0:00:00 > 0:00:00- *
0:00:00 > 0:00:00- *- - *
0:00:00 > 0:00:02- I'm Cerys Matthews.
0:00:02 > 0:00:05- I've been collecting music - all my life.
0:00:06 > 0:00:09- Music covers the spectrum - of human experience.
0:00:10 > 0:00:13- It reveals secrets - and opens amazing doors...
0:00:13 > 0:00:16- ..when we travel back to its roots.
0:00:16 > 0:00:20- # There stands the magnificent oak
0:00:20 > 0:00:23- # Tw rymdi-ro rymdi radl-idl-al
0:00:24 > 0:00:29- # I shall shelter in its shadow
0:00:29 > 0:00:33- # Until my sweetheart - comes to meet me
0:00:33 > 0:00:35- # Fal-di radl-idl-al
0:00:35 > 0:00:38- # Fal-di radl-idl-al
0:00:38 > 0:00:41- # Tw rymdi-ro rymdi radl-idl-al #
0:00:43 > 0:00:48- # I hear Thy welcome voice
0:00:48 > 0:00:53- # That calls me, Lord, to Thee #
0:00:54 > 0:00:56- I've been singing Gwahoddiad - for many years.
0:00:56 > 0:01:00- I learnt it here, at Tabernacle - chapel in Cardiff, as a child.
0:01:00 > 0:01:04- I couldn't wait to record the song - with American musicians...
0:01:04 > 0:01:06- ..when I lived in Nashville.
0:01:06 > 0:01:10- I was saying, "Just wait until - you hear this Welsh hymn."
0:01:10 > 0:01:13- I couldn't believe it - when someone turned around...
0:01:13 > 0:01:16- ..and said, - "Gwahoddiad comes from America."
0:01:18 > 0:01:20- # For cleansing - in Thy precious blood
0:01:22 > 0:01:26- # That flowed on Calvary #
0:01:26 > 0:01:29- So how did the hymn come to Wales?
0:01:29 > 0:01:31- Gwahoddiad crossed the Atlantic...
0:01:31 > 0:01:34- ..as part of the repertoire - of two inspired men.
0:01:35 > 0:01:39- Ira Sankey and Dwight Moody - were American evangelicals.
0:01:40 > 0:01:44- Moody was a preacher - and Sankey was a singer.
0:01:44 > 0:01:48- Sankey would usually sing - at meetings...
0:01:48 > 0:01:51- ..before and after Moody's sermon.
0:01:51 > 0:01:55- They held large meetings.
0:01:55 > 0:01:59- They appealed to new audiences...
0:01:59 > 0:02:03- ..outside the usual circles - of chapels and churches.
0:02:05 > 0:02:11- Sankey's hymns appealed to people - because they were relatively simple.
0:02:12 > 0:02:14- They tended to be quite memorable.
0:02:14 > 0:02:18- There were refrains - and verses that were repeated.
0:02:19 > 0:02:22- Their appeal was also...
0:02:22 > 0:02:27- ..a very kind and gentle theology.
0:02:27 > 0:02:29- People found them quite touching.
0:02:30 > 0:02:35- One of the songs in their set - was "I hear Thy welcome voice."
0:02:35 > 0:02:37- It was the work - of Lewis Hartsough...
0:02:37 > 0:02:41- ..an evangelical Methodist - from New York State.
0:02:41 > 0:02:46- Lewis moved to Iowa - with the ministry in 1871.
0:02:46 > 0:02:49- He composed the melody - and the lyrics...
0:02:49 > 0:02:52- ..to be sung at the end - of religious meetings.
0:02:53 > 0:02:57- The hymn was published - in a periodical, Guide To Holiness.
0:02:58 > 0:03:00- A copy was sent to Sankey...
0:03:00 > 0:03:05- ..when he was on one of his - campaigns in England in 1873.
0:03:06 > 0:03:11- Sankey could see straight away - that it was a hymn he could use.
0:03:11 > 0:03:15- He adopted the hymn very quickly.
0:03:15 > 0:03:18- The English version - appeared in Sankey's collection...
0:03:19 > 0:03:20- ..Sacred Songs and Solos.
0:03:22 > 0:03:25- One man who was influenced - by the two Americans...
