Stori'r Dioddefaint: Gwaith Mawr Bach Y Dioddefaint yn ol Ioan
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Transcript
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-In 1724, -Bach's St John Passion... | 0:00:00 | 0:00:02 | |
-..was performed in its entirety -for the first time ever. | 0:00:03 | 0:00:07 | |
-No fanfare, no premiere -in a grand theatre, no applause... | 0:00:07 | 0:00:11 | |
-..just the serenity -of a church service. | 0:00:12 | 0:00:15 | |
-But this was one of the world's most -important pieces of classical music. | 0:00:15 | 0:00:20 | |
-# Lord, Lord, Lord # | 0:00:21 | 0:00:26 | |
-In this programme, -I reveal the piece's history... | 0:00:26 | 0:00:30 | |
-..and meet experts to discover -what makes this work so remarkable. | 0:00:30 | 0:00:34 | |
-We revere this music, we love it. | 0:00:35 | 0:00:37 | |
-We think it must have had -an incredible impact. | 0:00:37 | 0:00:40 | |
-And we look back on two years' work -that realized a dream for me. | 0:00:40 | 0:00:45 | |
-It's been a fascinating process. -It's a challenging work. | 0:00:45 | 0:00:49 | |
-The hardest part -is telling the story. | 0:00:50 | 0:00:52 | |
-Understanding it -and being a part of it. | 0:00:53 | 0:00:55 | |
-It culminates with the first -Welsh language performance... | 0:00:56 | 0:01:00 | |
-..of the St John Passion -at Llandaff Cathedral. | 0:01:00 | 0:01:03 | |
-Subtitles | 0:01:05 | 0:01:07 | |
-Easter never passes nowadays without -my singing the St John Passion. | 0:01:09 | 0:01:13 | |
-Performances to mark the festival -can be heard across the country. | 0:01:13 | 0:01:18 | |
-But Bach didn't compose the work -for a concert. | 0:01:18 | 0:01:22 | |
-# Jesus, Jesus # | 0:01:22 | 0:01:24 | |
-He composed it -for a Good Friday service... | 0:01:25 | 0:01:28 | |
-..at his own church, -for his regular musicians. | 0:01:29 | 0:01:32 | |
-People have long discussed how many -singers Bach would have had. | 0:01:33 | 0:01:38 | |
-About 50 boys -at the school where he taught... | 0:01:38 | 0:01:41 | |
-..sang soprano, alto, -tenor and bass. | 0:01:41 | 0:01:44 | |
-Every Sunday, regularly, -he'd have four choirs. | 0:01:45 | 0:01:49 | |
-The first two choirs -would sing the harmonies... | 0:01:49 | 0:01:52 | |
-..and the other two, -what my father called growlers... | 0:01:52 | 0:01:56 | |
-..would sing the tune. | 0:01:56 | 0:01:58 | |
-It was very much an everybody -has to do everything outfit. | 0:01:58 | 0:02:03 | |
-You might find one day -that the second bassoon was missing. | 0:02:04 | 0:02:07 | |
-He'd take one of his basses -and say, "You play bassoon." | 0:02:07 | 0:02:10 | |
-In 2000, I toured with Sir John -Eliot Gardiner's Monteverdi choir... | 0:02:11 | 0:02:15 | |
-..singing every one -of Bach's 200-plus cantatas... | 0:02:16 | 0:02:19 | |
-..across Europe and the USA. | 0:02:20 | 0:02:22 | |
-This was how I first came across -baroque music. | 0:02:22 | 0:02:27 | |
-Before long, Bach's works -became my abiding interest. | 0:02:27 | 0:02:31 | |
-I wanted to convey its passion -to my friends and family. | 0:02:31 | 0:02:35 | |
