Côr y Penrhyn

A History of the Penrhyn Male Voice Choir

Published by

THE PENRHYN MALE VOICE CHOIR

© Members of The Penrhyn Male Voice Choir

All rights reserved. No part of this publication may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording or otherwise, or stored in any restricted system of any nature without the written permission of the copyright holder. Such written permission must also be obtained before any part of this publication is stored in a retrieval system of any nature

Acknowledgements

The choir’s committee would like to thank the following people for their help in compiling this history of the choir. 

Emyr Fôn Evans (B1) for assisting with the research and for putting the choir’s archival material in order. Emyr Roberts (T2) for his help in co-ordinating various aspects of the work, and Dr. Gwilym Owen (T2) for structuring and writing this history of the choir.

Dr. Catherine Jones for making her PhD thesis available to the choir and her supervisor, Mr. Wyn Thomas. Miss Claire Burgess and Mr. Caleb Rhys Jones for making their undergraduate dissertations available. 

Gwyn Burgess (T2), Dafydd Pritchard (T1), Idwal Jones (B1) and Gwil Owen (B2), who have each been members of the choir for over fifty years, for reading previous drafts of the work and for making constructive comments. 

Alun Davies for his services in presenting this history on the choir’s website, and to Paul Rowlinson for his translation services. 

Menai Williams, Brian Pritchard (T2), Dr. Frances Davies, Owain Arwel Davies, Raymond Roberts (T1), John Outram (B1), Tom Williams (T2), Dafydd Jones-Morris (B2), Raymond Roberts (T1), John  Outram (B1) a Hywel Thomas (T1), for their individual contributions noted in this work, and James Griffiths for his assistance in looking over the section about the choir’s conductors and accompanists. Finally, Gwilym Owen (T2) would like to thank his son, Gwyn Owen, for sparking the idea and providing the inspiration for this project

Contents

• Acknowledgements
• Introduction
• Early evidence of slate mining in the region
• Timeline for beginning of the choir
• R.D.Griffith
• Bethesda Chapels
• Summary of main eisteddfodau and concerts 1935-1984
• Summary of main eisteddfodau and main concerts 1984-2025
• Conductors and accompanists
• Current soloists
• Occupations of choir members
• Memories of concerts

XM2138.32a	XM2138.32b
By kind permission of Archifdy Gwynedd Archives

The choir outside  Windsor Castle By kind permission of Archifdy Gwynedd Archives XS3364.5

Introduction

In August 1984 a former member of the choir, Elfed Jones, published a booklet entitled “Côr Meibion  y Penrhyn, Ddoe a Heddiw” (The Penrhyn Male Voice Choir Yesterday and Today . This tells the history of the choir from its early days at the beginning of the 1880s and narrates the choir’s trip to the Chicago World Fair in 1893. To set the scene, he describes the contributions made by some of the early musicians in the Ogwen valley prior to the 1880s: Robert Williams (Cae Aseth), David Roberts (Alawydd), Owen Davies Humphreys (Eos Llechid), and Edward Stephen (Tanymarian).  His booklet does not go into detail concerning the Great Strike of 1900-03 as that history is well known. In short order, the choir stopped competing after the Great Strike and during the First World War 1914-18 which followed.

The choir reformed in 1935 to compete in the National Eisteddfod in Caernarfon that year. Elfed Jones then goes on to narrate the main Eisteddfodau in which the choir competed thereafter.  He describes the start of the choir as being in 1935 and then provides details of the choir’s conductors and accompanists down to 1984. Interesting stories of the choir’s main trips and concerts are also included in the booklet. 

The aim of this account of the history of the Penrhyn Choir is not to take the place of Elfed Jones’ excellent booklet, but rather to add to it by adding certain facts about the history of the choir since his 1984 narrative was published. These facts were not available to him at the time, and in particular the opportunity will be taken to reassess the timeline of the choir considering this further information. 

The topics which will be commented upon in this narrative will include those before 1935 and those thereafter. This history of the choir will begin with a brief history of slate quarrying in the area in the period prior to the modern Penrhyn quarry. The history of the Penrhyn quarry is well known and, understandably, was not considered by Elfed Jones. However, quarrying and the history of Bethesda go hand in hand, and it lies at the heart of anything concerning the Penrhyn choir. What is not as well-known is the history of slate quarrying in the area prior to the Penrhyn quarry which we can see today. 

The story will then move on to analyse the timeline for the choir based upon further evidence which has been unearthed. Some more information has come to light about the 1893 trip to Chicago and this will be commented upon. 

Further research at Gwynedd Archives has revealed some old images of the choir which were not included by Elfed Jones together with old concert programmes, and copies of some of these images may be added to this work in the future. 

It will be recalled that mention was made of the fact that Elfed Jones narrated the contributions made by certain eminent musicians in the Ogwen valley prior to the 1880s. Since his publication, Claire Burgess has written a bachelor’s dissertation about R.D. Griffith whose contribution to music in the valley has gone largely unnoticed. Further, the choir’s deputy conductor Caleb Rhys Jones has recently written a bachelor’s dissertation concerning the early history of music in the Ogwen valley and details of both dissertations are provided. 

1935 marks something of a watershed in the choir’s history for reasons which have been explained previously. It is important to note that despite the best efforts of the committee of the Penrhyn Choir to track down records of the history of the choir by reference to minute books covering the period 1935-67, no records have come to light. The only records of minutes begin in 1967, and the choir is in the process of digitising all available extant minutes of choir committee meetings. 

Although the purpose of this narrative is to add to Elfed Jones’ work down to 1984, the opportunity will be taken to go beyond that in certain discrete areas. For example, this account will provide a list of all known conductors to the present time to include those identified by Elfed Jones.  The main Eisteddfodau and concerts between 1935-1984 and 1984 down to the present time are listed.

A project undertaken by the choir between 2020-25 has been to go through old documents belonging to the choir and to bring them together in an orderly fashion. During this exercise copies of old musical scores, once used by former soloists of the choir in concerts, were found and details of the current soloists will be provided. 

Certain members of the choir have stated that it would be of interest to consider how occupations of choir members have changed over time, and this will be commented upon.

This narrative includes some of the most notable concerts and trips made by the choir in recent years, namely Glastonbury, the USA, and more recently, Canada.