0:03:25 > 0:03:29- ..was a man from Cwmrheidol - near Aberystwyth, John Roberts.
0:03:29 > 0:03:33- His bardic name was Ieuan Gwyllt.
0:03:34 > 0:03:36- Ieuan Gwyllt - was a minister and a musician.
0:03:36 > 0:03:42- He did a lot of work on music - as well as being a minister.
0:03:43 > 0:03:46- He collected hymn tunes - and published them in 1859...
0:03:46 > 0:03:49- ..in a book called Llyfr Tonau - Cynulleidfaol.
0:03:49 > 0:03:54- He came under Sankey and Moody's - influence in the 1870s.
0:03:54 > 0:03:57- He went to listen to them - in Liverpool.
0:03:57 > 0:04:01- He was influenced greatly by them.
0:04:02 > 0:04:06- He asked Sankey for permission - to publish some of the hymns...
0:04:06 > 0:04:10- ..and put together a collection - translated into Welsh.
0:04:11 > 0:04:14- We know that Sankey - gave permission because...
0:04:14 > 0:04:16- ..when the hymns were published...
0:04:16 > 0:04:20- ..Ieuan Gwyllt published - the letter he received from Sankey.
0:04:21 > 0:04:24- This is what Sankey said - in that letter.
0:04:24 > 0:04:27- October 9th, 1874.
0:04:27 > 0:04:29- Dear brother Roberts...
0:04:29 > 0:04:32- Forgive my accent, - but I can't resist!
0:04:32 > 0:04:36- "I have so many asking permission - to publish my hymns...
0:04:36 > 0:04:39- "..that I hardly know - what I should do.
0:04:39 > 0:04:42- "I have as yet given no permission."
0:04:43 > 0:04:46- "But seeing that my wife - is the daughter of a Welshman...
0:04:46 > 0:04:49- "..who lived at Swansea - many years ago...
0:04:49 > 0:04:54- "..I cannot refuse you permission to - translate into the Welsh language...
0:04:55 > 0:04:57- "..any of my hymns - which you may desire."
0:04:58 > 0:05:01- "May God bless - the singing of his truth...
0:05:01 > 0:05:04- "..by the sweet singers of Wales.
0:05:05 > 0:05:10- "Yours, in the best of bonds, - Ira D Sankey."
0:05:11 > 0:05:13- What a blessing - for the Welsh nation!
0:05:13 > 0:05:19- That's how Gwahoddiad appeared - in one of the six collections...
0:05:19 > 0:05:23- ..published by Ieuan Gwyllt - under the title Swn y Jiwbili.
0:05:27 > 0:05:29- Ieuan Gwyllt - was also instrumental...
0:05:29 > 0:05:32- ..in publishing affordable music - for Welsh people.
0:05:33 > 0:05:37- He used a new method - - the tonic sol-fa notation.
0:05:38 > 0:05:39- John Roberts, or Ieuan Gwyllt...
0:05:40 > 0:05:44- ..was undoubtedly one of the most - influential figures in Wales...
0:05:44 > 0:05:45- ..in the 19th century.
0:05:46 > 0:05:48- He was particularly influential...
0:05:48 > 0:05:52- ..in relation to hymns, choral - singing and the use of tonic sol-fa.
0:05:57 > 0:06:01- For the first time, - the works of the masters...
0:06:01 > 0:06:03- ..were available to ordinary folk.
0:06:03 > 0:06:08- Sol-fa could be published - much more cheaply...
0:06:08 > 0:06:10- ..than staff notation.
0:06:11 > 0:06:17- That was important in the historical - and social context of this era.
0:06:18 > 0:06:21- One consequence of learning sol-fa - was that it became easier...
0:06:22 > 0:06:25- ..to pass on songs - to other cultures around the world.
0:06:25 > 0:06:29- Gwahoddiad is a fantastic example - of a song travelling in this way.
0:06:29 > 0:06:31- Once translated into Welsh...
0:06:31 > 0:06:34- ..it became very popular - with missionaries abroad.
0:06:34 > 0:06:38- They used it to spread the message - of the Gospel through song.
0:06:40 > 0:06:43- Welsh missionaries
0:06:45 > 0:06:49- Reverend Aneurin Owen - was born in Mizoram, North India.