-My favourite music -in my mother tongue. | 0:02:35 | 0:02:38 | |
-# Dissolve, my heart | 0:02:38 | 0:02:44 | |
-# In floods of tears | 0:02:44 | 0:02:55 | |
-# To honour the Most High # | 0:02:55 | 0:03:07 | |
-The St John Passion is a bit like -the central jewel of a necklace. | 0:03:08 | 0:03:12 | |
-The pearls are there, the cantatas, -each week a new piece... | 0:03:12 | 0:03:16 | |
-..then the climax -being the St John Passion. | 0:03:16 | 0:03:19 | |
-It's much longer, -nearly 100 minutes.... | 0:03:19 | 0:03:21 | |
-..compared to the cantatas, -about half an hour. | 0:03:21 | 0:03:24 | |
-Bach was master of music -at Leipzig's Thomaskirche. | 0:03:25 | 0:03:31 | |
-He was appointed in 1723. | 0:03:31 | 0:03:33 | |
-He would fill the role -for the next 27 years... | 0:03:34 | 0:03:37 | |
-..uuntil his death in 1750. | 0:03:38 | 0:03:40 | |
-He was struggling all the time. | 0:03:41 | 0:03:43 | |
-He didn't have the quality -he was looking for. | 0:03:43 | 0:03:46 | |
-The headmaster wanted good -academics. He wanted musicians. | 0:03:46 | 0:03:50 | |
-One of his duties every week... | 0:03:50 | 0:03:52 | |
-..was to compose religious pieces -for the church's services. | 0:03:53 | 0:03:57 | |
-During Lent, -there was no music in the church. | 0:03:58 | 0:04:01 | |
-They all rehearsed -the St John Passion... | 0:04:01 | 0:04:04 | |
-..Bach's Good Friday composition. | 0:04:04 | 0:04:06 | |
-Bach intended to perform the work -at the Thomaskirche. | 0:04:07 | 0:04:10 | |
-But at the last minute, -the board of music decided... | 0:04:11 | 0:04:15 | |
-..to perform it -at St Nicholas' Church. | 0:04:15 | 0:04:18 | |
-Bach agreed, provided the church's -harpsichord would be mended first. | 0:04:18 | 0:04:23 | |
-One of the only descriptions -we have of Bach performing... | 0:04:23 | 0:04:27 | |
-..a brilliant description. | 0:04:27 | 0:04:29 | |
-If anything was missing, he would -lean over the keyboard player... | 0:04:29 | 0:04:33 | |
-..and start playing furiously. | 0:04:33 | 0:04:35 | |
-He had rhythm in every muscle -of his body when he was conducting. | 0:04:35 | 0:04:39 | |
-Bach always composed -for musicians he already had. | 0:04:40 | 0:04:44 | |
-So, the orchestra required -is fairly small. | 0:04:44 | 0:04:47 | |
-It calls for strings, -flutes and oboes... | 0:04:47 | 0:04:51 | |
-..and basso continuo, an organ -or harpsichord with a cello. | 0:04:51 | 0:04:55 | |
-Bach also added some instruments -that were old-fashioned even then. | 0:04:57 | 0:05:01 | |
-A lute, and an early version -of the modern cello, viola da gamba. | 0:05:01 | 0:05:07 | |
-And, of course, the singers. | 0:05:07 | 0:05:09 | |
-The Thomaskirche choir -was a small one. | 0:05:10 | 0:05:14 | |
-It was important to keep the balance -between the voices and instruments. | 0:05:14 | 0:05:19 | |
-But the chorus did more -than stand and watch. | 0:05:19 | 0:05:22 | |
-They played the crowd -in the story's drama and tragedy... | 0:05:22 | 0:05:26 | |
-..and stepped out -to consider the events. | 0:05:26 | 0:05:29 | |
-Bach drew his soloists -from his local church singers. | 0:05:29 | 0:05:33 | |
