Scroll down for Welsh

I take great pride in the weekly Welsh show, , which I present on a Monday night at 7pm on ������̳  - the Welsh language radio station from the ������̳.  In fact, every night on ������̳ Radio Cymru, we play all the best Welsh language music, and there are so many great artists making music all the time. Once you discover it, you'll find five more artists doing great stuff, and so on and so on. It's a never ending well of great music!

The Y Selar Welsh music awards, this Saturday night in Aberystwyth, are a way of celebrating and showcasing that talent in one big busy night of music, friends, and the awards themselves. Scroll through the music and you'll hear why the Welsh language scene is so vibrant right now.

The sheer variety of artists from solo musicians to bands and electronic composers, to hard-to-categorise projects make us very proud, and that's why we at Radio Cymru will be broadcasting the night live online for the very first time.

The sets themselves, and the awards given out on the night, really do make it a special occasion that we're delighted to be showcasing. Hundreds of tickets have been sold, and the annual highlight will sound and look great I think! See, or hear, you there!

Watch live coverage of the Y Selar Awards on and .

Listen again to highlights of the Y Selar Awards on the  programme on Radio Cymru, Wednesday 24 February at 7pm.

Gwobrau’r Selar - noson fawr, brysur o gerddoriaeth ar gael ar-lein am y tro cyntaf gyda ������̳ Radio Cymru

Rwy’n falch iawn o’r sioe Gymraeg wythnosol, , sef y sioe rwy’n ei chyflwyno ar nos Lun am 7pm ar ������̳ - gorsaf radio Gymraeg y ������̳.

Yn wir, bob nos ar ������̳ Radio Cymru, rydyn ni’n chwarae’r goreuon o gerddoriaeth Gymraeg, ac mae yna gynifer o artistiaid gwych yn creu cerddoriaeth drwy’r amser. Unwaith y byddwch chi’n darganfod cerddoriaeth Gymraeg, fe fyddwch chi’n darganfod pum artist arall sy’n gwneud pethau gwych, ac yn y blaen. Mae’n bwll di-waelod o gerddoriaeth wych!

Mae gwobrau'r Selar, nos Sadwrn yma yn Aberystwyth, yn ffordd o ddathlu a dangos y doniau hynny mewn un noson fawr, brysur sy’n llawn cerddoriaeth, ffrindiau a’r gwobrau eu hunain wrth gwrs. Sgroliwch drwy'r gerddoriaeth sydd wedi’u ac fe glywch chi pam fod y sîn Gymraeg mor llewyrchus nawr.

Mae amrywiaeth yr artistiaid, o gerddorion unigol i fandiau a chyfansoddwyr electronig, i brosiectau sy’n anodd eu rhoi mewn categori, yn ein gwneud ni’n falch iawn. Dyna pam y byddwn ni yn Radio Cymru yn darlledu’r noson yn fyw ar-lein am y tro cyntaf eleni.

Mae'r setiau eu hunain, a'r gwobrau sy’n cael eu cyflwyno ar y noson, yn golygu bod yr holl beth yn achlysur arbennig iawn, ac rydyn ni’n falch o allu rhannu hynny â chi. Mae cannoedd o docynnau wedi’u gwerthu, a bydd y noson ei hun yn swnio ac yn edrych yn wych yn fy marn i! Fe wela’ i chi, neu fe glywa’ i chi yno!

Gwyliwch Wobrau'r Selar yn fyw ar ac ar .

Gwrandewch eto ar uchafbwyntiau Gwobrau'r Selar ar raglen ar Radio Cymru, dydd Mercher 24 Chwefror am 7pm.

Having performed last year at the First Night of the Proms, the Chorus were chuffed to be invited back this year. The ������̳ choral family - , and joined forces for the first time and with just a short rehearsal before the concert, broadcasting live to tens of thousands of people on television and radio, it’s was an exciting and nerve-wracking time. There were over 400 of us performing Belshazzar's Feast (by William Walton) and the sound that filled the Royal Albert Hall was phenomenal.

