An opportunity to listen to music from the 18th and early 19th centuries played on two wonderful old harps, made in the same period. The story begins with the Triple harp, which was developed in Italy during the Baroque period and was played at the Royal Court in London at the time of Handel. With three rows of strings, the triple harp was difficult to play, expensive to string, and was forgotten by harpists in other countries. Paradoxically, it was adopted by the old Welsh harpists, and became the instrument of ordinary people in Wales. The harp played in this programme was made by the famous Triple harp-maker, John Richard of Llanrwst, circa 1755.

The old triple harp was replaced in most European countries during the late 18th century by new, beautifully decorated pedal harps from France and Germany, enabling harpists to use their feet to transpose to many keys easily. The new harps became popular among fashionable and wealthy ladies of the upper classes in Europe. The most renowned maker was Sebastian Erard, who worked in the Court of doomed Queen of France, Marie Antoinette. Erard had to flee to London during the French Revolution and opened a workshop in Great Marlborough Street, where my harp was made in 1807. It was renovated c. 1990 by Morley harps.
The programme includes music by Handel, Blind John Parry, Edward Jones (The King’s Bard), Rosetti, Spohr and contemporaries.

ARTIST PROFILE
Distinguished harpist Elinor Bennett has been at the forefront of music performance and education and has travelled worldwide giving concerts, recitals and masterclasses. She studied at the Royal Academy of Music in London with the great harpist, Osian Ellis and went on to perform with major British orchestras with some of the world’s finest conductors and composers, including Benjamin Britten, Sir Colin Davis, André Previn. Among the composers who have dedicated music to her are Karl Jenkins, John Metcalf, Alun Hoddinott and Paul Mealor

ELINOR BENNETT LLAIS HEN DELYNAU

Cyfle i wrando ar gerddoriaeth o ‘r 18fed a’r 19eg ganrif ar ddwy delyn a wnaed yn yr un cyfnod. Mae’r stori’n cychwyn gyda’r Delyn Deires a ddatblygwyd yn yr Eidal yn ystod y Baroc, ac yn boblogaidd yng nghyfnod Handel. Gyda thair rhes o dannau, roedd yn delyn gymleth ac yn ddrud i roi tannau arni – ac fe gafodd ei hanghofio yng ngwledydd Ewrop. Ond yn rhyfeddol, mabwysiadwyd hi gan yr hen delynorion Cymreig, a pharhaodd fel telyn y werin yng Nghymru. Gwnaed fy nhelyn deires i gan y gwneuthurwr telynau enwog, John Richard o Lanrwst, tua 1755.

Yn ystod diwedd y 18fed ganril, di-sodlwyd yr hen Delyn Deires yn y mwyafrif o wledydd Ewrop gan delynau pedal mecanyddol newydd o Ffrainc a’r Almaen, a oedd yn galluogi telynorion i newid traw y tannau gyda’u traed. Roedd y telynau cynnar, addurniedig hyn yn boblogaidd iawn ymysg merched cyfoethog a ffasiynnol trwy Ewrop – i arddangos eu harddwch! Y gwneuthurwr telynau enwocaf oedd Sebastian Erard a arferai weithio yn Llys Brenhines Ffrainc, Marie Antoinette, cyn iddo orfod dianc o Baris i Lundain yn ystod y Chwyldro Ffrengig. Gwnaed fy nhelyn i ganddo yn ei weithdy yn Great Marlborouigh Street, Llundain yn 1807.

Mae’r rhaglen yn cynnwys cerddoriaeth gan Handel, John Parry Ddall, Edward Jones (Bardd y Brenin) Rossetti, Dussek a Glinka.