Early evidence of slate mining in the region

The evidence for slate quarrying in and around Bethesda may be traced back to a cywydd (a poem in Welsh conforming to certain technical rules) written in the fifteenth century by the poet Guto’r Glyn. In this cywydd the bard tells of having been asked by his patron, a member of the upper class of Welsh society at the time, to write this poem to request the then Dean of Bangor to ship slate from the port at Aberogwen (on the outskirts of Bangor) to slate the rooves of the gentry in Clwyd. However, there is no evidence that the slate which was being transported to Aberogwen came from the present Penrhyn quarry during this period. The choir is grateful to Dr. David Gwyn for providing this information. 

There is an excellent high resolution estate map showing the location of the present Penrhyn quarry which may be inspected at the Bangor University Archives, subject to its terms and conditions. This is MSS 2205 and was prepared in 1768 shortly after the purchase of the quarry by the Penrhyn estate. From the estate map it may be seen the Penrhyn quarry was situated in a large field called Cae Braich y Cafn. To the right of Cae Braich y Cafn is situated Llyn Meyrick which has now disappeared, having been infilled by slate waste. 

A further document may be inspected at Bangor University Archives, namely the survey book PENRA/2944, subject to its terms and conditions. Page 14 of the survey book, map 112, shows to whom the Penrhyn estate was renting out the quarry in 1768 before the Penrhyn developed the quarry for its own purposes.

This all ties in with research by R. Merfyn Jones in his book, The North Wales Quarrymen 1874-1922 (UWP 1981) p2. There Merfyn Jones states:

“Slate was first exploited on a large scale by Richard Pennant…Pennant had acquired the Penrhyn estates through his marriage in 1765 when he had taken Anne Warburton as his wife”.

He then goes on to describe how

 “… the independent quarriers who had worked the slate rocks at Caerbraichycafn had been bought out and transformed into wage labourers… and a start had been made on a model village to house the increasing number of workers employed in his quarries”.

There are three other much smaller slate quarries in the region which are worth mentioning, each having interesting histories. The first is Bryn Hafod y Wern in the parish of LLanllechid which ceased to operate as a slate mine well over a century ago. The history of this mine has been considered in detail by J. LL. Williams and D. A. Jenkins in two articles in the Transactions of the Caernarvonshire Historical Society, 55 1994, 47-70, and Transactions of the Caernarvonshire Historical Society, 56 1995, 87-107.  Local tradition has it that this quarry is the oldest of all the slate quarries in Dyffryn Ogwen but there is no historical evidence for this assertion. Attempts to develop the quarry were made by the Penrhyn estate by way of a lease from the Crown in 1817 but the first company to develop the quarry was a company from London, followed by the Royal Bangor Slate Company and the Bangor Slate Company (Transactions, 55 p.49). These companies held by way of a lease from the Crown. The quarry finally closed in 1889 (Transactions 56 p.105). 

Eventually, the Penrhyn estate went on to purchase the quarry in 1891, (Transactions 56, p. 89), but it was never developed by the Penrhyn following its acquisition. At that point three of the water wheels at Bryn Hafod y Wern were dismantled and moved to the main Penrhyn quarry (Transactions 55 p.65). The other slate quarries in Dyffryn Ogwen which should be mentioned are: Pantdreiniog and Tanybwlch. The histories of both quarries have been analysed by J.LL.Williams and D.A.Jenkins in an article in Transactions of the Caernarvonshire Historical Society, 57 1996, 65-84.

The site of the former Pantdreiniog quarry on the former Cefnfaes estate is where the photograph of the choir on the choir’s website was taken just prior to the choir’s visit to Canada in the summer of 2025. The quarry was situated in the middle of Bethesda, but all traces of the quarry were removed in 1974 (Transactions 57 p.65). The quarry first opened in 1805 (Transactions 57 p. 68), and between 1900-1910 it was developed by the North Wales Quarries Limited, playing a large part as a source of work during the Great Strike 1900-1903 (Transactions 57 p.70). The history of Pantdreiniog has been considered further by J.LL. Williams and L.W.Williams in another article in the Transactions of the Caernarvonshire Historical Society (Transactions 79, 2023, pp.131-159). This article concentrates on the history of Pantdreiniog between 1890-1907 during the last two decades of the working life of the quarry, and the influence that W.J.Parry had on the quarry and his efforts in setting up the Penrhyn Appeal Fund during the time of the Great Strike. 

The third quarry is that of Tan y bwlch situated to the southeast of Llanllechid. The quarry first opened in 1805 but then fell into disuse until 1862 when it was developed by a company from London by the name of the Port Bangor Slate Company. It flourished between 1862-1867 (Transactions 57 pp. 74-75), but the quarry closed in 1876 (Transactions 57 p.82). 

Timeline for the Beginning of the Choir

One of the largest pieces of research undertaken since Elfed Jones wrote his booklet in 1984 has been a PhD thesis written by Catherine Jones entitled Dyffryn Ogwen: a musical microcosm Aspects of choral music in Dyffryn Ogwen 1840-1914 and the interaction between industry, religion and music making. The thesis, which is in two volumes, was awarded by Bangor University in 2022. 

Various strands are traced leading to the formation of the choir which competed in the international festival in Chicago in 1893 (commented upon below). These comprise the corau ponc/slate gallery choirs, i.e. the cabanau in Welsh. (Catherine Jones thesis p162 fn 6).

Early accounts of the slate gallery choirs exist dating from 1876. Catherine Jones’ view is that the slate quarry choirs must have existed before 1876 (see p162 fn 7 of thesis) when the first Penrhyn quarrymen’s Eisteddfod was held in Bethesda Market Hall on 3 and 4 October 1876. This drew choirs from seven different slate galleries, and the names of some of the slate gallery choirs are provided along with the songs they sang. 

“These choirs…began engaging in quarry-wide eisteddfodau and moving out into the wider Dyffryn Ogwen community to compete and perform to the local population”. (Catherine Jones thesis p182) …”

“Although the 1880s and early 1890s saw the formation of the first large scale male voice choir in Dyffryn Ogwen, the Côr Meibion Y Penrhyn or Penrhyn Male Voice Choir, the smaller slate choir tradition continued to flourish, albeit with some interruptions”. (Catherine Jones thesis p190).