There was no rest for me as we went straight into a Prom the next night. Over the last year our Orchestra has engaged with thousands of children through the project, which culminated in two Proms. With a life sized Firebird (inspired by Stravinsky) flying through the Royal Albert Hall, trolls causing chaos and our Principal Conductor Thomas Søndergård teaching Dick & Dom to conduct, you could see and hear the excitement of some the Orchestra’s youngest fans.

Outreach work is another part of my role so just before we started the Proms, the Orchestra, a few Chorus members and I introduced these Ten Pieces to schools in North and Mid Wales. Teaching the children to sing Zadok the Priest (by Handel) and creating thunderstorms with our hands was lots of fun!

With a few more Proms ahead of us it's a very busy time of year but for the Chorus and Orchestra it’s definitely a highlight, and of course bringing some of the magic of the Proms back to Wales at Proms in the Park in Swansea is the perfect finale for us.

Find out more about ������̳ National Orchestra and Chorus of Wales at the Proms on the website.

And you can see all of ������̳ National Orchestra and Chorus of Wales’s latest Proms at 

So what does that actually entail? What is the point of ‘workshopping’? During these workshops, we briefly rehearse and perform each of the composers’ works, and then there will follow a period of interaction between the composer, conductor and orchestra on various technical and musical aspects of the work.

For some composers, it will be the first time they have had the opportunity to work with real live musicians (as opposed to hearing their work on a computer, or in a piano reduction, or in their head). This can mean that sometimes they need a little guidance with regards to how to express an idea practically on a particular instrument.

For example, rapid semiquavers in the bass area of a piano with one note in every four a note from the high treble range will sound fabulous on a piano, but the same effect is unlikely to be achieved if you ask a whole viola section to play this. This of course does not mean that the musical idea is invalid, simply that some consideration must be given as to how to achieve its expression. One of the primary purposes of this workshop is education, and so we aim to help the composer to better their ability to convey their ideas through writing intelligently for the instruments used.

In addition to this, the opportunity to work with an orchestra can massively broaden the soundscape of a developing composer. The sounds, colours, and textures an orchestra can create are infinite, and given the chance to control the orchestral forces there can then be a temptation to use everything at once, simply because it’s there (I know if it were me, I’d have church bells, organ, two sets of timps, double brass and 18 violas in everything…and an alto flute, I love the alto flute).

However, having had the opportunity to include everything (plus the kitchen sink) hopefully the composer can leave the workshop bowled over by all the tools at his disposal but with a more measured approach to using them - a more refined palate, if you will.

After a further day of workshops on 31 March, a selection of the eight works will then be chosen for presentation in a concert on 1 April. In the rehearsal on the day, the composers will be treated as though they were any other composer who has come in to work with the Orchestra.

They are expected to be able to answer any questions arising from the score that are unclear, to be able to answer on the spot any harmonic queries and to solve any other problems that arise, as well as give concise useful information about the expression of the piece. A pretty daunting task, but an amazing opportunity.

It must be an incredible sensation to hear the work you have put so much into come alive. I hope the eight participants are excited, and feeling rightly proud of themselves for being chosen, as we had an incredible response to the call for scores. 

Find out more about ������̳ NOW’s Composition: Wales project by visiting the . Free tickets for all of the workshops are available by calling 0800 052 1812.

On the same Sunday, will speak to violinist and conductor, , in her at 9pm. Twelve hours earlier, Beverley will be joining for a 30 minute special on to mark the anniversary of the Cardiff songwriter’s birth. And as if that wasn’t enough, one of our 12 featured artists in the ������̳/Arts Council of Wales’ scheme, , will be performing live on at 11.

There are two live sessions on this week. On , the Radio Wales Artist of the Week, (Pwllheli’s and Mississippi born ) perform their new song, Paradise.

