Delyth Evans – “Nyth y Gog/Difyrrwch Gwyr Llangrallo” (The Cuckoo’s Nest/Delight of the men of Coychurch).

   Hiya people! 🙂 

   Yes, I’ve been listening to a lot of Delyth’s music lately, and decided to share with you yet another piece from her earlier records, this time from Ar y Ffin. It’s a set of two traditional Welsh dances, and the first one – Nyth y Gog – I shared not so long played by Delyth together with her daughter Angharad on fiddle, called just Nyth. Here I believe Nyth y Gog is more like a variation on the theme or so it sounds like, unless this piece has several tunes that are associated with it or there are two different pieces with the same name and similar tunes. The second piece is a jig, whose name refers to a village called Llangrallo in Welsh or Coychurch in English, which lies near Bridgend. 

Delyth Evans – “Carad Pur” (Pure Love).

   Hey people! 🙂 

   And for today I thought I’d also share a piece by Delyth Evans (or Delyth Jenkins as she’s known now) but this time from her album Delta (Cerddoriaeth y Delyn Geltaidd / Music of the Celtic Harp). As far as far as I’m aware, this is a traditional tune. 

Delyth Evans – “Bourrees”.

   Hiya people! 🙂 

   Today I want to share with you another piece played by Delyth Evans/Jenkins, from her album Ar y Ffin. A bourree is a type of French dance which is similar to gavotte, and I think that’s where the title of this piece comes from. 

Delyth Jenkins – “Blue Lagoon”.

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   Today I’d like to also share with you a piece played by the Welsh harpist Delyth Jenkins, like I’ve done many times before on here, but this piece is a bit different. It comes from an album which is the result of her collaboration with poet Emily Hinshelwood. The album is called Salt on Our Boots, and is inspired by their walk along the Pembrokeshire Coastal Path, and it contains Emily Hinshelwood’s poetry beautifully illustrated by Delyth’s harp, as well as some harp tunes. The whole thing is really interesting and so immersive that when listening to it as a whole, you can easily feel as if you were by the sea, although I personally have never been to Pembrokeshire coast, or Wales in general, for that matter. This piece refers of course to the blue lagoon in Pembrokeshire, and coresponds with Emily’s poem of the same title which is very descriptive and evocative. 

Delyth & Angharad Jenkins – “Nyth” (Nest).

   Hey people! 🙂 

   Today I’d like to share with you another tune played by Delyth and Angharad Jenkins, the Welsh harp and fiddle mother and daughter duo from Swansea whose music I’ve previously shared multiple times, as well as Delyth’s solo music and together with the no longer existing Anglo-Welsh band Aberjaber. Angharad is also part of the very popular Welsh folk group Calan and a coouple other projects. This piece here is a traditional Welsh tune, a barndance more exactly, which is also known as Nyth y Gôg (The Cuckoo’s Nest). Actually, the first time I ever heard this tune was on BBC Radio Cymru, where one of my faza peeps Gwilym Bowen Rhys played it on the tenor guitar (which is like a smaller, four-stringed guitar that’s tuned like a viola) together with Gethin Griffiths on the accordion. They played it as part of a set alongside some other Welsh tunes, and my mind was absolutely blown by how freakishly fast and seemingly effortlessly he was playing this one, I’ve no idea how people get such coordination. 😀 Anyway, I really like this tune, and I love Delyth’s and Angharad’s arrangement a lot as well because of how mellow it is compared to  all the other versions that I’ve hearD, and so elaborate and evocative. 

Delyth Evans – “The Age of Mad Illusions”.

   Hiya people! 🙂 

   Today I want to share with you a harp piece played by the Welsh harpist with whom you’re probably already well-acquainted if you’ve been around here for a while, or if you have an interest in Welsh folk music, namely Delyth Evans, better known now as Delyth Jenkins, who was also a member of the band Aberjaber whose music I’ve shared on here as well. As far as I can tell, this is Delyth’s original piece. 

Song of the day (7th May) – Delyth Evans – “Carolan’s Farewell to Music”.

   Hey people! 🙂 

   Previously, I have shared with you this composition of Turlough O’Carolan played by 

Nadia Birkenstock, Celia Briar and Lynn Saoirse, and now I thought I’d share with you yet another version of this beautiful tune, played by another harpist whose music I’ve been sharing with you quite regularly, that is Delyth Evans, currently known as Delyth Jenkins, whom you may also recognise as part of the D&A duo which she forms together with her daughter Angharad who is a fiddler. You can find out more about this song and its origins clicking the links above. 

Delyth & Angharad Jenkins – “Gan Bwyll Jo! / March Glas” (Take Care, Jo! / The Blue Stallion).