The first major concert of the Penrhyn Choir is noted, namely on 9 November 1891, when the choir performed at the Mayor of London’s banquet in London (Catherine Jones thesis p201). The Choir entered the National Eisteddfod at Rhyl for the first time in 1892 (Catherine Jones thesis p201), winning the competition, and performed at Penrhyn Castle on 13 September 1892 for the Mayor and Mayoress of London (Catherine Jones thesis p202).

Elfed Jones deals with the formation of the famous Penrhyn Choir which competed in the 1893 international festival in Chicago. On 24 August 1893, the choir “set sail from Alexandra Dock Bootle, Liverpool, aboard the ship, Vancouver”). At the competition “the choir lost by one mark to the Rhondda Glee Society” (Catherine Jones thesis, pp209-10).

The night before they set sail, 23 August 1893, the choir performed in a concert at Hope Hall, Liverpool (now part of the Everyman theatre). Details of the concert programme are held by Gwynedd Archives (XPQ 115a and XPQ 115b).

XPQ115a	XPQ115b
By kind permission of Archifdy Gwynedd Archives

Following the 1893 international festival, the full choir performed before the Prince and Princess of Wales at Penrhyn Castle on 10 July 1894 (Catherine Jones thesis p215). Details of the concert programme are held by Gwynedd Archives (XPQ 117a and XPQ 117b). 

XPQ117a	XPQ117b
By kind permission of Archifdy Gwynedd Archives

On the evening of 11 July 1894, they attended a Grand Fireworks display at Rhos Hill Landegai, the programme being held by Gwynedd Archives (PQ 118). This was followed by a visit to the Penrhyn Quarry on 12 July 1894, the details of which are held in Gwynedd Archives (PQ 119).  The choir competed in the National Eisteddfod in Caernarfon in 1894, winning that competition as noted by Elfed Jones and as commented upon by Catherine Jones: 

XPQ.119	XPQ119b
By kind permission of Archifdy Gwynedd Archives

“The Penrhyn Male Voice Choir continued their performances throughout 1894. Following their appearance at the National Eisteddfod and Edward Broome’s subsequent return to Canada, however, the choir’s public engagements were far less ambitious. Despite having won the competition, 1894 was the last year that the Penrhyn Male Voice Choir competed at National level”. (Catherine Jones thesis, p 218).

Elfed Jones provides details of the Great Strike of 1900-1903 and how strike choirs were formed to raise money for the quarrymen. Catherine Jones provides details of the first Penrhyn strike in 1896 and assesses its impact in the following way:

“The disbandment of the choir in November (1896) due to non-musical factors eliminated a healthy, vibrant and developing local institution. The events that followed witnessed the almost devastation of a tradition that would not be revived for a further 40 years, effectively undermining the pioneering work that had been done to develop Dyffryn Ogwen’s male voice choral music during the late 19th century”. (Catherine Jones thesis, p 220).

Whereas the Penrhyn Choir cannot point to an unbroken history until 1935, its origins are firmly rooted in Dyffryn Ogwen by reference to the caban culture from at least 1876 and possibly before.

The following is taken from a book (Pages 24-26) written by Mrs. Phyllis Jones about her husband Dr. Emyr Jones, who was a doctor at the Penrhyn Quarry Hospital from 1931 to 1937. The title of the book is "Doctor Emyr," published in 1979 by Gwasg Gee. 
The choir thanks Mr and Mrs Jones' daughter, Nan Bates, for permission to quote from the book.

“Emyr had many interests. Football was his first love, of course. But, as a man grows older his interests change, and after we married, the Penrhyn Quarry Choir completely won his heart.

It was from the late Hughie John Owen, shortly before his death, that I got some of the history of the Choir’s beginnings because he was one of the first members. Hugh came to see me one afternoon at 'Cynefin' and we had an entertaining chat. I asked him how the Choir came to be, and this is the story he gave me.”

“I came into contact with Dr. Emyr through the Choir. I remember very well that seven choirs from the quarry galleries (ponciau) were competing against each other at the Llanllechid Eisteddfod. Just think, seven choirs from the quarry! Think of it! A thousand working there, and I still remember to this day one piece, which was 'Gorffwysa Di' ('Rest Thou'). The adjudicator told us that it was a shame to us that there was no single, large male voice choir, in the quarry, and so 'Côr y Penrhyn' began. The first to come together were Dr. Emyr, Dafydd Lloyd Parry, the secretary, Dei Jone,s the conductor, and William Roberts Pant as treasurer, with Rol from Tregarth to help them. But the two stand-out characters in the choir at that time were Dr. Emyr and Dafydd Lloyd. The first practice was in Cefnfaes School, and about fifty (members) came regularly for a year until the Eisteddfod came to Caernarfon. 

It was only quarrymen in the choir—it is very different by today. It was decided to compete in the Caernarfon Eisteddfod and that Dr. Emyr and Dafydd Lloyd would make all the arrangements. We went there by train—that has stopped completely by today—but go we did and we won first prize—and talk about the great welcome we received when we came back to the village that night!

After this, we were in demand to hold concerts in many places. We had a whale of a time going to Mile End in London to open the 'People's Palace'. Starting by train the night before around 11:00 p.m. and arriving in London at six in the morning, with a strict order (siars) from Dafydd to meet him at the 'People's Palace' at half past six after a day of freedom in London. And fair play to them, everyone was there on time, neat and tidy. 
After the concert, it was a race to catch the 11:00 p.m. train back to Pesda (Bethesda) in the early hours of the morning, and into the quarry by 7:30 a.m. Two nights and a hard day, but on the whole, well worth it.

The time the Dr. enjoyed most was when the Choir won at Penybont Fawr. There was a large choir in Deiniolen at that time, and they had competed in the main competition at the National Eisteddfod. And there we were. 
There were seven choirs competing, I remember well, and to everyone's surprise, we won. I remember us coming home through 'Stiniog (Blaenau Ffestiniog) as the dawn was starting to break.

The Choir's first conductor was David Jones from Rachub, and we had help from Mrs. Ceridwen Lloyd Davies, who taught at the University in Bangor. Her husband was the Vicar in Llanllechid. The second conductor was Ffrancon Thomas, and under his care, the Choir became famous. Then we had Mrs. Menai Williams as conductor, but she had to retire because her health would not allow her to continue.