0:06:49 > 0:06:52- His father, Owen William Owen...
0:06:52 > 0:06:56- ..was a missionary there - in the middle of the last century.
0:06:56 > 0:07:00- We must remember - that missionary work...
0:07:01 > 0:07:05- ..included medical, educational and - pastoral work as well as preaching.
0:07:06 > 0:07:10- Part of developing worship - in this new church on the hills...
0:07:11 > 0:07:13- ..was developing the singing.
0:07:13 > 0:07:17- The main medium of teaching in - Mizoram was Miss Katie Hughes...
0:07:18 > 0:07:20- ..who was from Talysarn - in the Nantlle Valley.
0:07:21 > 0:07:23- She had gone out there in 1934.
0:07:24 > 0:07:28- She taught sol-fa as part - of her work in Sunday schools.
0:07:28 > 0:07:33- When Katie Hughes was transported - from one village to another...
0:07:34 > 0:07:38- ..she would teach those who carried - her to sing sol-fa in harmony.
0:07:38 > 0:07:40- If four men - travelled with Katie Hughes...
0:07:41 > 0:07:44- ..they would all be able to sing in - harmony by the end of the journey!
0:07:45 > 0:07:49- People in Mizoram can now read - sol-fa as easily as a newspaper.
0:07:49 > 0:07:51- That is exceptional.
0:07:52 > 0:07:54- That means that their hymn books...
0:07:55 > 0:07:59- ..are a mixture of traditional - folk songs from the area...
0:07:59 > 0:08:03- ..Sankey and Moody gospel songs - and Welsh hymn tunes.
0:08:04 > 0:08:07- # 'Tis Jesus calls me on #
0:08:07 > 0:08:12- I have been in touch personally with - people from Mizoram since the 1990s.
0:08:12 > 0:08:16- I have been back to the hospital - where I was born in Durtlang.
0:08:16 > 0:08:21- I had the honour - of going there with CF1 choir.
0:08:21 > 0:08:24- Hearing the choir - singing Gwahoddiad...
0:08:24 > 0:08:29- ..about cleansing through blood, - reconciliation...
0:08:29 > 0:08:33- ..and the peace - that comes through Jesus...
0:08:33 > 0:08:38- ..on the hospital ward was a moment - that will remain with me forever.
0:08:39 > 0:08:40- It was really touching.
0:08:41 > 0:08:45- I think it will remain with the - choir and with the hospital staff.
0:08:45 > 0:08:47- It has certainly remained with me.
0:08:48 > 0:08:50- # That flowed on Calvary! #
0:08:52 > 0:08:55- Back in Wales at the beginning - of the 20th century...
0:08:55 > 0:08:58- ..another religious revival - was afoot.
0:08:58 > 0:09:01- Songs from Swn y Jiwbili - and Ieuan Gwyllt's translations...
0:09:01 > 0:09:04- ..became an important part - of worship.
0:09:04 > 0:09:10- Indeed, by 1934, over half a million - copies had been sold.
0:09:14 > 0:09:18- Ieuan Gwyllt died on 14 May 1877.
0:09:18 > 0:09:21- He was 54 years old.
0:09:21 > 0:09:26- He was buried in the cemetery - at Caeathro chapel near Caernarfon.
0:09:26 > 0:09:29- In the South Wales Daily News, - these words appeared.
0:09:29 > 0:09:32- "At last, at the proper time, - his book appeared.
0:09:32 > 0:09:34- "So far as Wales is concerned...
0:09:34 > 0:09:38- "..it has been the greatest - literary success of the century."
0:09:48 > 0:09:52- # I hear Thy welcome voice
0:09:53 > 0:09:56- # That calls me, Lord, to Thee
0:09:57 > 0:10:01- # For cleansing - in Thy precious blood
0:10:02 > 0:10:05- # That flowed on Calvary
0:10:10 > 0:10:12- # 'Tis Jesus calls me on
0:10:13 > 0:10:16- # To perfect faith and love
0:10:17 > 0:10:21- # To perfect hope, - and peace and trust
0:10:22 > 0:10:25- # For earth and heav'n above
0:10:27 > 0:10:30- # I am coming, Lord!
0:10:31 > 0:10:34- # Coming now to Thee!
