C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface



Annual Report

  • Year: 
  • Please describe your organization’s activities over the past year, including concerts, commissions, collaborations, publications: 

    Tŷ Cerdd’s wide-ranging programme is takes in composer development, audience development, and the promotion of Welsh music (particularly through our publishing imprint and record label), alongside the support of music-makers in communities around Wales. We work in partnership with a variety of organisations – from festivals, performing groups, education institutions, broadcasters – to support them to work with Welsh artists, programme Welsh music and support the development of composers.

    Recording & publishing
    A busy year saw increasing activity on Tŷ Cerdd's new ventures in publishing and recording: featuring works by living Welsh composers alongside repertoire from the Welsh archive. The output of our record label, Tŷ Cerdd Records, included four releases of new music during 2018:
    • Palindromes: chamber music by John Metcalf (Ensemble MidtVest)
    • Dathliad: collection of Welsh choral music (John S Davies Singers)
    • footsteps quiet in the shadows: Peter Reynolds String Quartet No. 2 (Mavron Quartet)
    • Only Breath: all-contemporary Welsh choral music (Cardiff University Contemporary Music Group: Vocal Ensemble)

    Composer development
    In 2018 we launched CoDI (in Welsh codi = to raise; here = Composer Development Initiative). The initial programme had three creative strands alongside Interact, a programme of CPD and engagement, from mentoring and workshops, to Buddy relationships with amateur groups and online forum. The three creative strands were:
    • Chamber: six composers working with lead composer Lynne Plowman and the Berkeley Ensemble over a series of workshops to create new works for performance at Cardiff University School of Music chamber music series in April 2019.
    • Electronic: six artists working with Swansea Laptop Orchestra (its two composers Jenn Kirby and Simon Kilshaw), culminating in a public performance at the Bangor Music Festival in February 2019.
    • Theatre: one composer-in-residence with Hijinx’s community company Odyssey – working with this inclusive theatre company through autumn 2018 to create a soundtrack for their Christmas musical theatre production.

    Lottery funds
    Our two Lottery grants focusing on supporting composers (New Music Commissions and Composer in Residence) funded new work by 29 composers: Robat Arwyn, Tic Ashfield, Gerard Cousins, Angharad Davies, Haldon Evans, Rob Fokkens, Andrew Griffiths, Eric Jones, Ian Lawson, Andrew Lewis, Sarah Lianne Lewis, Paul Mealor, John Metcalf, Carlijn Metselaar, Gareth Moorcraft, Sion Orgon, Maja Palser, Michael Parkin, Ben Parsons, Lynne Plowman, Jak Poore, Steph Power, Guto Puw, John Rea, Pwyll ap Sion, Gai Toms, Richard Vaughan, Tomos Williams, Neil Yates

    In 2018 we began a new collaboration with St David’s Hall (the national concert hall of Wales, in Cardiff), commissioning a short work from a Wales-based composer for each concert the Hall’s new contemporary chamber music series, NightMusic. The commissions during the year were:
    • Joseph Davies – for the Hermes Experiment
    • Lucy McPhee – Vickers Bovey Guitar Duo
    • Claire Victoria Roberts – Oliver Coates, cello
    • Gareth Churchill – Jess Gillam Trio

    And an ongoing relationship with Royal Welsh College of Music expanded into a collaboration with their performance and composition students – working towards recordings and public performances, notably a strand of Discover Welsh Music performances in the Tŷ Cerdd Studio at the National Eisteddfod in Cardiff.



Content posted to the ISCM website reflects the viewpoint of individual submitters; its appearance herein does not imply official endorsement by the ISCM, its Executive Committee, or the Delegates to its General Assembly.