The Dr. was very faithful to the Choir and everyone there respected him. A pity he had to leave us so soon. He would have been delighted with the Choir we have today, especially seeing so many young men having joined.

I have been a member for 40 years, and there are only three of the original ones left. But the Choir was never the same as it was when there were only quarry boys as members, and Dr. Emyr and Dafydd Lloyd at the helm.”

“After the above conversation with Hugh John, I saw the present Penrhyn Choir at the Dyffryn Ogwen eisteddfod, and it came to my mind that there is still a pretty good choir in the area.”

R.D.Griffith (1877-1958)

‘The Talented Musician and Assiduous Researcher’

As has already been mentioned, Elfed Jones did not comment upon another of Dyffryn Ogwen’s famous musicians, R.D. Griffith. Since Elfed Jones wrote his 1984 history of the Penhryn Choir, Claire Burgess has written a dissertation, entitled as above, about the life and work of R.D. Griffith as part of her joint honours’ degree in April 2000 awarded by Bangor University in Welsh and Music. Claire is the daughter of Gwyn Burgess, a second tenor in the Penrhyn Choir, who is mentioned by Elfed Jones in his 1984 publication. Salient points of the dissertation are summarised here by kind permission of Claire Burgess. The work extends to some 70 pages with six appendices and is split into six chapters each dealing with discrete aspects of his life and work. 

His story is remarkable in that he did not receive a higher education and was to all intents and purposes self-taught.  He was born at Cwm -y-Glo near Caernarfon on 15 May 1877. His mother was a cousin of David Roberts (Alawydd) who is mentioned by Elfed Jones. The family moved to Bethesda in 1890, and R.D. Griffith worked with his father in the Penrhyn quarry until 1901. Therefore, he would have been aware of some of the main events concerning the Penrhyn choir detailed in the section concerning the timeline for the beginning of the choir and, of course, the Great Strike of 1900-03. He had an interest in teaching and gave music lessons to local children. He formed a choir of eighty voices at Jerusalem chapel in Bethesda and challenged the choir to learn the Messiah which was performed at the chapel. It was a success, and such concerts became an annual event. In 1921 the Bethesda choral society was formed with R.D. Griffith as its conductor. He also began to compose musical works of his own and the collection of his works are housed in the Bangor University Archives. In addition, he arranged hymn tunes, one of which was by Edward Stephen (Tanymarian) who is noted by Elfed Jones. He did all of this whilst working for a paint firm in Manchester and travelling to and from Bethesda.

R.D. Griffith lived in Bethesda for nearly twenty-five years before moving to Colwyn Bay in 1928 where he was to remain for the rest of his life. In Colwyn Bay he formed a choir, as he did in Bethesda, to perform oratorios which was known as the Colwyn and District Welsh Choral Society. He had begun his research into music in Wales during his time in Bethesda and continued with this in Colwyn Bay. Between 1931-35 he published his research in Y Cerddor on the ‘History of the Beginning of Congregational Singing in Wales’. In 1948 he published his volume The History of Congregational Singing in Wales which was very well received. In 1952 he received an Honorary M.A. from the University of Wales for his services to the history of music in Wales. 

Bethesda Chapels

The chapels of Bethesda are important to choral singing in Dyffryn Ogwen in view of the tradition of choral singing which developed in the chapels and because the Penrhyn Choir has given concerts in these chapels over the years. The matter has been fully analysed by Caleb Rhys Jones, the choir’s deputy conductor, in his undergraduate dissertation for his bachelor’s degree, entitled ‘Canu’r Nefoedd’. This considers aspects of choral singing in the Bethesda chapels in the nineteenth century. The choir is grateful for his permission in allowing his work to be summarised here.

The dissertation is in three parts and begins with the chapel in Carneddi. Here, Caleb Jones makes a link with R.D. Griffith:

In the middle of the last century, Bethesda became one of the most important musical centres in Wales

(R.D. Griffith,Hanes Canu Cynulleidfaol Cymru, 58.)

The chapels were important as there were not many schools at this time, and it was the chapels which effectively developed education (p.4 of dissertation).

There then follows a discussion of the chapel at Jerusalem, which was built in 1842, and which was renovated in 1872 at which time some 3,000 people were working in the quarry and 15,000 people were dependent on the slate industry. (p.21 of dissertation). Jerusalem was renowned for its choral singing in the decades following its opening (p. 25 of dissertation). John Griffiths was the most influential of the choir conductors at Jerusalem (p. 28 of dissertation). The analysis ends with a consideration of the Bethesda Chapel Choir).

Set out below is a summary of the main Eisteddfodau noted by Elfed Jones 1935-1984 in which the choir competed and concerts given by the choir

Eisteddfodau

1935 Caernarfon Eisteddfod

1937 Machynlleth Eisteddfod

1939 Denbigh Eisteddfod

1947 Colwyn Bay Eisteddfod

1948 Bridgend Eisteddfod

1949 Dolgellau Eisteddfod

1955 Concert Festival Hall London

1961 Rhosllanerchrhugog

1968 Llangollen Eisteddfod

1971 Bangor Eisteddfod

1972 Anglesey Eisteddfod

1972 Eisteddfod Dyffryn Conwy

1972 Eisteddfod Llanddeusant

1972 Eisteddfod Butlins

1972 Eisteddfod Dyffryn Ogwen

1973 Ruthin Eisteddfod

1979 Caernarfon Eisteddfod

1983 Eisteddfod Llangefni

1984 Pontyrhydfendigaid

1984 Llangollen International Eisteddfod

1984 Eisteddfod Pantyfedwen

Other concerts

1970 1,000 voices Albert Hall London

1974 1,000 voices Albert Hall London

1976 Concert to the Welsh Society Aberdeen

1977 Concert with band from Nötzingen

1977 Visit to Nötzingen

1980 Celtic Festival Dolgellau

1980 Concert with Welsh Society Bury St Edmunds

1980 Second visit to Germany

1983 International Festival Toronto

Summary of main Eisteddfodau 1984-2025 in which the choir competed and other concerts given by the choir:

Main Eisteddfodau

Pontrhydfendigaid 1984 1986 1988 1995

Llangollen 1984 1986 2001 2003 2013

Eisteddfod Môn 1985 1988 1997 2007 2017

Bro Madog 1987

Llanrwst 1989

Cwm Rhymni 1990

Bro Delyn 1991

Bro Colwyn 1995

Bala 1997

Bro Ogwr 1998

Môn 1999

Faenol 2005

Bala 2009

Llanrwst 2019

Llŷn ac Eifionydd 2023

Main concert locations

Bangor

Birmingham

Beverley

Blackpool

Cardiff

Colwyn Bay 

Corby

Chester

Derby

Glasgow

Glastonbury

Huddersfield

Lancaster

London

Llandudno

Liverpool

Llanelli

Manchester

Machynlleth

Other visits

Germany

Finland

USA (four times)

Hungary

Norway

Canada

Ireland

England

Scotland

Notes on Recording with “The Good, the Bad and the Queen”

Early in 2018, an email was received from the manager of the singer “Damon Albarn,” who was the lead singer in an English group called “Pulp”—a very successful group across the world, having sold over 10 million CD's.