And on , the one and only performs songs from a new album marking the 25th anniversary of (That makes me feel old!!).

I’m not sure how got away with it (probably because he’s off presenting the Masters snooker this week) but ended up with homework after . Wynne has seven days in which he needs to learn AND pass a Grade 1 flute exam. Can he do it? Find out in . And if you missed anything, there’s plenty of audio and visual highlights of Orchestra Day on .

With Jason away at the Snooker, is here at 10 all week. Throughout the week, you can follow the audio diaries of author Paul Barrett from a recent trip to Lebanon.

Elsewhere this week, Brian Meechan’s back on Thursday with a new series of , and there’s European rugby action for all four of our regions, including live commentary of Ospreys versus Northampton (Sunday 5pm).

Finally, a treat for fans of the amazing Broadchurch – Welsh stars Matthew Gravelle & Eve Myles spoke to  and Matthew specifically .

Have a great week.

Steve

Our coverage of World War One continues with a new three part series: sees Aled Eurig presents a history of Wales and the pacifism movement during the First World War.

Tackling in the War in a completely different way, meet - aka hapless Great War correspondent Aneurin Davies. He’s the subject of our Friday night comedy through January. Check out .

A century ago, Caradoc Evans wrote a collection of short stories called ‘My People’, which caused such a storm he became known as ‘the most hated man in Wales’. Rachel Trezise takes up the story in a special edition of the on Wednesday at 6.30.

Llandudno’s Courteous Thief have the honour of becoming the first Radio Wales Artist of the Week of 2015. You can hear their new song, Red Ribbons, across the station this week. They’ll be live in session with Eleri on Wednesday. On Thursday Eleri speaks to our very own Elis James about his new comedy Crims.

And talking of comedy, Ross Noble joins as she returns after her Christmas break on Sunday at 2.

So that’s week 1 of 2015. The other 51 will include a General Election, a Rugby World Cup, Cardiff Singer of the World, obviously another Grand Slam and - it goes without saying - qualification to a major football tournament for the first time in my lifetime!

I’m off to the bookies.

Steve

You also can hear ������̳ NOW's soundtracks on the new Doctor Who game,��,��and on the��Wizards vs Aliens game,��.

��

LS: How long does it take to rig and de-rig the studio?��

HT:��A normal concert rig takes about 2.5 hours. Soundtrack recording requires every player to hear a pre-prepared click track relating to the picture - to achieve this 80 pairs of headphones are also rigged. The additional requirements mean a soundtrack rig can take up to four or five hours.

De-rig can be as quick as 40 minutes for a small concert, but 2 hours for soundtrack - it's quite a workout, coiling cables and squatting to pick up all the headphones that are thrown to the floor at the end of the session!

LS: What happens in the recording suite during a soundtrack session?

HT: The orchestrator prepares the music to be recorded in small sections of 30 seconds to three minutes. The click-track for each 'cue' has been loaded onto the multi-track recorder during the preparation. I set up the mixing desk with each mic routed to its own fader, and check that the multi-track computer is recording the right mic. The multi-track is run giving the players a 'count-in' to start playing, and the faders are adjusted to create the balance. This is repeated with each cue until the composer is satisfied.

LS: Tell us a little about the orchestra's recording suite��

HT: The control room has the latest technology - digital mic amps in the hall, connected to the mixing desk in the control room via optical fibre. The desk has 42 physical faders, but works over several layers. It could take a couple of hundred microphones if needed!

The output can be recorded in stereo on CD, DVD, Compact Flash and multi-track. Programme is monitored on loudspeakers. If we are doing a live transmission we connect to the outside world via ISDN.

LS: Why do the panels above the auditorium in ������̳ Hoddinott Hall move?

HT: The hall has an adjustable acoustic, with remote-controlled acoustic 'duvets' fitted to the upper sections of the walls to absorb sound. The reverb time can be changed from 1.5 to 2.2 seconds and is changed to suit the repertoire.