-The Passion's drama is enlivened -by characters out of the story. | 0:05:33 | 0:05:38 | |
-There are traditional soloists too. | 0:05:39 | 0:05:42 | |
-The soprano and alto, myself -and Eirlys Myfanwy Davies... | 0:05:42 | 0:05:47 | |
-..tenor Gwilym Bowen... | 0:05:47 | 0:05:49 | |
-..bass-baritone Jeremy Huw Williams, -who plays Christ... | 0:05:49 | 0:05:54 | |
-# Whom seek ye? # | 0:05:54 | 0:05:56 | |
-..and baritone Robert Davies -as Pontius Pilate. | 0:05:56 | 0:06:00 | |
-Another tenor plays the Evangelist, -who tells the whole story. | 0:06:00 | 0:06:04 | |
-He's a new young voice, -Rhodri Prys Jones... | 0:06:05 | 0:06:08 | |
-..a student at the Royal Welsh -College of Music and Drama. | 0:06:08 | 0:06:12 | |
-I've been learning the part -over a period of almost four months. | 0:06:12 | 0:06:17 | |
-It's the biggest part -I've had to learn in my career. | 0:06:17 | 0:06:22 | |
-The Evangelist's role -has no even lines and arias. | 0:06:23 | 0:06:29 | |
-It's all in a narrative form, -and it has been a difficult process. | 0:06:29 | 0:06:33 | |
-It's such a huge part, especially -when combined with college work. | 0:06:34 | 0:06:39 | |
-But I've drawn so much confidence. -from playing such a great part. | 0:06:39 | 0:06:44 | |
-It'll be a big career boost. | 0:06:44 | 0:06:46 | |
-# For Jesus oftimes resorted thither -with his disciples # | 0:06:46 | 0:06:53 | |
-We have 28 singers. | 0:06:54 | 0:06:56 | |
-The work requires a smaller choir, -and they've all sung for me before. | 0:06:56 | 0:07:02 | |
-Eight sopranos, eight altos, -six tenors and six basses. | 0:07:02 | 0:07:05 | |
-All those who sing for me -are good readers of music. | 0:07:06 | 0:07:09 | |
-But I would say -that Bach and this work... | 0:07:10 | 0:07:13 | |
-..has been a major test -of just how good they are. | 0:07:13 | 0:07:16 | |
-I'm sure the singers would agree, -it has been a challenge for us. | 0:07:17 | 0:07:21 | |
-With Osian, we came in -and started working on the piece. | 0:07:22 | 0:07:27 | |
-The notes and the words, -in the correct places. | 0:07:27 | 0:07:30 | |
-Then Huw came in, and he's superb -at contextualizing the work. | 0:07:30 | 0:07:34 | |
-Look at page five... | 0:07:34 | 0:07:36 | |
-Huw Williams, -the Bath Abbey music director... | 0:07:37 | 0:07:41 | |
-..is an expert at performing -in the baroque style. | 0:07:41 | 0:07:44 | |
-It's a technical challenge -because the music is difficult. | 0:07:44 | 0:07:48 | |
-Some chorus parts are very hard. | 0:07:48 | 0:07:50 | |
-Hardest of all is telling the story, -understanding it. | 0:07:51 | 0:07:54 | |
-Being part of the story. | 0:07:54 | 0:07:56 | |
-Classically, it's easy -to perform pieces correctly. | 0:07:56 | 0:08:00 | |
-But understanding the story -is the next step. | 0:08:00 | 0:08:03 | |
-The rehearsals are very interesting. | 0:08:04 | 0:08:08 | |
-The context and the story -he conveys to us in rehearsals... | 0:08:08 | 0:08:13 | |
-..helps us to appreciate -Bach's composing, perhaps. | 0:08:13 | 0:08:17 | |
-Nothing's there by mistake. | 0:08:18 | 0:08:20 | |
-Why is that chord there? | 0:08:20 | 0:08:21 | |