Through connections with Rhys Ifans and Gruff Rhys, the singer came into contact with the choir because he was looking for a male voice choir to contribute to songs for his new musical production with a new group called “The Good, the Bad and the Queen.”

He asked the choir if they would be willing to collaborate, and of course, the choir accepted the invitation. It was suggested that it would be good to do the recording work at Penrhyn Castle, in order to show the group the connection between the castle and the choir. The group was very keen to use the castle.

A day was spent in May 2018 recording in the great hall of Penrhyn Castle, with all of the new band there, as well as producer Tony Visconti (former producer for David Bowie), and pieces of music were recorded on a number of different tracks.

Following the release of the album “Merrie Land,” Damon Albarn asked if the choir would be willing to come and perform live with the band; again, of course, the choir confirmed they would be very pleased to accept.

The first performance was on the “North Pier” in Blackpool to launch the album, where the band and the choir received an unforgettable reception, with the entire theater embracing the music.

Following the success of that performance, the choir had the privilege of performing on the Pyramid Stage at the Glastonbury Festival, at the “Palladium” theater in London, and at “Somerset House” in London.

Conductors and Accompanists

Conductors

• Dr. Edward Broome (1891-1894)

 He was conductor in Chicago in 1893. He was invited to stay on in Canada following the Chicago World Fair but returned to Wales on occasion thereafter to conduct the choir.  

• David Jones (1935-1938)
• Ffrancon Thomas (1938-1970)
• Menai Williams (1970-1973)
• Rowland Wyn Jones (1973-1977)
• Margaret Owen (1978-1987)
• Alun Llwyd (1987-1994)
• John Eifion Jones (1994-1997)
• Mary S Jones (1997-2004)
• Owain Arwel Davies (2004- )

Accompanists

• Ieuan Llywelyn Jones (?-1965)
• Menai Williams (1965-1970)
• James Griffiths (1970-1986)
• Menna Leyshon (1986-2004)
• Dr. Frances Davies (2004-  )

Deputy accompanist

• Brian Pritchard (1970-2010)

Menai Williams:

"September 1965: Became accompanist for the Choir following a request by the President at the time.

1969: My sister, Ann Pritchard, accompanied in my place at the Flint National Eisteddfod, as I was pregnant.

1970: Accepted an invitation to be the Conductor, following the retirement of Ffrancon Thomas. I would like to note here my immense debt to Ffrancon—it was from him I learned that powerful singing is not about shouting, and that a particular discipline is needed to sing quiet parts intelligently.

1973: Retired as Conductor of the Choir.

I should note that I stepped into the breach more than once when the Conductor at the time was unable to attend a rehearsal or concert, including a trip to Germany before Alun Llwyd took over the leadership."

Brian Pritchard

The idea of becoming a member of a male voice choir had never entered my mind until one day in 1970. James Griffiths and I were teachers in Ysgol Pant-y-Rhedyn, Llanfairfechan. One morning he asked whether I would do him a favour. I asked for details and it transpired that he would be required to step in as conductor of Penrhyn Male Voice Choir Jones for a few weeks. James wanted me to be a deputy accompanist! After a few days’ thought, I finally agreed and started to practise. 

I was deputy accompanist between 1970-2010 and thereafter asked to remain as a member of the choir in the second tenor section where I remain to this day.

Dr. Frances Davies

Frances was born in Ceredigion. She was raised in Dihewyd and attended Dihewyd Primary School from 1970 until 1978. She began piano lessons at 4 years old with Nina Jones, ALCM, of Cilrhyd, Dihewyd, before moving on to Olwen Jones, Avondale, Llwyncelyn. From 1978 until 1985, she attended Aberaeron Comprehensive School. Around that time, she began piano lessons with Eunice Jones (LRAM, ARCM), Upper Bank, Lampeter. She passed her Grade 8 piano exam with honours when she was only thirteen. She won first prize for the Under-15 Piano Solo at the Maldwyn National Eisteddfod in 1981, and the following year for the piano solo between 15 and 19 years old at the Urdd National Eisteddfod in Llŷn ac Eifionydd. She was admitted to the Gorsedd as an Ovate of Music (Urdd Cerdd Ofydd), under the name Frances Dalis, at the Lampeter National Eisteddfod in 1984.

Between 1985 and 1988, Fran read Music at Bangor University and graduated with a BMus (Hons) in 1988. Afterwards, she completed a primary PGCE (T.A.R.) course before teaching in the sector for 17 years. While teaching, she studied for an MA (Education) with the Open University. Years later, she went back, again to Bangor University, to study for an MA in Applied Linguistics. This was a successful year, which led to her being offered an ESRC scholarship to complete a doctorate on language use in Caernarfon, a research thesis she wrote in Welsh. She graduated with a Doctorate in 2013. In 2018, Fran received a DipABRSM in piano performance, under the tuition of Steven Evans. Fran now works part-time as a piano tutor and as the accompanist for Côr y Penrhyn (The Penrhyn Choir).

Owain Arwel Davies B.Mus M.C.G.I TAR - Cyfarwyddwr Cerdd

Owain Arwel Davies graduated with honours from the Bangor University School of Music in 1999, and served as Head of Music at Ysgol Tryfan, Bangor from 2005. In 2017, he was appointed Head of Inclusive Education for the Gwynedd and Môn Education Authority, and he is currently Deputy Headteacher at Ysgol Glan Clwyd, which is recognized as the first Welsh-medium secondary school in Wales.