LS: You are an important part of the orchestra’s touring team, what challenges do you face on the road/outside broadcast?��

HT: Getting through the very long days without things going wrong! The sound team travels to and rigs a venue long before the orchestra arrives - we also have to find food, if there’s time!

We troubleshoot during rehearsal, and then ensure the concert sounds good and is recorded on several formats, just to be on the safe side. While the players go to the pub afterwards, we are left to de-rig - the bar is usually closed by the time we finish.

If the concerts are abroad, you are also dealing with strange locations, the language barrier and added problems due to the vast distances. And there’s usually no time for sight-seeing!

LS: What is your favourite type of project to work on, and why?

HT: I get so much pleasure from working with music, whether it's a small classical concert for radio, or a five-day remix for television; the work is different every day. Recent award nominations (Emmy, RTS, BAFTA, BAFTA Cymru) show that the work is of the highest quality.

LS: What was your route to becoming ������̳ NOW's Senior Audio Supervisor? What advice would you give to any youngsters wanting to train in your area?

HT: I had an interest in physics and music at school and on completing a music degree, I thought about becoming a professional trombonist, but decided on a career in broadcasting instead. I was lucky to join the ������̳, and over the years have worked in TV and radio on news, sport, music, drama and education; finally specialising in music, and eventually, exclusively with ������̳ NOW.

Anyone wanting to get into the industry should aim for one of the music technology or Tonmeister courses at university. Unfortunately there are few job openings, so personal contacts and enthusiasm are good to have.

��

Find out more about a career in broadcasting by visiting the .

This was just the latest example of the incredible surprises that the ������̳ Wales and Arts Council of Wales Horizons scheme has thrown up. Since being announced as one of the on the scheme, we have travelled the length and breadth of Wales, performing, recording and learning.��

Throughout the summer, we have played some brilliant festivals which we have never performed at before, from the fascinating to the beautiful ; from the magical to the downright mad . The audiences have all been fantastic, and we can now proudly claim that we know how to pronounce most festival names (especially ).

Away from the fields of tents, our music has also popped up unexpectedly in some very different fields - sports fields to be precise. Being chosen to cover the legendary ‘Can’t Take My Eyes Off You’ to soundtrack the Welsh Euro Qualifiers has been great fun for us. I highly doubt that our old Whitchurch High School PE teachers would’ve believed that our faces would be fronting a ahead of Gareth Bale...but judging by the results, I’d say it’s working...

A few weeks ago, we were suddenly informed there was an “80% chance” we were going to India. This was something so out of the blue, so huge, that we were convinced it wouldn’t happen. The confirmation day came and passed without word, so we decided to go for a consolation curry instead.

But before the daal of disappointment could be eaten, the news came – Houdini Dax were going to tour India. It’s such an incredible opportunity that we’re still sceptical even while receiving our Hepatitis jabs (better safe than sorry). Having spoken to , who went over last year, we cannot wait to immerse ourselves in the country.

Our tour starts in Calcutta, to play (the Indian equivalent of Glastonbury). We then fly to Mumbai for a showcase in the fantastically named Blue Frog, before another flight to Bangalore to end in another NH7 festival.��

Our experience with Horizons is far from over, with a session not long after we return to Blighty. However, we can already say it’s been one of the most rewarding experiences of our career!��

��

Follow Houdini Dax’s journey to India and get all the latest news from the ��or search on Twitter for .

��

We are delighted that two of our concerts have been highlighted by the festival. Firstly, our second trip to the Swansea Festival of Music and the Arts on 17th October, when we will present a concert of favourites from both the orchestral repertoire, and from stage and screen. Ahead of our UK-wide tour with the Doctor Who Symphonic Spectacular, we will be performing both old and new Doctor Who music, as well as works included in our recent cinematic debut, Ten Pieces.