-Because the cross appears. | 0:08:22 | 0:08:23 | |
-When that happens, it's more tender. | 0:08:24 | 0:08:26 | |
-There are no mistakes. | 0:08:26 | 0:08:27 | |
-When you perform Bach, -you'll always find nice parts. | 0:08:28 | 0:08:31 | |
-# Lord, Lord, Lord | 0:08:31 | 0:08:36 | |
-# Our Master # | 0:08:37 | 0:08:41 | |
-Who knows what the ideal choir is. | 0:08:42 | 0:08:44 | |
-For Bach, some say -that it's one singer per voice. | 0:08:44 | 0:08:48 | |
-But I think that this choir, -of about 30, is ideal for me. | 0:08:48 | 0:08:52 | |
-Not so hard. | 0:08:52 | 0:08:53 | |
-# Lord, Lord # | 0:08:54 | 0:08:56 | |
-Of the choir members, -some are native Welsh speakers... | 0:08:57 | 0:09:00 | |
-..some have learnt Welsh -and a few aren't from Wales. | 0:09:01 | 0:09:05 | |
-In their case, the language may be -a greater challenge than the notes. | 0:09:05 | 0:09:10 | |
-It's so difficult sometimes -to sing a lot of notes... | 0:09:10 | 0:09:14 | |
-..and to hear the tune. | 0:09:14 | 0:09:16 | |
-The notes, the instruments playing -and the words all go together. | 0:09:16 | 0:09:22 | |
-Everything in the piece -has a purpose. | 0:09:22 | 0:09:25 | |
-If you sang an opera or acted -in a theatre, you'd be a part of it. | 0:09:26 | 0:09:30 | |
-But we tend to stand away -in the classical world. | 0:09:30 | 0:09:33 | |
-If we fulfil that aim, -we'll have succeeded. | 0:09:34 | 0:09:37 | |
-My first experience of singing Bach -was with the Swansea Bach Choir... | 0:09:37 | 0:09:42 | |
-..conducted by John Hugh Thomas. | 0:09:42 | 0:09:44 | |
-Hello. Come in. | 0:09:44 | 0:09:45 | |
-Hello. Come in. - -Hello. Are you alright? | 0:09:45 | 0:09:47 | |
-It's nice to see you. | 0:09:47 | 0:09:48 | |
-It seems that performing the Passion -of St John on Good Friday... | 0:09:48 | 0:09:52 | |
-..was traditional by Bach's day. | 0:09:52 | 0:09:54 | |
-Even in the 5th century, -Pope Leo I insisted... | 0:09:55 | 0:09:58 | |
-..on an interpretation -of the Passion during Easter week. | 0:09:58 | 0:10:02 | |
-When Bach composed his version... | 0:10:03 | 0:10:05 | |
-..he was stepping -into a tradition of drama... | 0:10:05 | 0:10:08 | |
-..and an established form. | 0:10:08 | 0:10:10 | |
-These are some early arrangements. | 0:10:10 | 0:10:15 | |
-Arrangements of the Passion, -but before Bach. | 0:10:15 | 0:10:19 | |
-Long before Bach. | 0:10:19 | 0:10:21 | |
-At least a century. | 0:10:21 | 0:10:22 | |
-As was the tradition then, -there were no instruments at all. | 0:10:22 | 0:10:28 | |
-Even the organ -wasn't played at Easter. | 0:10:29 | 0:10:32 | |
-Wasn't it really? | 0:10:32 | 0:10:33 | |
-No, there was no accompaniment. | 0:10:33 | 0:10:35 | |
-After years -of singing the St John Passion... | 0:10:36 | 0:10:39 | |
-..in the original German -and in English, I had an idea. | 0:10:39 | 0:10:43 | |
-Why not translate this masterpiece -into Welsh? | 0:10:43 | 0:10:46 | |
-About February 2016... | 0:10:46 | 0:10:49 | |
-..I got a note from Elin, -who does email me from time to time. | 0:10:50 | 0:10:54 | |
-This time, she asked me -to take a glance at it. | 0:10:55 | 0:11:00 | |
