Cwm Rhondda Oboe Quartet

By: John Hughes (1873-1932) Arranged by Keith Terrett
For: Quartet of Oboes
page one of Cwm Rhondda Oboe 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 Oboe 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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Ave Maria for Bassoon & Piano, Tico-Tico no fubá for Oboe, Bassoon & Piano, Three Gymnopédies for Oboe & Harp, No. 1 of Trois Gnossiennes for Oboe & Piano, Amazing Grace for Wind Quintet, Lullaby for the Earth for Oboe, English Horn (Cor Anglais), Celesta & Double Bass, Fugue on B-a-c-h for Oboe Consort, Little Brown Jug for Clarinet Quintet + (Jazz for 5 Wind Series), 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, Ode to Joy for School/Flexible Band, Allegro from the Water Music for a quartet of Flutes, French Horns & Concert Band, Sāre Jahāṉ se Acchā - سارے جہاں سے اچھا (Indian Patriotic song) for Flute, Bassoon & Piano (Pro version), Una Furtiva Lagrima for Bb Clarinet & Piano, Von fremden Ländern und Menschen for Wind Quintet, Allegro from the Water Music for a quartet of Recorders with Concert Band, Jazz it up:When the Saint’s Go Marching In for Cor Anglaise & Piano, March from ’Judas Maccabaeus’ for Oboe Quartet, Keyboard & Percussion, Trumpet Tune from the Island Princess for Wind Quintet, Two Jeremiah Clarke Trumpet Tunes for Oboe Consort, Pachelbel’s Canon for Oboe Consort/Octet, Londonderry Air & Cavalry Last Post for solo Eb Cavalry Trumpet & Concert/Wind Band, Arioso (Sinfonia to Cantata Ich steh mit einem Fuß im Grabe) for Oboe & K/B, Fanfare & Soliloquy for Cor Anglais & Piano, Badinerie from Suite No.2 for Oboe & Piano, The Saint’s Visit Havana with a Touch of W.A.M. for Oboe & Piano, Escape to the Phaeacians for Concert/Wind Band, Jasmine Flower (The) for Oboe & Piano, Australian National Anthem (Advance Australia Fair) & Waltzing Matilda for Wind Quartet, Stanley Trumpet Voluntary for Wind Quintet, Times lost for Oboe & Piano, Nessun Dorma for Oboe & Piano, Vesti La Giubba for Oboe & Piano, Bollywood Tango for Oboe, Bassoon & Keyboard, Cwm Rhondda for Wind Quintet, Mattinata for Oboe & Piano, M’Appari Tutt’ Amor for Oboe & Piano, O Mio Babbino Caro for Oboe & Piano, Quando Me’n Vo (Musetta’s waltz) for Oboe & Piano, Paddy’s Day (St. Patrick’s Day) March for Concert/Wind Band , Fanfare & Soliloquy Bassoon & Piano, O Sole Mio for Oboe & Piano, Lustpiel Overture for Wind Quintet, Air on the G String from the Suite No. 3 in D for Oboe & Orchestra , Arrival of the Queen of Sheba for Oboe Consort, Arrival of the Queen of Sheba for Wind Quintet, Amazing Grace for Oboe & Piano, A Serenade for Wind Quintet, March from ’Judas Maccabaeus’ for Wind Quartet (School Junior Wind Series) with optional KB & Percussion, Stanley Trumpet Voluntary for Two solo Oboes & Piano, Czardas for Oboe & Pianoforte, Stanley Trumpet Voluntary for two Oboes & Organ (no pedals), Stanley Trumpet Voluntary for Oboe & Organ + Pedals, March from Scipio in Bb for Flexible Band (School Band Series), Homage for Orchestra & Woodwind, What Shall We Do With The Drunken Oboist?, What Shall We Do With The Drunken Wind Quintet?, Swing Low, Sweet Chariot for Oboe & Keyboard, Träumerei for Oboe Consort , Von Fremden Landern und Menschen for Oboe Consort, Solveigs sang for Oboe & Keyboard, An Oboist Goes Ballroom Dancing for Oboe & Piano, Overture from Suite in D from The Water Music for two Oboes & Harpsichord, Havana Rhubarb Rumba for two Oboes & Piano and Scenes from Childhood (Kinderszenen) Opus 15, for Wind Quintet

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