��

Our second event included in the Family Arts Festival is our ever popular (with both audiences and players, who always love the chance to dress up!) Halloween Spooktacular. This concert takes place on 26th October at St David’s Hall, Cardiff, and early booking is highly recommended! Here you will get the opportunity to see the Orchestra play alongside members of the National Youth Orchestra of Wales, in a spooky themed concert. It is a great privilege for us to have the opportunity to work with some of Wales’ finest young musicians again.

��

��

These are concerts that are designed to be universally popular, but I would encourage parents not to be anxious about bringing children to our regular concert series too - it is a pleasure to see youngsters being brought along. If you are concerned about your child having a ‘moment’, you can request a seat close to an aisle or an exit for swift getaways, or just to be able to give them a little time out. Rest safe in the knowledge that we think a good deal of you for giving your little one the opportunity to hear live music, and you will be wholeheartedly welcome!

��

��

Tickets for the Orchestra’s family concerts are available by visiting the or by calling the ������̳ NOW Audience Line on 0800 052 1812.

��

For more information about the Family Arts Festival,��visit their

Corigliano discovered the work of Dylan Thomas while still a student, and so began an unending love affair with the Welshman's writing. On his website, Corigliano talks about the musicality of Thomas' language. This is something that I very much hear myself, and I think it is characteristic of the Welsh tongue in general - the rises and falls, the lilts and the lulls of each nuance found in the spoken word. Perhaps I only notice this in contrast to my own rather guttural Northern Irish tones!��

John Corigliano A Dylan Thomas Trilogy (1976 - revised in 1999) - an oratorio for soloists, chorus and orchestra. Originally considered to be a work for soloists, chorus and orchestra based on a sacred text (think Handel's Messiah, Mendelssohn's Elijah, etc), in recent years, the nature of the oratorio has changed somewhat.

Nowadays, an oratorio can be based on any writing whether sacred or secular, although it remains different from opera in that there is no acting involved, and little or no costume or set. Perhaps, it is more the case that today the texts or subjects used are those personally sacred to the composer, for example Schnittke's 'Nagasaki', Paul McCartney's Liverpool Oratorio, or Richard Einhorn's The Origin, based on the writings of Charles Darwin.

The work is drawn from three poems – , and Poem on his Birthday – and the work is drawn together by Author's Prologue. You might find it interesting to familiarise yourself with these poems before the concert, although I'm sure the music will speak for itself.��

We have a stellar line up of soloists to bring to our Swansea audience. A Dylan Thomas Trilogy has an air of 'the ages of man' and this is reflected in the voices. We will be joined by treble, Michael d'Avanzo, a chorister at Hereford Cathedral, my fellow country man, the wonderful Robin Tritschler (tenor) who is a current ������̳ New Generation Artist, and by one of my favourite baritones, Roderick Williams. You may have spotted him on the Last Night of the Proms from the Royal Albert Hall with our colleagues - what a voice!

It is always a pleasure to return to Swansea; the warmth of welcome the orchestra receives there is wonderful. We return to the Swansea Festival on the 17 October for a family concert that is also part of the UK-wide Family Arts Festival. Now that we are back in the Brangwyn, I personally shall also be returning to my favourite fish and chip shop, and shall be enjoying my whatever-the-weather pre-concert ice cream from a certain ice cream parlour near the hall!

If you would like to hear more oratorio with the ������̳ National Orchestra and Chorus of Wales, book your tickets now to hear Elgar's glorious at St David's Hall, Cardiff.

������̳ National Orchestra and Chorus of Wales perform John Corigliano's A Dylan Thomas Trilogy on Saturday 11 October as part of the – visit the for more info and for tickets.

It feels like eons ago since we spent a number of days in an airport hangar in deepest, darkest Wales.��We were coached out to the 'top secret' location - it felt a bit odd turning up��in our concert finest��to what was essentially a large field with a few cows in it - and then ushered into the hangar.