-Of course, the script came. | 0:11:00 | 0:11:03 | |
-I soon saw that this wasn't going -to be a quick job, or an easy one. | 0:11:03 | 0:11:09 | |
-The job expanded -beyond a couple of weeks' work. | 0:11:10 | 0:11:15 | |
-It lasted from February -through to September. | 0:11:15 | 0:11:19 | |
-Six or seven months' work! | 0:11:20 | 0:11:21 | |
-# Release unto you -the King of the Jews? # | 0:11:22 | 0:11:27 | |
-# Then cried they all again, -saying # | 0:11:27 | 0:11:30 | |
-# Not this man, but Barabbas! | 0:11:31 | 0:11:36 | |
-# Not this man, but Barabbas! | 0:11:36 | 0:11:39 | |
-# Barabbas! # | 0:11:39 | 0:11:41 | |
-Bach based his work on chapters 18 -and 19 of St John's Gospel... | 0:11:41 | 0:11:46 | |
-..following the Lutheran Bible. | 0:11:47 | 0:11:49 | |
-The Evangelist follows the words -of the Bible throughout the work. | 0:11:50 | 0:11:55 | |
-Bach also used familiar hymns -for his chorales... | 0:11:55 | 0:11:59 | |
-..and poetry from various sources -for the solos and the chorus. | 0:11:59 | 0:12:04 | |
-# The grave -that is prepared for you | 0:12:05 | 0:12:15 | |
-# And holds no further distress | 0:12:16 | 0:12:24 | |
-# Opens heaven for me | 0:12:25 | 0:12:30 | |
-# And shuts the gates of hell # | 0:12:31 | 0:12:35 | |
-It's the play that has the greatest -impact in the St John Passion. | 0:12:35 | 0:12:39 | |
-The way that Bach -set out the words is remarkable... | 0:12:40 | 0:12:43 | |
-..when you think -it's a religious work... | 0:12:43 | 0:12:46 | |
-..a work meant for the church -and for services. | 0:12:46 | 0:12:49 | |
-It isn't an anthem. | 0:12:50 | 0:12:51 | |
-It's not a soothing report -of Christ's final days... | 0:12:52 | 0:12:55 | |
-..with the odd tuneful hymn. | 0:12:55 | 0:12:57 | |
-This is an opera oratorio -that grips your emotions... | 0:12:58 | 0:13:01 | |
-..with its drama, its tension -and its eternal message. | 0:13:02 | 0:13:05 | |
| 0:13:06 | 0:13:30 | ||
-. | 0:13:33 | 0:13:34 | |
-Subtitles | 0:13:36 | 0:13:36 | |
-Subtitles - -Subtitles | 0:13:36 | 0:13:38 | |
-Bach apparently revamped his work -numerous times during his lifetime. | 0:13:39 | 0:13:45 | |
-But he ultimately returned -to the original 1724 version. | 0:13:45 | 0:13:49 | |
-Great to see you. | 0:13:50 | 0:13:51 | |
-A true authority on Bach -is my old friend and co-worker... | 0:13:52 | 0:13:55 | |
-..the world-famous conductor, -Sir John Eliot Gardiner. | 0:13:55 | 0:13:59 | |
-He believed in that first version... | 0:14:00 | 0:14:02 | |
-..which I believe -is the one you're performing. | 0:14:02 | 0:14:06 | |
-Then it was dropped. | 0:14:06 | 0:14:07 | |
-Nobody performed it -until Mendelssohn in 1833. | 0:14:07 | 0:14:11 | |
-He'd just done -the St Matthew Passion in 1829. | 0:14:11 | 0:14:14 | |
-People said at the time that -it wasn't as good as St Matthew. | 0:14:14 | 0:14:18 | |
-Then along comes Robert Schumann -and performs the St John in 1851. | 0:14:18 | 0:14:23 | |
-"This is the piece -it's so much better, more concise. | 0:14:23 | 0:14:27 | |
-"It packs a stronger punch, -it's the one I love." | 0:14:27 | 0:14:31 | |
