1974 He won a degree in Fine art at Sheffield School of Art where he gained the Stowell Award
which he used to measure and photograph metal-strung Harps in Irish collections. He made his
first historical harp in this period and began his research into the Robert ap Huw manuscript.
1987 opened workshop making Irish and Welsh historical harps. Measured extant crwths in Welsh collections.
1992 Belfast Bicentennial Harp Festival, read paper.
1993 Amhurst Early Music festival (Historical Harp Society), read paper.
1994 co-founder, singer of classical Welsh poetry and crwth player of Lyrae Cambrenses
with William Taylor (harpist). Practical exploration into the music of Robert ap Huw’s manuscript.
Made first forays into setting up and playing of the crwth
1995 Toured Yemen with Lyrae Cambrenses (British Council)
The Performance of
Medieval Welsh Poetry
with Voice, Lyre, Harp and Crwth
This lecture will examine the role of the crwth and harp in playing
the bardic music of late-medieval Wales. The lyre, predecessor to the harp and crwth, will also
be considered. The theoretical background to bardic string music ‘cerdd dant’ will be presented,
showing how it resembles, and differs, from high-art music elsewhere in Europe.
I will show its
links to antiquity and what this means under the instrumentalists’ fingers. How does a crwth
player play from Robert ap Huw's harp tablature?
I will touch on the problems of setting bardic poems to the music in the Robert ap Huw
manuscript and on how the duo, Bragod, have raided late-medieval forms, selectively, to provide
a compositional basis for setting Welsh poetry from the early-middle ages on lyres.