The first thing that struck me was how huge the space was! Dark, cavernous, and completely empty but for the orchestra and the lighting and camera rigs, the hangar made an impressive, blank stage upon which to create some magic with lights, a little bit of smoke, and (if you've now seen Ten Pieces you will also know) a lot of water.

Filming is a much more start/stop process than recording. During soundtrack recordings when we finish a take we very quickly move into another take, or onto another cue, almost without pause. However, because of the necessity of resetting lights, camera positions and sometimes special effects, there is often a lot of sitting around between takes in filming.

To be honest, I even found the sitting around interesting. TV and cinematic production is a form of sorcery, and it was fascinating to watch how various effects were created. Lighting effects certainly added an extra energy to some of the works - playing bathed in an ominous red glow definitely helped to create the war-like feeling.

My favourite effect, however, came at the end of (when the bells toll for the breaking of dawn). To signify the day breaking and the end of the frolicking of all the evil beasties, the hangar doors were slowly opened to allow a sliver of bright light to fall across the orchestra. It was really quite beautiful, even if, at the time, the most astonishing thing about it was that it was so sunny outside - inside the hangar there was no sense of time at all as there was no natural light whatsoever!

Amusing things happen during recording of any type - for one work it was felt that the cameras couldn't get quite the right passing close up shot of the faces of the woodwind, so the players were asked to play with their stands about six feet away from them in order to create a little track for the cameras to travel between the stands and the players. The stands, of course, were then too far away for any of the players to read, so they had to play the movement by memory or by dint of much squinting.

Of course, Ten Pieces is about much more than our on-screen cinematic debut. It's also about a lot more than just Ten Pieces. It is an unprecedented, organised attempt to engage children with classical music.

There are follow up projects, ambassadors, champions, and a plethora of other material created for the project. If your child has seen Ten Pieces we would love to hear from you. If they enjoyed it, why not bring them along to see the spectacle live?

.

Friday evening’s season opening is one of those programmes that makes me want to purr like a satisfied cat. is a work I’ve loved to listen to and play since I was young. I think the writing in this symphony is everything you need to know about Sibelius - exuberant brass, strings playing swirly figures like leaves or snow being whipped up by the wind, folk-like melody in the woodwind, all the ingredients are there! It is always a pleasure to play Sibelius with our , and I hope the audience enjoy his approach to Sibelius’ music as much as I do.

However, it is the inclusion of on the programme that really has my excitement piqued. The culmination of a life’s work, the Four Last Songs were composed in 1948, the year before Strauss’ death at the age of 85. The world in 1948 was in post-war turmoil, and was a world changing at an incredible pace.��

The Four Last Songs however, are an artist’s deeply intimate summation of his own personal time and career, untainted by the events unfolding around the globe. Strauss’ love affair with the soprano voice is well documented, so it is fitting that it was the highest female voice he chose for his swan song.

The first three Songs are settings of words by Herman Hesse, and the last Song is based on a poem by Joseph von Eichendorff. The work opens with Fruhling (Spring) and is a blissful hymn to love. The second Song, September, tells of the passing of summer to autumn and closes with one of the most beautiful horn solos, which I think our Principal Horn Tim always plays exquisitely.

After the autumn of man’s day comes old age, which is the subject matter of the third Song ‘Beim Schlafengehen’ (‘Going To Sleep’). In spite of the weariness spoken of in the words, there is also the desire for the soul to fly unfettered, and if the violin solo and the soaring vocal line don’t bring you close to tears, I will personally buy you a drink after the concert. The final of the Songs, ‘Im Abendrot’ ('At Twilight’), is one of gentle, welcome release - the grateful thanks for a life well lived - and includes a short quote from his work ‘Death and Transfiguration’.

As the composer faced his final days, there was no sense of fear in his writing. When I listen to the Four Last Songs I hear the best of Strauss’ ecstasy, exuberance, decadence and tenderness. In my opinion, this is one of the greatest works of all time - I’ve played it countless times, and I never tire of it. Depending on my mood, I find something new in it every time. This is music that touches the core of one’s humanity - all of our our frailty, our passions, our undying desire to strive. To me it is perfect.