-He's not writing an opera. | 0:14:31 | 0:14:33 | |
-What he does -is something much, much harder... | 0:14:33 | 0:14:37 | |
-..but also much more brilliant, -in my view. | 0:14:37 | 0:14:40 | |
-He combines a work -which is to edify and encourage... | 0:14:40 | 0:14:44 | |
-..the religious response -of his listeners... | 0:14:44 | 0:14:47 | |
-..with an incredibly good -storytelling element to it. | 0:14:47 | 0:14:51 | |
-The narrative is the key. | 0:14:51 | 0:14:53 | |
-The St John account of the Passion -story is incredibly gripping. | 0:14:53 | 0:14:57 | |
-# Whither will you fly now? | 0:15:00 | 0:15:02 | |
-# Where shall I find comfort? | 0:15:03 | 0:15:06 | |
-# Where shall I find comfort? # | 0:15:07 | 0:15:10 | |
-He became interested in the original -style of performing the music. | 0:15:10 | 0:15:15 | |
-This meant playing instruments -from the 18th century... | 0:15:15 | 0:15:19 | |
-..using gut strings and woodwind -instruments specific to the time. | 0:15:19 | 0:15:24 | |
-The sound -created by these instruments... | 0:15:24 | 0:15:28 | |
-..combined with a lighter, -livelier orchestral style... | 0:15:28 | 0:15:32 | |
-..gives us an insight... | 0:15:32 | 0:15:34 | |
-..into how similar pieces of music -would have sounded in Bach's time. | 0:15:34 | 0:15:40 | |
-It was fairly straightforward... | 0:15:41 | 0:15:43 | |
-..to get a violin to sound -as it did at that time. | 0:15:43 | 0:15:47 | |
-Getting rid of the modern strings. | 0:15:47 | 0:15:50 | |
-But the woodwind instruments... | 0:15:50 | 0:15:52 | |
-..had to be recreated. | 0:15:52 | 0:15:55 | |
-They had to go -into a museum in Vienna, say... | 0:15:55 | 0:16:00 | |
-..borrowing a few exhibits... | 0:16:00 | 0:16:03 | |
-..measuring them in great detail... | 0:16:03 | 0:16:06 | |
-..and creating new instruments -based totally on the originals. | 0:16:06 | 0:16:11 | |
-What's the effect of performing -with a baroque pitch... | 0:16:11 | 0:16:15 | |
-..and with original instruments? | 0:16:15 | 0:16:18 | |
-I think it's very similar... | 0:16:18 | 0:16:21 | |
-..to cleaning old oil paintings. | 0:16:21 | 0:16:25 | |
-Yes. | 0:16:25 | 0:16:26 | |
-When they have lost -their colour completely. | 0:16:27 | 0:16:30 | |
-They're more or less -completely black. | 0:16:30 | 0:16:33 | |
-When they are cleaned, -the effect is exactly like that. | 0:16:33 | 0:16:38 | |
-The instruments are much clearer. | 0:16:38 | 0:16:41 | |
-The balance is better. | 0:16:41 | 0:16:43 | |
-They're more distinct. | 0:16:43 | 0:16:44 | |
-And the way of playing them changes. | 0:16:44 | 0:16:47 | |
-People read old books -and bring back the original style. | 0:16:48 | 0:16:52 | |
-That gives a wonderful effect. | 0:16:52 | 0:16:54 | |
-What you gain -by using historical instruments... | 0:16:55 | 0:16:58 | |
-..is a much more equal balance -between them. | 0:16:58 | 0:17:01 | |
-A modern trumpet -is much louder than an oboe... | 0:17:01 | 0:17:05 | |
-..and an oboe -is louder than a violin. | 0:17:05 | 0:17:08 | |
-But in the baroque style, -the balance is better. | 0:17:08 | 0:17:11 | |
