Welsh Journals

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366 BYE-GONES. May 2, 1900. in pennillion singing the instrument plays the solo, the singer '"accompanies." The art is vari¬ ously defined as "singing with the strings," "singing to the harp," and "singing pennillion or tribanau" (stanzas or triplets.) In addition to the harp the ancient Welsh possessed the crwth and other stringed instruments to which vocal accompaniments could be sung. There were also other instruments, such as the pibgorn and the tabwrdd, in connection with which the singing of pennillion was permissible. The national instru¬ ment was the triple stringed harp; the present pedal instrument is a development, the difference between the two, according to Mynyddog, being that the one can be played with the hand whilst the other cannot be played without put¬ ting one's foot into it! In olden days there existed a close relationship between the bard, the harper, and the musician— they were often one and the same person. The pencerdd in the halls of the ancient Princes of Wales had to be possessed of many accomplish¬ ments. He must be able to make a harp, tune a harp, and play a harp with his own hands. He had to compose his own poetry, and be able to eing it; but he had his reward. It would be well if the old order were restored so that the bard might find again his song and the musician his awen—his reward to be withheld in case of failure. Competition had much to do with the develop¬ ment of pennillion singing. The Cymry had passion for competing, and they had twenty-four chief games, twenty-four staves in music, and twenty-four metres in poetry wherein to give scope. Who can explain the significance of the number 24 in the book of the revelation of our national life? In the time of Hywel Dda, when the pencerdd died his friends competed for his ohair. This very possibly led to the institution of the Eisteddfod chair. The competitors were numerous, for the position was dignified and the pay was princely. When the support of the Princes was lost the people took to singing. The spirit of the renaissance found its note in the harp and the pennill, and "the song that was lost" revived again in the heart of the nation. In the days of storm and stress the song was scat¬ tered, but the notes were not lost. Discord was created, but harmony was not destroyed. The pencerdd was missing, but music lived; the bard was stricken down, but the awen was uplifted. After ceasing to pay the singer everyone sang free. Song and harp became familiar things in the people's homes, and it was thence that sprang the fountains that have made Wales "one sea of song." They sang all mannner of songs—songs of patriotism, songs of sorrow, dance songs, pas¬ toral songs, and love songs. They divided their melodies into sets, which shows that they under¬ stood music and could regulate it. The competi¬ tion was keen not only between the singers but between the singer and the harper. The latter had the selection of the melody. The former's freedom was limited by the necessity for closing his song with the last note of the melody. In competition between singers each singer in the group was entitled in turn to select his metre, the others were obliged to follow, until the group was exhausted. In conclusion, Watcyn Wyn explained the difference between the two modes of pennillion singing as practised in North and in South Wales. In the former the singer accompanies the melody, in the latter he follows the note—sill am dant. The paper was received with much cordiality. After some observations on the lyrical beauty of Welsh poetry by the Chairman, Mr John Thomas, who had played "Rhyfelgyrch Gwyr Harlech," "Penrhaw," "Serch Hudol," and other Welsh melodies with his accustomed mastery, gave an exposition of some of the tech¬ nical points connected with the art and mystery of pennillion singing. Incidentally he referred to the part played by the Royal Academy of Music in the development of the musical talent of Wales, and mentioned the names of Mr Brin- ley Richards, Miss Edith Wynne, Mr Ben Davie3, Mrs Mary Davies, and Miss Katie Thomas, as amongst those whom the Academy delighted to honour. He proposed a vote of thanks to Watcyn Wynn and Eos Dar for their services, which was seconded by Mr Llewelyn Williams, and carried unanimously. I should mention that Eos Dar sang his pennillion with the point and expres¬ sion which have brought him to the front of late years as a popular Eisteddfod singer. — On the proposal of Mr Ernest Rhys, seconded by Mr Vincent Evans, a hearty vote of thanks was given Mr John Thomas for kindly consenting to play and for securing the use of the Royal Academy Concert Hall for the purposes of the meeting. MAY 2, 1900. NOTES. SHROPSHIRE CLOCKMAKERS. — The following list of old Shropshire Clockmakera may be of interest. Names on brass dials :— Thoma3 Evans, Salop, Jas. Webster, Salop, Thos. Nash, Salop, R. Harris, Wellington, Thos. Skitt, Wellington, WTill'm Webb, Wellington, Will'm Peplow, Wellington, Will'm Plymer, Wellington, George Felton, Bridgnorth, Rich. Felton, Bridgnorth, R Stephens, Bridgnorth, Rich. Street, Bridgnorth, Rich. Taylor, Bridg¬ north, James Hinksman, Bridgnorth, James Hinksman, Madeley, Thos. Cooper, Newport, Charles Cooper, Whitchurch, Charles Baddely, Tong, Thos. Stringer, B. Castle, Thos. Wright, Wellington, Thos. Phillips, Ludlow. White Dials: Wm. Herbert, Ludlow, W. Underbill, Newport, Th.Hay, Shrewsbury, Ed wd. Mathews, Welshpool. t.R H. Harley. ARCHBISHOP HOLG ATE.-Robert Holgate, born 1481, at Hemsworth, in the West Riding, was a man of considerable wealth and eminence ; he was bred a Gilbertine, the only English monastic order, of which he became master at Sempringbam, in Lincolnshire. On March 29th, 1537, he became Bishop of Llandaff, whence ho was translated in 1544 to York, becoming fifty- ninth archbishop. lu 1549 he married, an act so