He began as conductor of the choir in May 2004 when he was 26 years old. The choir's numbers had declined significantly during this period, with only about 40 members on the active register and fewer than that attending rehearsals. The choir was not participating in many concerts, and a major change was needed to ensure its survival.

Arwel was instrumental in professionalizing the choir's committee and attitude during the early years, injecting confidence back into the members. Today, there are nearly 70 on the choir's books and over 50 perform regularly in concerts. The choir now maintains a busy calendar with around 30 annual commitments.

He has travelled on several occasions with the choir, including:

2006: Chicago, Rio Grande, and Cincinnati, USA

2015: Washington, New York, Poultney, and Columbus

2025: Toronto and Ottawa

He has also been instrumental in creating partnerships with other musical organizations, including an exchange trip to Stavanger with the famous Stavanger band, and also in nurturing the close relationship the choir has enjoyed with the Black Dyke Band over the years.

He has had the privilege of producing and performing on a number of recordings, particularly the choir's CDs—GWLAD(2018), Anthem (2012), and Arwelfa (2006). The Anthem CD has sold over 8,000 copies.

As a versatile musician, he has also performed and recorded with some of Wales' leading rock and pop bands, including Band Pres Llareggub, Anweledig, and Steve Eaves. He has also won high praise for his musical productions in musical theatre, recordings, and television productions, including serving as musical director for the televised Welsh Christmas concert (S4C) Carolau Llandudno—directing, arranging, and conducting the music and the thousand-strong choir, which also featured artists such as Wynne Evans, Peter Karrie, Russell Watson, and Sioned Gwen. He was commissioned and was responsible for working on a new musical production that he himself conducted and performed at 'Theatr Bryn Terfel', as part of Bangor University's new Arts and Innovation Centre, Pontio, which opened in 2015.

Recently, Owain Arwel was invited to write and arrange the choral parts for a new album by Damon Albarn (formerly of Blur) with 'The Good, the Bad & the Queen', featuring Côr y Penrhyn as a guest choir, which was followed by performances at The London Palladium and the Glastonbury Festival! He has also performed and conducted various ensembles in many of our prestigious concert halls across the country, including the Royal Albert Hall, Birmingham Symphony Hall, the Donald Gordon Theatre, and St David's Hall in Cardiff.

As a music teacher, Owain Arwel is well known in Wales for his qualities in nurturing and guiding talented young students who have gone on to become professional musicians. He is also a highly respected adjudicator, including for the Urdd National Eisteddfod.

In 2025, Owain Arwel celebrated 21 years as musical director of Côr y Penrhyn. Under his direction, the choir has established itself as one of Wales' leading vocal ensembles and is renowned for its lively and exciting performances.

Current Soloists

Raymond Colin Roberts (T1)

“I was born and brought up in Pen-y-Gaer Farm, Penisarwaun and in my early years attended Tan y Coed School, Penisarwaun, Llanrug Primary School, and Segontium School Caernarfon. After leaving school I served a 5-year indentured apprenticeship as a precision Toolmaker and attended Bangor Technical College, qualifying after 5 years.

After completing my apprenticeship, I was employed by Ferodo Ltd and shortly moved to the Design Office and eventually became their Chief Design Draughtsman. 

Socially, I was a founder member of the Ferodo Male Voice Choir, later named Cor Meibion Caernarfon. I signed for Caernarfon Town football club playing for their reserve team. I was employed as a Retained Fireman based out of Caernarfon Fire Station and was one of the firemen that fought the Britannia Bridge Fire.

During this time in life, I served as a Magistrate in Caernarfon. After many years in the employment of Ferodo I set up my own company with an Engineering Design Office in Bangor, RCR Design, and then located to Zurich.

After many years working and living in many countries around the world, I trained as a Design and Commissioning Engineer in Switzerland with W&A Umwelttechnik, Zurich, in the field of environmental waste incineration of toxic and domestic waste (Waste to Energy). Later, I was contracted to Sumitomo Heavy Industry, living in Japan and Malaysia.

In the 2000 I returned home to Penmaenmawr to retire. I opened a carpet shop for my son in LLanfairfechan, (Carpedi Drapers) and got to know local people and customers very well. One day I struck up a conversation with the late Davy Jones (conductor of the Maelgwyn Male Voice Choir and an accomplished pianist). He and his wife, Eirlys, invited me to practise a few songs and voice training with Sian Gibson in their home. After time and on their advice, I was accepted at the William Mathias Academy of music in the Galeri, Caernarfon, and spent two and a half years being trained by Marian Bryfdir with additional lessons with John Daniel and the late Colin Jones in Rhosllanerchreigog, Wrexham. With further encouragement from Owain Arwel Davies, the present conductor of Cor y Penrhyn, to sing solos regularly in concerts with the choir, the most memorable of which achievements were sung in the Grand Cathedral in Washington DC, 2015 and Toronto Canada, 2025.”

John Outram (B1)

“I was a pupil at Ysgol Friars and later a teacher. My life revolved around sport until I was 40 when I joined Cor Penrhyn. I relish the challenge of a new song and singing solo. I try to introduce a song in different languages. But being a member of a choir also means a friendship with people from different walks of life.”

Hywel Thomas (T1)

It is my privilege to say that I have been a member of Côr y Penrhyn for 47 years now, having joined in 1979 after the Choir won at the Caernarfon National Eisteddfod. I started in the second tenors, but after about 2–3 years, I moved to the first tenor voice (T1).

Over the years, I have sung and competed in many places throughout the world, including Germany, Finland, Norway, Ireland, Canada, and the United States, and of course in England and Wales.

The choir has travelled to places I would never have thought of going to on holiday. On some trips, we stayed with families and, through that, saw how people lived from day to day and made new friends.

Over the years, I have made many friends in the Choir and have had a lot of fun and banter on our tours, but as they say, "what happens on tour, stays on tour"!

Some of the trips and places we visited really stand out, especially the first one to the United States (1993), where I had the opportunity to visit the place where my grandfather was a Minister in Middle Granville, New York State, between 1914 and 1918 before he moved back to Wales. I have visited Niagara Falls twice, had a tour around the Mercedes-Benz factory in Stuttgart and, closer to home, sung in the thousand-voices concert at the Albert Hall, The London Palladium, and at the Glastonbury Festival.