-That can hear the sound -that Bach himself would have heard. | 0:17:11 | 0:17:15 | |
-# I too follow thee -with joyful steps | 0:17:16 | 0:17:21 | |
-# I too follow thee -with joyful steps # | 0:17:25 | 0:17:30 | |
-This scrapbook -is full of old programmes. | 0:17:30 | 0:17:34 | |
-They go back a bit. | 0:17:35 | 0:17:36 | |
-They go back a bit. - -What's so important here? | 0:17:36 | 0:17:38 | |
-A bit of everything, from the start. | 0:17:38 | 0:17:41 | |
-"A moving account -of St John Passion." | 0:17:41 | 0:17:43 | |
-The first baroque-style performance -in Wales of Johannes-Passion. | 0:17:43 | 0:17:49 | |
-At St Mary's Church, Swansea. | 0:17:49 | 0:17:51 | |
-At St Mary's Church, Swansea. - -"A memorable Passion." Great. | 0:17:51 | 0:17:53 | |
-Almost two years ago, I set about -translating the St John Passion. | 0:17:55 | 0:18:00 | |
-After setting the framework... | 0:18:00 | 0:18:03 | |
-..I worked with an expert -in German-Welsh bilingualism... | 0:18:03 | 0:18:07 | |
-..Heini Gruffudd. | 0:18:08 | 0:18:09 | |
-Fortunately, I sang this piece... | 0:18:10 | 0:18:12 | |
-..with the Swansea Philharmonic -Choir a few years ago. | 0:18:13 | 0:18:17 | |
-I was familiar with it, -which helped. | 0:18:17 | 0:18:20 | |
-But, going forward, I realized... | 0:18:20 | 0:18:22 | |
-..with regard to the recitatives... | 0:18:22 | 0:18:25 | |
-..it would help if they were -as similar as possible... | 0:18:25 | 0:18:30 | |
-..to the Welsh Bible. | 0:18:30 | 0:18:31 | |
-The next problem was deciding -which Welsh translation. | 0:18:32 | 0:18:35 | |
-The latest beibl.net version... | 0:18:36 | 0:18:38 | |
-..was a far cry from what would be -familiar to any congregation. | 0:18:39 | 0:18:44 | |
-I eventually opted -for a 1980s translation. | 0:18:44 | 0:18:47 | |
-That's widely used these days. | 0:18:47 | 0:18:50 | |
-The difficulty was -that the German version... | 0:18:50 | 0:18:54 | |
-..followed the Bible -very, very closely. | 0:18:54 | 0:18:58 | |
-As a result, I felt -that we had to try to do the same. | 0:18:58 | 0:19:02 | |
-That meant the rhythms -were slightly different... | 0:19:02 | 0:19:06 | |
-..so we had to adapt -Biblical verses... | 0:19:06 | 0:19:09 | |
-..to fit the rhythm of the music -as closely as possible. | 0:19:09 | 0:19:14 | |
-Aria 30, if you have a copy. | 0:19:17 | 0:19:19 | |
-I've got it here. | 0:19:20 | 0:19:23 | |
-The German goes, -"Es ist vollbracht." | 0:19:23 | 0:19:26 | |
-It's in verse 30. | 0:19:26 | 0:19:29 | |
-Yes. "Cyflawnwyd." | 0:19:30 | 0:19:31 | |
-"Cyflawnwyd" is perfectly correct, -but in the Welsh Bible... | 0:19:32 | 0:19:37 | |
-..and what people -would be familiar with... | 0:19:37 | 0:19:41 | |
-..is "Gorffennwyd." | 0:19:41 | 0:19:43 | |
-Hearing that would tell them where -they are as regards the Bible text. | 0:19:43 | 0:19:49 | |
-But the problem is, the emphasis -is at the end in the German... | 0:19:49 | 0:19:55 | |
-..and on the penultimate syllable -in Welsh. | 0:19:55 | 0:19:59 | |
-I'd suggest "Gorffennwyd hyn." | 0:19:59 | 0:20:02 | |
-"Gorffennwyd hyn." | 0:20:02 | 0:20:04 | |
-Then the emphasis is the same. | 0:20:04 | 0:20:06 | |
