Cwm Rhondda for Wind Quintet

By: John Hughes (1873-1932) Arranged by Keith Terrett
For: Wind quartet
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Composer
John Hughes (1873-1932) Arranged by Keith Terrett
Arranger
Difficulty
Easy (Grades 1-3)
Duration
1 minute
Genre
Classical music
License details
For anything not permitted by the above licence then you should contact the publisher first to obtain permission.

An arrangement of Cwm Rhondda for Wind Quartet.

Cwm Rhondda, taken from the Welsh name for the Rhondda Valley, is a popular hymn tune written by John Hughes (1873–1932).

It is usually used in English as a setting for William Williams’s text Guide Me, O Thou Great Jehovah (or, in some traditions, Guide Me, O Thou Great Redeemer),[1] originally Arglwydd, arwain trwy’r anialwch in Welsh. On account of a line in this English translation, the tune (and hymn) is often called Bread of Heaven.

In Welsh the tune is most commonly used as a setting for a hymn by Ann Griffiths, Wele’n sefyll rhwng y myrtwydd.

John Hughes (22 November 1873 – 14 May 1932) was born in Dowlais and brought up in Llanilltud Faerdref (in English: Llantwit Fardre). At age 12 he began work in Glynn Colliery in his home town and subsequently became a clerk at the Great Western Colliery Pontypridd where he worked for over 40 years. He served as a deacon and leader of the congregational singing in Salem Baptist Chapel Llanilltud Faerdref.[2][3] The first version of the tune, called "Rhondda" was written in 1905 for the Cymanfa Ganu (hymn festival) in Pontypridd, when the enthusiasm of the 1904–1905 Welsh Revival still remained.[4] The present form was developed for the inauguration of the organ at Capel Rhondda, in Hopkinstown in the Rhondda valley, in 1907.[5] Hughes himself played the organ at this performance, using the English translation of William Williams’s words because of the large number of English-speaking industrial workers who had immigrated to the area.[6] A number of his other compositions were popular during his lifetime, but have not lasted. The name was changed from "Rhondda" to "Cwm Rhondda" by Harry Evans, of Dowlais, to avoid confusion with another tune by M O Jones.

The hymn is usually pitched in A-flat major and has the 8.7.8.7.4.7 measure which is common in Welsh hymns. The third line repeats the first and the fourth line develops the second. The fifth line normally involves a repeat of the four-syllable text and the sixth reaches a climax on a dominant-seventh chord—emphasised by a rising arpeggio in the alto and bass parts. The final line continues the musical development of the second and fourth (and generally carries a repeat of the text of the sixth). On account of these vigorous characteristics, the tune was resisted for some time in both Welsh and English collections but has now become firmly established.

History[edit] William Williams Pantycelyn (named, in the Welsh style, ’Pantycelyn’ after the farm which his wife inherited) is generally acknowledged as the greatest Welsh hymnwriter.[9] The Welsh original of this hymn was first published as Hymn 10 in Mor o Wydr (Sea of Glass) in 1762. It comprised six verses.[10] (References to a five verse version in Pantycelyn’s Alleluia of 1745[11] appear to be incorrect.) It was originally titled Gweddi am Nerth i fyned trwy anialwch y Byd (Prayer for strength for the journey through the world’s wilderness).

Peter Williams (1722-1796, no relation of the author but well known for his popular edition of the Welsh Bible, with notes.[12][13]) translated part of the hymn into the English version given above, with the title Prayer for Strength. It was published in Hymns on various subjects, 1771. This translation is the only Welsh hymn to have gained widespread circulation in the English-speaking world.[14] The present-day Welsh version, given above, is essentially a redaction of the original to parallel Peter Williams’s English version. A result of the translation process is that the defining phrase Bread of heaven does not actually occur in the original (where the Welsh would be Bara nefoedd; it is a paraphrase of the references to manna.

The Welsh word Arglwydd corresponds more-or-less to the English Lord, in all its senses. It is used in the Old Testament to represent the Divine Name (the tetragrammaton) and in the New as the standard honorific for Jesus Christ. Accordingly Peter Williams translated it as Jehovah in accord with the practice of his time. Many English-language hymnals today translate it as Redeemer.

The following version of the original is taken from Gwaith Pantycelyn (The Works of Pantycelyn). All but the second verse is given, with minor variations, in the Welsh Hymnbook of the Calvinist and Wesleyan Methodists, published by the assemblies of the two churches.