0:10:35 > 0:10:39- # Wash me, cleanse me in the blood
0:10:39 > 0:10:44- # That flowed on Calvary!
0:10:46 > 0:10:50- # All hail! Atoning blood!
0:10:51 > 0:10:54- # All hail! Redeeming grace!
0:10:55 > 0:10:59- # All hail! - The gift of Christ our Lord
0:11:00 > 0:11:03- # Our Strength and Righteousness
0:11:04 > 0:11:08- # I am coming, Lord!
0:11:09 > 0:11:11- # Coming now to Thee!
0:11:13 > 0:11:16- # Wash me, cleanse me in the blood
0:11:17 > 0:11:20- # That flowed on Calvary!
0:11:22 > 0:11:25- # I am coming, Lord!
0:11:26 > 0:11:29- # Coming now to Thee!
0:11:30 > 0:11:34- # Wash me, cleanse me in the blood
0:11:35 > 0:11:41- # That flowed on Calvary! #
0:11:42 > 0:11:42- .
0:11:53 > 0:11:53- Subtitles
0:11:53 > 0:11:55- Subtitles- - Subtitles
0:11:56 > 0:12:03- # Sleep, my baby, on my bosom #
0:12:05 > 0:12:08- It's interesting to follow - the journey of Welsh songs...
0:12:09 > 0:12:12- ..to see which ones are most - successful at finding a home abroad.
0:12:13 > 0:12:17- Some have appeared in Hollywood - films - Men of Harlech in Zulu...
0:12:17 > 0:12:19- ..Lisa Lan in Crash...
0:12:19 > 0:12:22- ..and Llwyn Onn and Myfanwy - in How Green Was My Valley?
0:12:22 > 0:12:25- But in the 1980s, one folk song - came to the attention...
0:12:26 > 0:12:28- ..of director Steven Spielberg.
0:12:28 > 0:12:31- That was Suo Gan.
0:12:31 > 0:12:33- The film was Empire of the Sun.
0:12:34 > 0:12:37- A little boy from Wales, - Christian Bale...
0:12:37 > 0:12:39- ..starred as a young British lad...
0:12:39 > 0:12:42- ..imprisoned in Japan - during the Second World War.
0:12:43 > 0:12:47- I often play this on the harp - in concerts.
0:12:47 > 0:12:50- Some people come up to me - afterwards.
0:12:50 > 0:12:55- They think it's Japan's national - anthem after watching the film.
0:12:56 > 0:13:01- It's nice to be able to explain that - it's actually a Welsh folk song.
0:13:07 > 0:13:10- Is this Wales' most famous lullaby?
0:13:10 > 0:13:11- Quite possibly.
0:13:12 > 0:13:15- Several versions - of it exist now...
0:13:15 > 0:13:18- ..including recordings by the - Vienna Boys' Choir and Bryn Terfel.
0:13:19 > 0:13:20- Lullabies
0:13:20 > 0:13:23- The Welsh word for lullaby - is hwiangerdd.
0:13:23 > 0:13:25- The first part of the word, hwian...
0:13:26 > 0:13:29- ..makes a similar sound - to the strange language...
0:13:29 > 0:13:33- ..adults tend to use with a baby - we are trying to rock to sleep.
0:13:34 > 0:13:37- Owen Edwards - says that our lullabies...
0:13:38 > 0:13:42- ..tend to be a collection - of extracts from harp verses...
0:13:43 > 0:13:46- ..and memorable parts of songs...
0:13:46 > 0:13:51- ..passed from one person to another - and woven together over time.
0:13:52 > 0:13:56- Lest anyone underestimate - these poems, he believes...
0:13:57 > 0:14:01- ..that the literature of a nation - relies in great part...
0:14:02 > 0:14:03- ..on its lullabies.
0:14:04 > 0:14:08- Further, he says that if you want to - gain an insight to a nation...
0:14:08 > 0:14:11- ..you should start - by looking at their lullabies.
0:14:17 > 0:14:23- We use the same word to describe - light verses full of mischief...
0:14:24 > 0:14:27- ..as if the one reciting - or singing them...
0:14:27 > 0:14:30- ..is enamoured - of the sound of the words.
0:14:30 > 0:14:32- That is true - of the earliest lullaby we have...