-Great. | 0:20:07 | 0:20:08 | |
-Mull over that -and I'll send you a copy. | 0:20:08 | 0:20:12 | |
-If you want to change anything, -that won't be a problem. | 0:20:12 | 0:20:16 | |
-Thank you. Take care. Ta-ra, Heini. | 0:20:16 | 0:20:19 | |
-# It is finished! | 0:20:28 | 0:20:34 | |
-# It is finished! # | 0:20:38 | 0:20:44 | |
-At the end of the process, -two years down the line... | 0:20:44 | 0:20:48 | |
-..I hope that we can all appreciate -this extraordinary work. | 0:20:48 | 0:20:53 | |
-By understanding every word... | 0:20:53 | 0:20:55 | |
-..we can experience -the story's drama and message... | 0:20:55 | 0:20:59 | |
-..with the most emotional music -ever written. | 0:20:59 | 0:21:02 | |
-The small baroque orchestra -produces a different sound. | 0:21:04 | 0:21:08 | |
-It affects the balance -and the acoustics. | 0:21:08 | 0:21:12 | |
-It's quite an experience. | 0:21:12 | 0:21:14 | |
-There's so much variety in the work. | 0:21:14 | 0:21:17 | |
-The chorales are wonderful. | 0:21:17 | 0:21:19 | |
-They might sound easy... | 0:21:19 | 0:21:21 | |
-..but actually singing them -with feeling and with meaning... | 0:21:21 | 0:21:26 | |
-..is harder than it might -come across to the audience. | 0:21:26 | 0:21:30 | |
-Some of the choruses -are fairly challenging. | 0:21:30 | 0:21:33 | |
-One in particular -needs more homework by me! | 0:21:33 | 0:21:37 | |
-Counting. | 0:21:37 | 0:21:38 | |
-Counting. - -Yes, we have to count a lot. | 0:21:38 | 0:21:41 | |
-The variety is a challenge, -but it's great to sing. | 0:21:41 | 0:21:46 | |
-It's fairly modern for Bach. | 0:21:47 | 0:21:49 | |
-The rhythms are jazzy. | 0:21:49 | 0:21:50 | |
-You have to count off the beat, -which is hard. | 0:21:50 | 0:21:53 | |
-# Hasten, hasten, hasten -to Golgotha! # | 0:21:54 | 0:22:02 | |
-The story is really clear. | 0:22:02 | 0:22:05 | |
-The way that Elin and Heini -have written the translation... | 0:22:05 | 0:22:10 | |
-..fits the music and vowels, -which is a challenge in itself. | 0:22:11 | 0:22:15 | |
-I hope -that we have created a text... | 0:22:15 | 0:22:18 | |
-..which is fairly familiar -to the audience... | 0:22:18 | 0:22:21 | |
-..but which is also fairly singable. | 0:22:22 | 0:22:26 | |
-Well, dear me. | 0:22:31 | 0:22:32 | |
-It looks substantial. | 0:22:33 | 0:22:34 | |
-Well, well, well. | 0:22:36 | 0:22:37 | |
-It's great to see the fruits -of months of hard work. | 0:22:37 | 0:22:43 | |
-I'm really looking forward... | 0:22:43 | 0:22:45 | |
-..to hearing the choir -and Elin performing it. | 0:22:46 | 0:22:50 | |
-Absolutely brilliant. | 0:22:50 | 0:22:51 | |
-Excellent. | 0:22:52 | 0:22:53 | |
-Excellent. | 0:22:54 | 0:22:55 | |
-At long last, -after all the hard work... | 0:22:55 | 0:22:58 | |
-..Johann Sebastian Bach's -St John Passion... | 0:22:58 | 0:23:01 | |
-..can be seen and heard in Welsh. | 0:23:01 | 0:23:03 | |
-We can follow Christ's story... | 0:23:04 | 0:23:06 | |
-..in an interpretation that will be -a feast of inspirational music. | 0:23:06 | 0:23:11 | |
-S4C Subtitles by Testun Cyf. | 0:23:39 | 0:23:42 | |
-. | 0:23:42 | 0:23:43 |