I have to say that joining the Choir was one of the best decisions I ever made!

50-Year Members (and over)

The choir is very fortunate to have dedicated members, and some of the current members have been rehearsing and performing with the choir for half a century and more. Gwilym Owen has been a member for over 60 years and is the current (2026) President of the choir.

In 2022, the 50-year membership milestone was celebrated by 5 members, and poems / englynion (traditional Welsh short-form poems) were composed by local poets: Chief Bard Ieuan Wyn, Derfel Roberts, and Dilwyn Owen. Framed slate gifts inscribed with a poem chosen by the designated members were also presented.

In the photograph you can see: Derfel Roberts, Arwel Owen, Walter Williams, Dilwyn Owen, Dafydd Evans, Gwyn Burgess, Elfed Bullock, Ieuan Wyn.

Here are the poems

Almost annually since then, other members have been celebrating 50 years of membership, including:

Dafydd Pritchard
Idwal Jones
Brian Pritchard
Tom Owen Williams

Gwilym Owen (B2) member for 66 years (in 2026)

I joined the choir in 1960 because two of my friends were already members and enjoying it. 
My first Eisteddfod was Rhosllanerchrugog in 1961, with a practice in the "Stiwt" (Miners' Institute) in Rhos before competing. I remember us having food arranged in Rhyl and then, after eating, one bus went straight home (the chapel people's bus, as we called it!) and one bus stayed behind to experience the Rhyl nightlife.

One of my first concerts was in Talybont, Harlech with Richard (Richie) Thomas (1906-1988), from Penmachno, the famous Tenor who won the Tenor solo at the Llangollen International Eisteddfod in 1951.

The first section I sang in for the choir, after being auditioned by the conductor Ffrancon Thomas, was the  Baritone Section (1st Bass).

If I remember correctly, Mr Rolent Hughes, Braich Talog was the Chairman and Mr William Roberts, Adwy’r Nant was the Secretary, and it was he who collected 6 pence (2 ½ p) from each member at every practice towards the expenses.

At this time, the choir's repertoire was very different, with the following songs being popular:

Crossing the Plain (Croesi’r Anial)

Martyrs of the Arena (Laurent de Rillé)

Pilgrims Song of Hope (Msgr. Pierangelo Sequeri / Francesco Meneghello)

Psalm 23 (Crimond)

Llanfair (Robert Williams)

O Vos Omnes

Seren Bethlehem (Owen Jones), among others.

There were around 40 in the choir, but I remember the numbers dropping to 23 at one point. In 1965, Mrs Menai Williams was appointed as Conductor, and, from then on, the number of members slowly began to rise.

We took part in the radio program "Heart and Voice" for several years from around 1962, recording the program at Penrhyn Hall, Bangor, with James Williams conducting.

There weren't very many concerts, but I remember a concert at the "Hotpoint" factory in Llandudno Junction with David Lloyd (1912-1968), another famous tenor. We also competed regularly in the Anglesey (Môn), Llanrwst, and "Butlins" Pwllheli Eisteddfodau.

One of the highlights was going to Germany for the first time and staying with the families of the Notzingen Brass Band, with Roland Wyn Jones conducting and James Griffith accompanying. For many, this was their first time going abroad and an entirely unfamiliar experience. Since then, we have been to the USA, Canada, Finland, and back to Germany. We have also sung across Wales, England, Ireland, and Scotland.

I feel very privileged to be a member of the choir, and honored to have been elected President, keeping in mind all the experiences I have had through the years.

ASSESSMENT OF THE PROFESSIONS OF CHOIR MEMBERS:

Ambulance staff Media Staff Farmers Fireman Further Education College / University Lecturers and Staff General Practitioners Insurance staff Local Government Officers Manual workers Pharmacists Policemen Quarrymen Teachers Telecom staff
	XD40.26.10 By kind permission of  Archifdy Gwynedd Archives

Memories of trips by Tom Owen Williams and Dafydd Morris Jones:

Tom Owen Williams, a member of Côr y Penrhyn in the second tenors section for over 50 years now, joining as an innocent young lad when he was just 16:

The choir has been a huge part of my life. I have enjoyed every minute and the experience and honor of representing the choir, and the village of Bethesda, all over the world.

I’ve had the chance to travel to many different countries including Germany, America, Finland, Norway, Ireland, Hungary, Canada, and many places in Britain too.

There are plenty of stories to tell about those trips. Some are entertaining and funny, and some can't be revealed here, or many of the boys would be in trouble back home (naming no names!). Nothing terrible, mind.

Stories like the ones about some of the "lost" boys who weren't on the buses. Henryd Jones (1st Tenor) was responsible for doing the headcount to make sure everyone was present. He left people behind during a trip to South Wales, and even in America!! Bear in mind that Henryd was a maths teacher at the time!

Another story that comes to mind happened during the visit to Canada in June 1983. (I noted we were there again after 42 years, where does the time go?)

Only the boys went on that one, no wives, and we stayed with families. The welcome, as usual, was brilliant. The families had told us that we, as guests, could phone home from their houses, so we could let everyone know we were safe and everything was fine. One call for free, and we were welcome to make more, but we'd have to pay, of course.

The next day, many of the boys met up in the Zanzibar, a pretty famous bar in Toronto. Without revealing too much, the girls serving the tables wore a lot less clothing than the respectable women in the pubs of little Wales. Many had never seen such a thing (or wouldn't admit to it, anyway!). I didn't really look, Karen (my wife), I didn't want to look too much in case I went blind, I only looked with one eye!

Everyone was asking each other about their phone calls home, and one of the boys quietly said he was going to wait until Thursday night because everyone in the family would be in the house having food that evening. This was the late Alwyn Parry, one of the biggest "characters" I have ever met; there was plenty of fun and laughter when Parry was around. "I can talk to everyone for ages without paying," said Parry, old Al was a clever and sharp one.

On Friday morning we met up again in the Zanzibar (the beer must have been cheap, truly) and everyone was in good spirits except Al. He was furious, nobody understood why, and we asked him what was wrong. In his temper, he explained that he’d managed to phone home the night before. Who answered but his mother-in-law. He said, “Hello, it's Alwyn here.” She answered and said, “Sorry, Alwyn isn't here, he's gone with the choir to Canada”, and she put the phone down. Poor Al was absolutely livid.