   Hey people! 🙂 

   For today, I want to share with you a two-piece set from the already well-known on this blog mother and daughter duo – Delyth (harp) and Angharad (fiddle) Jenkins – who are also known as D&A or DNA. While I know for sure that the second song in this set is a traditional tune and that it means The Blue Stallion in English, I’m not perfectly sure of the first one, either its origin or meaning in English. It looks like it could be their original though, and Google says that gan bwyll means take care, whereas my dictionary says it means be careful. I’m not sure which one is correct/more relevant here, so I just went with my instinct. 

Delyth Evans – “Bugeilio’r Gwenith Gwyn” (Watching the White Wheat).

   And for today, I have a very sad, Welsh song about love, which is actually based on a true story. This version I am sharing with you is an instrumental harp rendition, from the very well-known on this blog Delyth Evans (currently Jenkins), but originally this song has lyrics. They tell the story of Ann Thomas and Will Hopcyn from Glamorganshire, who fell in love with each other, despite Ann belonged to a wealthy farming family, and Will was only a labourer. Ann’s mother really didn’t like it, so she decided that Ann would marry the sonn of a squire from the area. Will left the village of Llangynwyd where they lived. After months after Ann’s wedding, he had a dream that Ann’s husband died, but then when he came back to Ann it turned out that it was her who was dying, apparently due to a broken heart. She ended up dying in Will’s arms. Afterwards Will ended up marrying someone, but it was not a happy marriage. The song was collected by Maria Jane Williams. 

Delyth Evans – “Pandeira de Nebra”.

Hey people! 🙂

Today, let’s listen to a harp piece from Delyth Evans (currently better known as Delyth Jenkins). I have no idea what the title of this piece means, if anything, haven’t been able to figure anything out. It looks like Spanish or Portuguese to my brain but doesn’t seem to mean anything particular in either of these languages. Still, it’s a beautiful piece, and that’s what’s important to me.

Delyth Evans – “Gymnopedie III”.

Hey people! 🙂

Recently I shared with you one of the Gnossiennes composed by Eric Satie and played on the harp by Floraleda Sacchi, and today I’d like to share another, and I guess more commonly known, composition by Eric Satie – the last of his Gymnopedies. – Gymnopedies are three pieces of music that Satie composed for piano, all very melancholic pieces (the first is meant to be played painfully, the second sadly, and the third – the one we’ll listen to today – gravely) and I’ve heard quite a few different harp performances of them and I really like how they sound played on the harp. The name of these pieces comes from some ancient Greek festivity called gymnopaedia, during which young men were dancing naked/unarmed. I have a little bit of a personal connection with Gymnopedies because when I was in nursery, there was a documentary that was being filmed about our nursery (for the blind) and how we lived in there. Then all of our parents got a copy of this film. I now know that my Mum hated that film, but she watched it a lot anyways especially when I was away at school and then she always ended up crying. Once I grew up a bit I never liked watching it either or people mentioning it, something about it is very depressing to me though I’m pretty sure it’s just in my brain and all sorts of memories coming up rather than the documentary itself being objectively depressing. Anyways, gymnopedies were in the soundtrack of this film. I actually don’t remember now if it was all of the Gymnopedies or just one, and if one then which one, because I haven’t watched that in ages nor has my Mum, but I am sure that there was at least one Gymnopedie. I guess Gymnopedies are a sort of go-to soundtrack for all things that are meant to be tear-jerking because I’ve heard them used a lot in this way. This is actually a bit of a pity, because they’re great pieces of music, and while they’re melancholic, it’s not in a tear-jerking, maudlin way. But despite my Mum hated that film, she really liked this music and wanted to know what it is, and finally when she found out she bought some music album where Gymnopedies were included, I don’t know who played them. And she still really likes them despite they sometimes make her think about the times when I was at school and how it made her sad that I couldn’t be at home with my family. And that’s why, when it comes to me, what I primarily associate Gymnopedies and what they make me think of when I hear them is my Mum, rather than the time when I was in nursery, which I’m so glad about, because otherwise they’d probably be totally spoilt for me, and as it is, I really love them. Especially, like I said, played on harp. This third, grave Gymnopedie in A minor is played by the already well-known harpist on this blog, Delyth Evans (currently Jenkins) from Wales.

Delyth & Angharad Jenkins – “Casse en Lorient”.

For today, I’d like to share with you another harp & fiddle piece from this Welsh mother-daughter duo whose music appears on my blog quite frequently. They’re also known as DNA or D&A. I think it’s a really beautiful piece with a kind of reflective vibe to it.

Delyth & Angharad Jenkins – “Casse en Lorient”.

Song of the day (12th November) – Delyth & Angharad Jenkins – “Can y Lleisoniaid” (Song of the Lleisons).

I’ve already shared one interpretation of this song, played by Gwenan Gibbard. If I had to choose which one I prefer, I definitely wouldn’t be able to tell, they’re all beautiful, and I suppose this mournful-sounding piece would be really difficult to properly butcher by anyone. As I’ve explained when sharing the Gwenan Gibbard rendition, Lleison is a Welsh surname. I wonder who they were and what’s the story behind this piece.

