[{"text_idx": "#000001", "text": "Ar hyn of bryd mae'r cynnwys hwn ar gael yn Saesneg yn unig."}, {"text_idx": "#000003", "text": "hyrwyddo a dathlu cerddoriaeth Cymru"}, {"text_idx": "#000004", "text": "promoting and celebrating the music of Wales"}, {"text_idx": "#000008", "text": "Ein gwaith / Our work"}, {"text_idx": "#000014", "text": "Grace Williams oedd un o gyfansoddwyr proffesiynol cyntaf Cymru yn yr ugeinfed ganrif i ennill bri cenedlaethol arwyddocaol, ac mae llawer o\u2019i darnau hynod arbennig wedi eu hysbrydoli\u2019n uniongyrchol gan Gymru a\u2019i diwylliant."}, {"text_idx": "#000015", "text": "Ganed Williams yn Y Barri, Sir Forgannwg, a bu\u2019n fyfyrwraig yn yr adran Gerdd ym Mhrifysgol Caerdydd (1923\u20131926) cyn mynd ymlaen yn ddiweddarach i astudio cyfansoddi yn y Coleg Cerdd Brenhinol (1926\u201330) dan gyfarwyddyd Ralph Vaughan Williams ac yna yn Fienna (1930\u201331) gydag Egon Wellesz. Roedd wrth ei bodd yn cyfansoddi\u2019n benodol ar gyfer y gerddorfa, ac mae ei dawn yn y cyfrwng hwn i\u2019w gweld yn amlwg yn ei hagorawd gynnar Hen Walia (1930) a\u2019r Fantasia on Welsh Nursery Tunes (1940). Dilynwyd ei Fantasia boblogaidd gan Sinfonia Concertante ar gyfer piano a cherddorfa (1941), a\u2019i Symffoni Gyntaf ddramatig (1943), gwaith a ysbrydolwyd gan hanes Owain Glyndw\u0302r, rebel o Gymro o\u2019r bymthegfed ganrif. Arfordir Sir Forgannwg oedd yn annwyl iawn ganddi fu\u2019n ysbrydoliaeth i\u2019w chyfansoddiad meistrolgar Sea Sketches (1944) i gerddorfa linynnol."}, {"text_idx": "#000016", "text": "Bu Williams yn gweithio fel cyfansoddwraig ac athrawes gerdd lwyddiannus yn Llundain am nifer o flynyddoedd ond dychwelodd i fyw a gweithio yn Y Barri yn 1947. Yn sgil y dychwelyd adref hwn gwelwyd cychwyn ar gyfnod newydd a hanfodol yn ei datblygiad creadigol. Mae ei Penillion i gerddorfa (1955), er enghraifft, yn addasiad cerddorfaol hynod wreiddiol o nodweddion mydryddol a melodig canu penillion traddodiadol, sef Cerdd Dant y Cymry. Bu ei geirfa gerddorol estynedig yn symbyliad i weithiau eraill o bwys i gerddorfa ac yn eu plith Symffoni rymus Rhif 2 (1956), y Trumpet Concerto (1963) a Ballads i gerddorfa (1968)."}, {"text_idx": "#000017", "text": "Yn ystod ei blynyddoedd olaf, dechreuodd Williams ddangos mwy o ddiddordeb mewn cyfansoddi rhagor o gerddoriaeth gorawl a lleisiol. Mae ei chyfres gorawl The Dancers (1951) yn enghraifft ddisglair o\u2019i medrusrwydd wrth ymdrin a\u0302\u2019r cyfrwng corawl ac felly hefyd ei Ave Maris Stella (1973) cywrain ar gyfer corws cymysg. Perthyn nifer o\u2019i gweithiau sylweddol gorau ar gyfer lleisiau i\u2019r cyfnod hwn hefyd ac yn eu plith yr opera gomig wych The Parlour (1966), y Missa Cambrensis i unawdwyr, corws a cherddorfa (1971) a\u2019r aria gywrain Fairest of Stars (1973) i soprano a cherddorfa."}, {"text_idx": "#000018", "text": "Grace Williams was one of the first professional Welsh composers of the twentieth-century to attain significant national recognition, and many of her remarkably distinctive pieces are directly inspired by Wales and its culture."}, {"text_idx": "#000019", "text": "Born in Barry, Glamorganshire, Williams studied music at Cardiff University (1923\u201326), later studying composition at the Royal College of Music (1926\u201330) with Ralph Vaughan Williams and in Vienna (1930\u201331) with Egon Wellesz. She particularly enjoyed writing for the orchestra, and her gift for this medium is apparent in her early overture Hen Walia (1930) and the Fantasia on Welsh Nursery Tunes (1940). She followed her popular Fantasia with a Sinfoni a Concertante for piano and orchestra (1941), and a dramatic First Symphony (1943), a work inspired by the fifteenth century Welsh rebel Owain Glyndwr. Her masterly Sea Sketches for string orchestra (1944) were stimulated by her beloved Glamorganshire coast."}, {"text_idx": "#000020", "text": "Williams worked as a successful composer and music teacher in London for many years, but returned to live and work in Barry in 1947. This homecoming sparked a new and vital phase of her creative development. Her Penillion for orchestra (1955), for example, is a highly original orchestral adaptation of the metrical and melodic characteristics of traditional Welsh penillion singing. Her expanded musical vocabulary energised other significant works for orchestra including the powerful Symphony no. 2 (1956), the Trumpet Concerto (1963) and Ballads for orchestra (1968)."}, {"text_idx": "#000021", "text": "Williams also became more interested in writing more choral and vocal music in her later years. Her choral suite The Dancers (1951) is a radiant example of her skill at handling the choral medium, as is the exquisite Ave Maris Stella (1973) for mixed chorus. Many of her greatest large-scale works for voices date also from this time including her brilliant comic opera The Parlour (1966), the Missa Cambrensis for soli, chorus and orchestra (1971) and the exquisite aria Fairest of Stars (1973) for soprano and orchestra."}, {"text_idx": "#000022", "text": "Ty\u0302 Cerdd publishes several Grace Williams works \u2013 see what's available from our shop."}, {"text_idx": "#000026", "text": "Telerau ac Amodau / T&Cs"}]