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‘The music of friends’ gets its own Academy in Wales
Tuesday 24 November 2009

Chamber Music in Wales is set for a renaissance as ten young musicians selected to take part in the first ever Ensemble Cymru Chamber Music Academy begin their own classical journey.

The Academy, the first of its kind in Wales, and based at Ucheldre Centre in Holyhead, Anglesey, will give top young musicians, up to 19 years of age, the opportunity to receive high level coaching by Wales’ leading chamber ensemble. Launched in November 2009 it will run for six months and end with a performance by the young musicians on April 25th 2010 at the Ucheldre Centre.

All performers selected as part of the Academy were done so on the strength of their experience, commitment and standard of playing and as part of the learning programme the students will perform alongside Ensemble Cymru’s principal players. They will also be coached in their own ensembles and experience performances by Ensemble Cymru’s principle players throughout the year.

Music business workshops by the Ensemble’s Executive Officer will also help develop the skills necessary to manage and promote their own professional ensemble.

Ensemble Cymru has an annual programme of over 150 concerts and workshops to over 15,000 people of all ages. It was short listed as one of UK’s top 3 ensembles in Royal Philharmonic Music Society Awards in 2006. It is resident ensemble at the North Wales International Music Festival, Bangor University, Rydal Penrhos School and Gŵyl Fama (Flintshire) and champions Wales’ tradition in chamber music in communities and schools across Wales and internationally.

The Academy is supported by funds from the Anglesey Music Trust and the Friends of Gwynedd Youth Music with support from the William Mathias Centre, the William Mathias Schools Service and local teacher representatives Margaret Scourse and Jane Parry.

Ensemble Cymru’s Artistic Director, Peryn Clement-Evans, said, “The Ensemble Cymru Chamber Music Academy will be seeking to excite young musicians and to nurture their enthusiasm for what is one of the most demanding and inspirational types of music that there is to perform.

“Chamber music is classical music for between 2 and 30 players. The word chamber signifies that the music can be performed in a small room, often in a private salon with an intimate atmosphere. Because of its intimate nature, chamber music has been described as ‘the music of friends’. The tradition in Wales reaches back to the beginning of the 20th century with the formation of the now defunct university trios in the 1920’s.

“Wales, leading composers past and present including William Mathias, Alun Hoddinott, Daniel Jones, Grace Williams, Huw Watkins, Gareth Glyn and Guto Puw have written music in this tradition which, though of world class and one of Wales’ greatest treasures, is comparatively neglected and unrecognised.

“The youngsters have already bowled me over with their enthusiasm and I hope that through their commitment and our support that it will lead to the birth of a new era for chamber music in Wales.”

 
 
CONTACT INFORMATION
Gwenan Davies, Cambrensis Communications
 
T 01286 685254
E gwenan@cambrensis.uk.com
W www.ensemblecymru.co.uk
 
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COMPOSER OF THE MONTH
Hilary Tann
From her childhood in the coal-mining valleys of South Wales, Hilary Tann developed the love of nature which has inspired all her music, whether written for performance in the United States (Adirondack Light for narrator and orchestra, for the Centennial of Adirondack State Park, 1992) or for her first home in Wales (the celebratory overture, With the heather and small birds, commissioned by the 1994 Cardiff Festival).

A deep interest in the music of Japan led to study of the ancient Japanese vertical bamboo flute (the shakuhachi) from 1985 to 1991. Among the works reflecting this special interest are the chamber work, Of erthe and air (1990), and the large orchestral work From afar, premiered in October 1996 by the Knoxville Symphony Orchestra conducted by Kirk Trevor. From afar received its European premiere in 2000 by the BBC National Orchestra of Wales and is scheduled for the opening concert of The International Festival of Women in Music Today at the Seoul Arts Center in Korea (KBS Philharmonic Orchestra conducted by Apo Hsu, April 2003).

Hilary Tann lives south of the Adirondacks in upstate New York where she chairs the Department of Performing Arts at Union College in Schenectady. She holds degrees in composition from the University of Wales at Cardiff and from Princeton University. From 1982 to 1995, she was active in the International League of Women Composers and served in a number of Executive Committee positions. Numerous organizations have supported her work, including the Welsh Arts Council, the New York State Council on the Arts, the National Endowment for the Arts, and Meet the Composer/Arts Endowment Commissioning Music USA. A number of her chamber works are available on the Capstone and N/S Consonance labels. Since 1989 her music has been published exclusively by Oxford University Press.

Her connection with Wales continues in various choral commissions - The Moor for the Madog Center for Welsh Studies, Psalm 104 (Praise, my soul) for the North American Welsh Choir, and Wales, Our Land for the Green Mountain College Welsh Heritage Program. The influence of the Welsh landscape is also evident in many chamber works - The Cresset Stone (solo violin), and The Walls of Morlais Castle (oboe, viola, cello). In July 2001, The Royal Liverpool Philharmonic Orchestra conducted by Owain Arwel Hughes premiered The Grey Tide and the Green, commissioned for the Last Night of the Welsh Proms.

Recent years have brought a series of concerto commissions - for violin (Here, the Cliffs premiered in October 1997 by the North Carolina Symphony Orchestra with violinist Corine Brouwer Cook), alto saxophone (In the First, Spinning Place premiered in March 2000 by the University of Arizona Symphony Orchestra with Debra Richtmeyer as soloist), and cello (Anecdote, premiered in December 2000 the Newark (DE) Symphony Orchestra with Romanian cellist Ovidiu Marinescu). In March 2001, Hilary Tann guest composer-in-residence with the Louisville Symphony Orchestra in conjunction with a performance of her 1989 concert overture, The Open Field (In memoriam Tienanmen Square).
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