������̳ NOW open their St David’s Hall season on Friday 3 October at 7.30pm. For tickets and more information visit the ��or call the orchestra’s Audience Line on 0800 052 1812.

The concert will also be and available on iPlayer for 30 days after broadcast.

As our season opener draws closer, I was keen to find out a little more about our new Composer-in-Association, and so did what every self-respecting, techno savvy, nosy person would do - I looked him up online. The first thing I came across was a recording of his Horn Concerto on YouTube. I clicked play and held my breath. Would I like it? Would I 'get' it? Was I about to see my entire season swallowed up by necessary (and, at times, seemingly futile) note learning?��

I must admit I exhaled with no little degree of relief as the music filled my headphones. We can't always like what we play, but it is a real bonus when one does! From what I've heard, Andersson's music is lushly scored, colourful and really rather romantic. While the orchestral writing is virtuosic, it is not needlessly so - it is not technically clever for the sake of being clever.

Most importantly for me, his music has a soul to it - I find it difficult to immerse myself in music that leaves me cold, but there is a warmth and a voice to the writing that really connects with the listener. We won't be performing the Horn Concerto on Friday evening (though I hope we have a chance to at a later date) but and tell me what you think - better still, come to St David's Hall on Friday evening and let us know what you think!

We will have four opportunities to work with Mr Andersson during this season. For the season opening we will perform his The Garden of Delights, of the same name. Then, in January, Mr Andersson will take to the podium himself to conduct a programme of Swedish music in an afternoon concert in the intimate setting of our ������̳ Hoddinott Hall studio.��

The following month, audiences have the opportunity to get to know B Tommy Andersson himself a little better as we present a Composer Portrait focusing on the work of the composer himself. Finally, in our closing concert of the season in June, we will present Satyricon, B Tommy Andersson's work inspired by what I can only describe as an exceedingly racy Roman novel.

It is exciting for the orchestra to be forging such close links between Wales and the international community. B Tommy Andersson joins Mark Bowden on our composition team reflecting not only the orchestra's commitment to encouraging both the creation of work in and from Wales, but also its outward-looking perspective - putting Wales at the forefront of the international music scene.

The introduces B Tommy Andersson as their new Composer-in-Association at this Friday's concert at St David's Hall, 7.30pm. For tickets and more information, visit the .

The steel tycoon’s dogmatic insistence that his sons follow him into the family steel business resulted in much animosity at home (Brahms likened the family atmosphere to that of being in court), and it was only after the death of three of his sons, who tragically took their own lives, that Karl relented and allowed Paul and his younger brother Ludwig (who would become a celebrated philosopher) to pursue artistic endeavours. It is perhaps interesting to note, however, that Paul waited until after his father’s early death to make his debut.

It was while serving as a German officer in the First World War that Paul lost his right arm. At the Russian front, his elbow was shattered by a bullet and the young musician woke up in a field hospital, not only without his right arm, but also as a prisoner of war as the camp had been taken by Russian forces whilst he was unconscious and receiving treatment. His debut had been but one year earlier.

It takes a certain type of character to overcome such adversity and it was whilst still in a prisoner of war camp in Siberia that Paul not only decided to continue his career as a pianist, but also began writing letters commissioning works to suit his needs. I think his resolve and decision to commission works for one-handed pianists shows incredible foresight.

He didn’t want to be applauded for being able to traverse arrangements of mainstream repertoire in spite of his disability, acclaim that would unavoidably be tainted with sympathy or charity. Instead, Wittgenstein wanted works that would show his prowess as a musician, regardless of his disability.

