |
-From all the Welsh songs -I've recorded... | 0:20:30 | 0:20:33 | |
-..Tra Bo Dau was the one -Radio 2 chose to play. | 0:20:33 | 0:20:36 | |
-Gwenan is going to join me now -to perform a brand-new version... | 0:20:37 | 0:20:40 | |
-..with Mason Neely on the ukulele. | 0:20:40 | 0:20:43 | |
-# The one who loves my heart | 0:20:54 | 0:20:58 | |
-# Lives far from here | 0:20:59 | 0:21:03 | |
-# And longing to see her | 0:21:04 | 0:21:09 | |
-# Made my colour gray | 0:21:10 | 0:21:15 | |
-# Wealth is but a vanity | 0:21:17 | 0:21:20 | |
-# The one who loves my heart | 0:21:21 | 0:21:25 | |
-# But pure love, like steel lasts | 0:21:26 | 0:21:31 | |
-# While there are two | 0:21:31 | 0:21:37 | |
-# From the beautiful choice -that I choose | 0:21:44 | 0:21:48 | |
-# My choice was a pure lass | 0:21:49 | 0:21:54 | |
-# And before I'll regret it | 0:21:54 | 0:21:59 | |
-# The fire will freeze | 0:22:00 | 0:22:04 | |
-# Wealth is but a vanity | 0:22:05 | 0:22:09 | |
-# The one who loves my heart | 0:22:11 | 0:22:15 | |
-# But pure love, like steel lasts | 0:22:15 | 0:22:20 | |
-# While there are two | 0:22:21 | 0:22:26 | |
-# My love is over the sea | 0:22:27 | 0:22:32 | |
-# I hope that she is well | 0:22:32 | 0:22:37 | |
-# I love the land where she walks | 0:22:37 | 0:22:42 | |
-# From the core of my little heart | 0:22:43 | 0:22:48 | |
-# Wealth is but a vanity | 0:22:49 | 0:22:53 | |
-# Purety never lasts | 0:22:55 | 0:22:58 | |
-# But pure love, like steel lasts | 0:22:59 | 0:23:04 | |
-# While there are two | 0:23:05 | 0:23:11 | |
-# While there are two # | 0:23:11 | 0:23:19 | |
-S4C Subtitles by Testun Cyf. | 0:23:40 | 0:23:42 |