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Air from the Suite No. 3 in D for Cor Anglais & Keyboard, Trio Sonata D minor WQ 145 for Bb Clarinet Duo, Were You There? for French Horn & Piano, Ave Maria for Bassoon & Piano, Tico-Tico no fubá for Clarinet Quartet, Salut d'Amour Loves Greeting Opus 12 for Bb Bass Clarinet & Piano, Moonlight Serenade for Solo Bb Clarinet & Piano (Pro version), Vedrò con mio diletto Aria: from the Opera "Il Giustino" for Bb Bass Clarinet & Keyboard, Rondo Alla Turca for Bb Clarinet & Piano, Ave Maria for Bb Clarinet & Piano, Moonlight Serenade for Bassoon & Piano, Tico-Tico no fubá for Oboe, Bassoon & Piano, No. 1 of Trois Gnossiennes for Flute & Piano, No. 1 of the Trois Gnossiennes for Bassoon & Piano, Amazing Grace for Wind Quintet, Lullaby for the Earth for Oboe, English Horn (Cor Anglais), Celesta & Double Bass, Little Brown Jug for Wind Quintet ''Jazz for 5 Wind Series'', Fugue on B-a-c-h for Oboe Consort, Little Brown Jug for Clarinet Quintet + (Jazz for 5 Wind Series), Pachebel’s Canon for Flute Choir/Octet, Keep the Fire Alive for Solo French Horn & Concert/Wind Band, Battle Hymn of the Republic ’’Mine Eyes Have Seen the Glory’’ for Wind Quintet, In Dulci Jubilo "In sweet rejoicing" for Oboe Consort, Lullaby for an Oboist, Keyboard & Bass, Three Gymnopédies for Flute & Harp, Keep the Fire Alive for solo Flute & Concert Band, Ode to Joy for School/Flexible Band, Four Early Jazz Classics from the USA! for Clarinet Quintet, Jazz it up:When the Saint’s Go Marching In for Alto Flute & Piano, Frankie & Johnny for Clarinet Quintet, Frankie & Johnny for Bb Bass Clarinet & Piano, Für Elise Boogie Woogie for Oboe & Piano (Keith Terrett Jazz for Wind Series), Für Elise Boogie Woogie for Clarinet Quintet + (Jazz for 5 Wind Series), Pachelbel’s Canon for Oboe Consort/Octet, Hebrew Slaves Chorus from Nabucco for Clarinet Quintet, Una Furtiva Lagrima for Bb Clarinet & Piano, Solveigs sang (fra Peer Gynt Suite No. 2, Op.55) for Bb Clarinet & KB, A Serenade for Clarinet Quintet, Von fremden Ländern und Menschen for Wind Quintet, Prelude from Te Deum (Eurovision Song Contest Theme) for French Horn & Organ w pedals (Pro-version), Prelude from Te Deum (Eurovision Song Contest Theme) for French Horn & Organ w pedals (Lower version), Prelude from Te Deum (Eurovision Song Contest Theme) for French Horn & Organ w pedals (Intermediate version), Prelude from Te Deum (Eurovision Song Contest Theme) for Flute & Organ w pedals, O Sole Mio for French Horn & Piano, All Things Bright and Beautiful for Clarinet Choir & SATB, Fugue for 6 Flutes , Come Back To Sorrento (Torna a Surriento) for Bb Clarinet & Piano, A Flautist Goes Ballroom Dancing for Flute & Piano, Bollywood Tango for Piccolo & Bass Flute, A Hornist Goes Ballroom Dancing for French Horn & Piano, A Clarinettist Goes Ballroom Dancing for Bb Clarinet & Piano, Air from the Suite No. 3 in D for Bassoon & Keyboard, Air from the Suite No. 3 in D for Flute & Keyboard, 7 julsangs for Oboe Quartet (Norwegian Xmas Carols), Jazz it up:When the Saint’s Go Marching In for Cor Anglaise & Piano, Jazz it up: When the Saint’s Go Marching In for Bb Bass Clarinet & Piano, March from ’Judas Maccabaeus’ for Oboe Quartet, Keyboard & Percussion, Gollidoll’s Cake-Walk for Clarinet Sextet, Trumpet Tune from the Island Princess for Flute Quintet/Choir, Trumpet Tune from the Island Princess for Wind Quintet, Eternal Father Strong, to Save (Naval hymn) for Oboe Consort, Cwm Rhondda Oboe Quartet, Londonderry Air & Cavalry Last Post for solo Eb Cavalry Trumpet & Concert/Wind Band, The Saint’s Visit Havana with a Touch of W.A.M. for Bassoon & Piano, The Saint’s Visit Havana with a Touch of W.A.M. for Bb Clarinet & Piano, The Saint’s Visit Havana with a Touch of W.A.M. for Oboe & Piano, Czardas for Bassoon & Piano, Australian National Anthem (Advance Australia Fair) & Waltzing Matilda for Wind Quartet, Times lost for Bb Clarinet & Piano, Times lost for Flute & Piano, Times lost for Oboe & Piano, Nessun Dorma for French Horn & Piano, Nessun Dorma for Oboe & Piano, Vesti La Giubba for Oboe & Piano, Vesti La Giubba for French Horn & Piano, Vesti La Giubba for Flute & Piano, Mattinata for French Horn & Piano, Fanfare & Soliloquy Bassoon & Piano, O Come All Ye Faithful for Violin, Viola & Cello, African Anthem for Clarinet Quintet, Arrival of the Queen of Sheba for two Bassoons & String Orchestra, Arrival of the Queen of Sheba for two Flutes & String Orchestra, Arrival of the Queen of Sheba for Oboe Consort, Three Welsh Chorales for Flute Quartet, Träumerei for Flute Choir, Stanley Trumpet Voluntary for Two Flutes & Piano, Air from the Suite No. 3 in D for Flute Quartet, Stanley Trumpet Voluntary for two Oboes & Organ (no pedals), Stanley Trumpet Voluntary for Oboe & Organ + Pedals, The Gypsy Tenor Horn Player in New Orleans, March from Scipio in Bb for Flexible Band (School Band Series), Swing Low, Sweet Chariot for Oboe & Keyboard, The Gypsy Oboist in New Orleans for Oboe & Piano, Träumerei for Oboe Consort , Träumerei for Solo Clarinet & Piano, An Oboist Goes Ballroom Dancing for Oboe & Piano, Havana Rhubarb Rumba for two Bb Clarinets & Piano, Havana Rhubarb Rumba for two Bassoons & Piano, Von Fremden Landern und Menschen for Flute Choir, Von Fremden Landern und Menschen for Clarinet Choir, Scenes from Childhood (Kinderszenen) Opus 15, for Wind Quintet and An English Horn (Cor Anglais)Player Goes Ballroom Dancing

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