A story from the first visit to Chicago in America in August 1993. Visiting and singing in this immortal city was unforgettable. We heard that Elizabeth Taylor was staying in the 'Chicago Hilton', the hotel right next door to us. Grand cars were coming and going often, so a few of us decided to go and see her and nose around. The famous John Ogwen was with us on the trip, as one of the choir's vice-presidents and to compere the concerts. Would John get to go in if we got to see her? Oh no! It was me who had to go and ask. Behind the desk was a massive man. I said innocently that a friend of mine was staying there, namely 'Elizabeth Taylor'. He asked who was asking—'Twm,' I said.

'Yeah, she’s talked a lot about you, Twm,' he replied. I didn't go any further but there was an Irish Bar in the hotel, so that's where we stayed, it was Liz's loss.

On the way to sing in Scotland, the choir got to stay and have 'another night' in Blackpool. A pint or two was called for, then. Derek TV and Alwyn Parry were standing at the bar, and Derek noticed there were some nice-looking pork pies under a glass display on the bar. Derek helped himself to one but realized the barman was coming back up from the cellar.

Parry asked Derek where he got the pie, and Derek said he’d bought it but was full, so Parry could have it. Alwyn was very fond of his food and couldn't resist, taking the pie without a second thought.

The barman asked, 'Where did you get that pie, sonny?' Parry turned innocently to Derek, but he had vanished pretty quickly, of course. 'You’ll have to pay for that, sonny!' Where was Derek? Around the corner of the bar, killing himself laughing, of course.

Everyone called Alwyn 'Sonny' for the rest of the trip!

Canada 2025

During the end of August 2025, the Choir visited Canada again. Set out below is a report by Dafydd Jones-Morris, second bass of the trip:

“Welsh connections may be seen across the world. From time to time, this gives us the opportunity as a choir to receive an invitation to celebrate the connection. And that is what happened to us this year as a choir when we travelled to Canada (Ottawa) at the invitation of the Welsh Society of North America. They organise an annual meeting which attracts Americans with an interest in Wales or who have a family connection with their homeland. This was the third time for us to take part in the festival. We attended in Cincinnati in 2006 and Columbus in 2015. 

As the festival is only over a period of four days, the choir organised some additional time by visiting Toronto (the capital of Ontario) a few days before we had to be in Ottawa. We took the opportunity to contact the Toronto Welsh Society and of making enquiries about singing at other venues. 

As part of the arrangements, we asked the authorities if we could sing as a choir outside ‘Table Rock’ restaurant close to Niagara Falls. And that’s what happened. After two days relaxing and getting to know parts of Toronto, we had the pleasure of travelling to Niagara Falls and taking everything in.  Some went for a trip on a boat to get close to the Horseshoe Falls and going down in a tunnel to see the flow of the water by the side of and behind the falls. 

Later in the day some went to see a part of the old power station and trudged through a tunnel to arrive at a location alongside the falls―a spectacular sight to say the least. The highlight of the day was the opportunity of singing in front of ‘Table Rock’ with the falls behind. We had the chance of singing for about half an hour and of having a welcoming and appreciative audience. 

Toronto is a busy city which has developed over the last fifty years, and which is now the same size as Chicago. There are several attractions to be seen, too numerous to mention, but enough to satisfy anybody. The highlight for me was having the time to walk and enjoy the attractions on the islands opposite the harbour. The ferry crossing takes about fifteen minutes. Clean and orderly gardens with fantastic views of the Toronto skyline. Another attraction was the CN Tower. This was built by a Canadian transport company, ‘Canadian National’ between 1973 and 1976. Height 553m. Restaurant at 351m. Glass floor 342m. 

We had a concert in the ‘Timothy Eaton Memorial Church’ by the Toronto Welsh society. The church was built in 1915. The organisers were part of the last Welsh chapel in Canada which closed three years ago. By now, they are a part of the congregation of the church, and they still hold services in Welsh there. It was built as a memorial to Timothy Eaton, beginning with a donation of the land followed by funding by his wife, Margaret Wilson Eaton, and his son, John Craig Eaton. Timothy Eaton was the founder of the retail chain ‘Eatons’. A great concert with an appreciative and warm audience. Our grateful thanks to the organisers who made a significant profit for the good of the church.  

Onwards then to Ottawa, the location of the Canadian government. A smaller city than Toronto and not as busy. A beautiful and friendly city with several historic buildings. We had plenty of time to explore the city and took the opportunity of visiting the parliament under escort, and of going on a great walk along the river. The province of Quebec on the one side and Ontario on the other. Another interesting place was the Canadian history museum where there was a strong emphasis on national heritage and the indigenous people who had lived there. This was the location for the NAFOW events, i.e. the North American Festival of Wales. 

Several events took place during the festival including a Noson Lawen, eisteddfod, harp lessons, poetry recitals etc. Rhys Meirion was there to promote an event he is organising for a trip to Patagonia next year. Along with us, he took part in the congregational singing which took place at the end of the festival. The Welsh Assembly in Cardiff had sponsored the festival and several flags could be seen along ‘Spark’ street near to the hotel which was the centre for the festival. 

Spark Street was the location on the Thursday for what was called ‘WelshFest’. A free open-air concert displaying what was on offer throughout the festival. The artists taking part were the Llareggub Brass Band, Pedair (Gwenan Gibbard, Gwyneth Glyn, Meinir Gwilym, Sian James) and Welsh of the West End. Unfortunately, as the weather up until then had been nice and warm, heavy rain followed, and the audience had to do their best to take shelter in the circumstances. There then followed an evening of comedy with Tudur Owen. The room in which the event took place was jam packed and we had a very entertaining evening.  On the next evening a small group of members of the choir entertained members of the festival. A fun and interesting night. 

On Saturday evening the main concert took place in which the choir entertained the audience in the company of Meinir Wyn Roberts as the main soloist and Gwyn Owen accompanying some of the choir’s songs on the trumpet. There was such a demand for tickets that the festival decided to use the space for the choir (Chancel) to make room for everybody. A very successful evening, and one that will remain in the memory for a long time.

We had a good time on the trip, and our thanks are due to the organisers who undertook the research and preparations so thoroughly. I have only provided a short resume of the trip, there were so many things going on every day, more than enough to please anyone”.