0:14:33 > 0:14:35- ..which dates - from the 7th century.
0:14:35 > 0:14:38- It's from Canu Aneirin - and starts with the words...
0:14:38 > 0:14:40- .."Pais Dinogad, fraith fraith."
0:14:40 > 0:14:44- There are some fabulous lines, - such as "Chwid, chwid, chwidogaeth."
0:14:44 > 0:14:47- Or "Gochanwn, gochenyn', wythgeith."
0:14:47 > 0:14:49- "Giff, gaff, daly, daly, dwg, dwg"
0:14:49 > 0:14:53- There's some bragging - about the child's father...
0:14:53 > 0:14:58- ..who goes up the mountain to hunt - and out in his coracle to fish.
0:14:59 > 0:15:03- You can hear the laughter - between the adult and the child...
0:15:03 > 0:15:05- ..in these wonderful lines.
0:15:08 > 0:15:12- We can therefore trace back - child-rearing traditions...
0:15:12 > 0:15:15- ..as far back - as the 6th or 7th century.
0:15:15 > 0:15:18- But what about more recent - traditions relating to babies?
0:15:19 > 0:15:22- One tradition considered important - when a child was young...
0:15:22 > 0:15:26- ..was to place some iron or salt - in the baby's hand...
0:15:27 > 0:15:29- ..to stop the fairies...
0:15:29 > 0:15:32- ..from swapping the pretty baby - for an ugly one!
0:15:32 > 0:15:36- They certainly - didn't want that to happen.
0:15:36 > 0:15:39- A lot has been written - about these traditions.
0:15:39 > 0:15:43- Memoirs written by various authors - or parish stories.
0:15:43 > 0:15:48- Collections of such beliefs often - featured in Eisteddfod competitions.
0:15:48 > 0:15:52- One of these was a collection of - Carmarthenshire folk literature...
0:15:53 > 0:15:55- ..by Reverend D G Williams.
0:15:55 > 0:15:57- He mentions - many different beliefs...
0:15:57 > 0:15:59- ..some of them - linked to childbirth.
0:16:00 > 0:16:04- For example, - if a child is born with teeth...
0:16:04 > 0:16:07- ..he will become - an exceptional person.
0:16:07 > 0:16:11- If a child has teeth at a young age, - another baby will be born soon.
0:16:12 > 0:16:14- When babies smile in their sleep...
0:16:14 > 0:16:16- ..it is because - they can see angels.
0:16:17 > 0:16:22- A question often asked is what came - first - the melody or the words?
0:16:22 > 0:16:25- The history of Suo Gan - is quite special.
0:16:26 > 0:16:29- Suo Gan appears in print - for the first time...
0:16:30 > 0:16:34- ..in Edward Jones' Musical and - Poetical Relicks of the Welsh Bards.
0:16:34 > 0:16:37- This was published - at the end of the 18th century.
0:16:37 > 0:16:42- But it is a very short version - of the melody that appears there.
0:16:43 > 0:16:45- It is only half of the song - as we know it today.
0:16:46 > 0:16:50- But there is a firm echo - of the melody known to us.
0:16:50 > 0:16:52- This is how it goes.
0:16:55 > 0:16:57- The lyrics are a bit different - as well.
0:16:57 > 0:17:01- It begins with "Hwi hwi plentyn - bach" instead of "Huna blentyn".
0:17:03 > 0:17:09- # Hwi hwi hwi
0:17:09 > 0:17:15- # Hwi hwi little child #
0:17:16 > 0:17:22- During the 19th century, the song - was added to and it became longer.
0:17:23 > 0:17:28- This is when the second part - of the song was introduced.
0:17:28 > 0:17:30- That is this part.
0:17:45 > 0:17:48- The song then repeats - the beginning again.
0:17:49 > 0:17:51- This familiar version - was first published...
0:17:52 > 0:17:54- ..in Alawon y Celt - by Robert Bryan.
0:17:54 > 0:17:58- He discovered the traditional - melody that is the second part...
0:17:58 > 0:18:02- ..in the manuscript - of Orwig Williams from Llanberis.
0:18:02 > 0:18:05- He wrote new words - for the first two verses.
0:18:05 > 0:18:09- He came from Caernarfon - and was fully aware...