Delyth Evans – “Ysbryt Kilvrough” (Spirit of Kilvrough).

Hi people! 🙂

Today I have for you a piece played by the Welsh Celtic harpist Delyth Evans, better known as Delyth Jenkins these days, from her 1991 album “Delta (Cerddoriaeth y Delyn Geltaidd/Music of the Celtic Harp”. I suppose that the Kilvrough in the title refers to Kilvrough Manor, a country house near Swansea. And the spirit should perhaps actually be translated as ghost? I’m not sure, I haven’t heard anything about this place being haunted or the like, but then I know next to nothing about it in general.

Delyth & Angharad Jenkins – “Pantyfedwen”.

Hey people! 🙂

Today I’d like to share with you a Welsh Christian hymn, a Presbyterian one, more exactly, praising Christ. It’s a very recent one really because it has only been written in 1960’s, by a Welsh minister as well as a bard, William Rhys Nicholas. The name of the hymn comes from a farm in today’s Ceredigion, in which the hymn was sung for the first time. This is an instrumental version played by the mother and daughter duo whose music I’ve frequently shared on here before – Delyth and Angharad Jenkins, also known as D&A or DNA. – In this piece, however, Delyth, who is primarily known for being a Celtic harpist, plays the piano, as you’ll be able to hear.

Delyth & Angharad Jenkins – “Pantyfedwen”.

Delyth Evans – “Yr Hen Don/Y Corgi Bach” (The Old Wave/The Little Corgi).

Hey people! 🙂

For today, I chose to share with you a set of two (I think traditional) tunes played on the Celtic harp by Delyth Evans, currently known as Delyth Jenkins. I find both of them really nice.

Delyth Jenkins & Angharad Jenkins – “Can y Bachgen Main/Ebenezer” (Song of the Slender Lad/Ebenezer).

Hey people! 🙂

For today I decided to share with you a set of pieces from this great Welsh mother-daughter, harp-fiddle duo, also collectively known as DNA. I like their arrangement of these tunes very much, I like their arrangements in general. The first one is called “Can Y Bachgen Main”, also known simply as “Y Bachgen Main”, and it does originally have lyrics. It’s about a boy who is walking in the forest when he hears two women talking with each other. As it happens, they turn out to be his lover and her mother arguing. The mother tries to persuade the girl that she should find herself a wealthy husband and that she’s going to find her the right match, but she disagrees and says she’s happy with the boy with whom she is. She emphasises that even if she would be offered all the riches in the world she’d stick to him anyway. That really pisses the mummy, who says she’ll have to sleep on a bed of torns if she doesn’t change her mind. Then we can assume that the girl eventually did what she wanted, as we hear that the girl who sleeps in the lad’s arms is happy, but then in the next verse he goes off to sea, and we don’t even know why. Perhaps he couldn’t deal with the mother-in-law.

The second tune, “Ebenezer” is a hymn, it’s alternate name being Ton-y-Botel (Tune From the Bottle), which I think is a very funny name for a hymn, but it is called so for a very simple reason, namely that it is said to have been found in a bottle along the Welsh coast. It was composed by Thomas John Williams.

Delyth Jenkins – “Mwynder Maldwyn” (The Gentleness of Montgomeryshire).

Hey people! 🙂

Let’s listen to Delythh Jenkins today! I’ve shared some of her music before, solo, with her daughter Angharad, and a project she was a part of years ago called Aberjaber. Today I’m sharing a piece from one of her solo albums.

The Maldwyn (or Moontgomeryshire) in the title is a historical county in mid-Wales which now is a part of Powys. If you’re familiar with Nansi Richards, either from my blog where I’ve shared some of her music, or from wherever else, her bardic name was Telynores Maldwyn, or the Montgomery Harpist, because that’s where she lived. Delyth Jenkins also originates from there, and, curiously, I’ve read that both Nansi Richards and Delyth Jenkins were born in the same place – Oswestry in England, aka the Welshest town in England.

Mwynder Maldwyn is a sort of saying in Welsh, which could be translated as the gentleness of Maldwyn but I guess mwynder doesn’t really mean literally the same thing as gentleness in English. In any case, it’s used in reference to the natural beauty of the area, as well as the traits of the people.

I’ve never been to Montgomeryshire, nor even to Wales, but if I was to form some sort of an opinion about the place from this tune, it must be really extremely beautiful and I’d love to see it, even though nothing can beat Gwynedd for me. 😀

Delyth Jenkins ft. Angharad Jenkins – “Glyn Tawe”.

Hi people! 🙂

Another piece today featuring Delyth Jenkins, this time with her daughter – Angharad – playing fiddle. They’re also known together as DNA. I really really love this beautiful peace. Its title comes from Glyn Tawe, a hamlet near the river Tawe in Powys in Wales.