For me, is the pinnacle of the works commissioned by Wittgenstein, but it's just the tip of the iceberg of this remarkable pianist’s musical legacy. Korngold, Hindemith, Richard Strauss (with whom Wittgenstein had played piano duets with before the war), Britten, Prokofiev, and many more, all took up commissions by Wittgenstein. The Ravel Concerto for the Left Hand is no curio - it is a legitimate work of a bona fide genre.

Perhaps even more important than Wittgenstein’s musical legacy is his legacy as a performer. There are many reasons for a pianist to lose, or never have the use of, either arm but Wittgenstein not only created a core repertoire for such pianists, but also proved that such an apparent handicap need not exclude one from forging a musical career, or having the enjoyment of expressing oneself musically.

In no small way, because of Wittgenstein’s legacy, many one-handed pianists have risen to acclaimed musical prominence - Gary Graffman, Leon Fleischer, Cor de Grot, and most recently, Britain’s own Nicholas McCarthy who performed with our orchestra during the ������̳ Radio 3 piano celebration a few seasons back.

It is a marvel to hear anyone perform this concerto. My own pianistic skills are so limited that I stand in awe of anyone who can make the piano sound like a musical instrument - sadly, in my hands it sounds like nothing more than a glorified tuned percussion instrument. Come to our performance with ������̳ Radio 3 New Generation Artist Louis Schwizgebel or tune in to .

Ravel’s Concerto for Left Hand will be performed live at ������̳ Hoddinott Hall on Tuesday 23 September at 2pm. For tickets and more information, call 0800 052 1812 or visit the .

Paul Wittgenstein image licensed under the license.

Proms in the Park is a celebration, not just of the Proms season, but of music making within each region, and this year we will be joined by a young artist from the roster.

This is an important venture by ������̳ Cymru and the Arts Council of Wales that is giving a great platform for exposure to fresh Welsh talent. Casi is a singer-songwriter from Bangor, singing in both Welsh and English. Her voice is hauntingly beautiful, and you can get a taste of her music on the .

Playing outdoors presents many challenges to a musician. When one plays in a studio or a concert hall, the sound of the instrument is reflected off the walls and surfaces of the venue, and one works with the room's natural acoustic.

For example, the Brangwyn Hall has a very resonant acoustic: sound travels in it very easily and stays 'alive' for a long time, so in order to maintain clarity you have to play notes a lot shorter than in the Grand Theatre, Swansea, which has a very dry acoustic and so requires you to play notes longer.

When one plays outside however, there is no natural acoustic really to speak of. The space is simply too big, and it feels a little bit like you are working very hard and the notes are just travelling two inches out of your instrument before plopping onto the stage by your chair.

For this reason, at the Proms in the Park the orchestra will be mic'd up, so the audience will be able to hear everything perfectly. Each string player will have a little individual microphone attached to the bridge of their instrument. The challenge here is to remember that the microphone is there, and not walk away still attached to the microphone lead, consequently chancing damaging your instrument's bridge!

The weather can be an issue, even when it's dry, as playing when it's cold is not particularly pleasant. In particular I find the infamous Hornpipe in the traditional segment of the Last Night of the Proms programme difficult with cold, stiff fingers. I shall be wearing many layers, and I might invest in a little pair of those pocket hand warmer things to help keep my fingers mobile.

There are other things to look out for - flying insects, colleagues attaching pegs to the back of your concert clothes (they're supposed to be for keeping the music on the stand when it's windy) - but in general, Proms in the Park always has a wonderful atmosphere and, even in slightly soggy conditions, it is a lovely shared experience between musicians and audience.

My favourite bit is the sing-a-long at the end - who doesn't love a sing-a-long, I ask you?! It's not just the singing that I love though. I think there's something very special about that moment when there is the live link up between Glasgow, Belfast, Swansea and the two London venues. For that moment there is such a lovely warmth, solidarity and shared joy right across the country and, for me, that is one of the moments which best captures the spirit of the Proms.

Proms in the Park, Swansea, takes place on Saturday 13 September at Singleton Park. For more information visit the .