0:18:09 > 0:18:13- ..of the rich folk tradition - in this area.
0:18:13 > 0:18:17- He was a cultured man - and obviously had close links...
0:18:17 > 0:18:22- ..to men like J Lloyd Williams, an - important man in the folk tradition.
0:18:22 > 0:18:27- Because of this, he was inspired - to start collecting melodies...
0:18:27 > 0:18:29- ..in his local area.
0:18:30 > 0:18:35- He eventually published this very - valuable collection, Alawon y Celt.
0:18:36 > 0:18:37- Because of illness...
0:18:38 > 0:18:41- ..Robert Bryan went to live in Egypt - with his brothers.
0:18:41 > 0:18:45- They opened several clothes shops - there.
0:18:45 > 0:18:50- The move had no effect - on his creative abilities.
0:18:50 > 0:18:54- He competed in eisteddfodau, - he wrote poetry...
0:18:54 > 0:18:56- ..and composed music.
0:18:57 > 0:19:00- With his brothers, - he opened a chain of shops...
0:19:00 > 0:19:03- ..not only in Cairo, - but also in Alexandria.
0:19:03 > 0:19:09- In each place, they would - always hold an annual eisteddfod.
0:19:10 > 0:19:14- If you walk along the streets - of Cairo, even today...
0:19:14 > 0:19:19- ..in the St David shopping centre, - you'll see the eisteddfod sign...
0:19:20 > 0:19:22- ..but also a coat of arms...
0:19:22 > 0:19:28- ..with the words "Gwir yn erbyn y - byd" - the truth against the world.
0:19:28 > 0:19:32- Rather than forgetting - the Welsh tradition...
0:19:32 > 0:19:37- ..Robert Bryan and his brothers - educated the people of Egypt...
0:19:37 > 0:19:41- ..about our musical - and poetical traditions.
0:19:41 > 0:19:46- They ensured that Wales, both for - its language and its traditions...
0:19:47 > 0:19:51- ..were given due respect, even - in a country as far away as Egypt.
0:19:52 > 0:19:57- Suo Gan may have been performed - in eisteddfodau in Egypt.
0:19:57 > 0:19:58- It has travelled far.
0:19:59 > 0:20:02- It is also believed that the song - was sung to the son of Edward 1...
0:20:03 > 0:20:05- ..by his nurse who was Welsh.
0:20:05 > 0:20:10- The melody was obviously "fit for - a king" and enchanted all babies.
0:20:16 > 0:20:21- # Sleep, my baby, on my bosom
0:20:22 > 0:20:27- # Warm and cosy will it prove
0:20:28 > 0:20:33- # Around thee - mother's arms are folding
0:20:34 > 0:20:38- # In the heart is a mother's love
0:20:39 > 0:20:44- # Nothing shall tonight alarm you
0:20:45 > 0:20:51- # None shall harm you, have no fear
0:20:53 > 0:20:58- # Lie contented, calmly slumber
0:20:59 > 0:21:05- # On your mother's breast, my dear
0:21:07 > 0:21:12- # Mmm
0:21:13 > 0:21:19- # Mmm
0:21:20 > 0:21:24- # A smile I see in slumber deep
0:21:25 > 0:21:30- # What visions - make your face bright?
0:21:32 > 0:21:35- # Are the angels above us smiling?
0:21:37 > 0:21:42- # At you in your peaceful rest?
0:21:44 > 0:21:49- # Are you beaming back - while sleeping?
0:21:50 > 0:21:56- # Peaceful slumber - on mother's breast
0:21:58 > 0:22:03- # Do not fear, it is but a leaf
0:22:04 > 0:22:09- # Knocking on the door
0:22:10 > 0:22:14- # Do not fear one sole wave
0:22:15 > 0:22:20- # Whispering gently on the seas
0:22:21 > 0:22:26- # Sleep my baby, for there is not
0:22:27 > 0:22:33- # Anything for you to fear
0:22:35 > 0:22:41- # Smile peacefully on my breast
0:22:42 > 0:22:49- # At the white angels high above
0:22:50 > 0:22:59- # Mmm #
0:23:19 > 0:23:21- S4C Subtitles by Testun Cyf.
0:23:21 > 0:23:21- .