• Research dataclose
• Research softwareclose
• Other research productsclose
• 2019-2023close
• Open Access close
• Other ORP type close
• GB close
• The University of Manchester - Institutional Repository close
• Institutional Repository Universiteit Antwerpen close

Despite positive initiatives taking place across Whitehall, we must continue asking the fundamental questions about reform, write Sam Warner, Dave Richards, Diane Coyle and Martin Smith.

Originally composed by Richard Fay in 2009, and then recorded for the Helix album (2019), this (composition-as-output) work was also included on the Magu Hiraeth (2023) mid-length album.

Mid-length CD of original (compositions-as-outputs) works by Richard Fay (2023), produced by Sam Gee.Sleeve note (in Welsh and then English)Nid yma magwyd fy nhad, na’i dad yntau, nid yma magwyd fy mam, a’i thylwyth hithau, ond roedd tiroedd Llŷn yn gyfarwydd iawn iddynt, y tir des i iddo yn y groth trigain mlynedd yn ôl, ac eto ac eto, tymor yn dilyn tymor, coesau’n ymestyn, llygaid gleision gloyw a chroen yn llosgi’n goch, crwydro dros Mynydd Mawr, gwylio’r llanw yn rhuo dros Swnt Enlli, llethrau Anelog wedyn, yr eithin a’r rhedyn, yn fy nghosi a nghrafu am yn ail, y wiber yn torheulo gerllaw, tywod euraidd yn gwichian dan droed, cyn rhedeg fel y gwynt am fy nhe dan yr hen ddresel a’i llestri gleision gloyw.Y tirlun a’r seiniau cyfarwydd, yn fy ngalw o bell, pob eiliad yn tician yn drwm cyn dychwelyd, dieithryn ond nid yn ddiarth, ymwelydd nid twrist, cyfaill, gobeithio i hen wlad dy dadau, a’th famau...a thrwy hyn daw tonau gwlad y gân i fy meddwl, fel y clywi...Rhwng 2007 a 2022 daeth dwy don o gyfansoddi i ymgysylltu dau bentref o boptu Penrhyn Llŷn: Aberdaron fy nghariad cyntaf, y trwyn gorllewinol, yr eglwys o garreg ger y tonnau, llais y bardd o’r pulpud, a’r golau boreol yn llifo drostaf, yn fy meddwl saif crëyr glas yn unig er pwll o ddwl hallt yn y tywod, a’r llanw’n cilio’n dawel. Gwelaf eto sgerbydau hagr-hardd peiriannau Porth Ysgo, ac adar y môr yn gwrlid cecrus dros ynysoedd y bae, ac o Uwchmynydd, Enlli yn codi’n unig, yr hafan olaf, cyn y môr a’r gorwel di-dor; Trefor wedyn, fy nghartref newydd, y porth dwyreiniol a’r môr yn cynio’n barhaus wrth droed Yr Eifl, ac o’r eisteddfa uwchben, gweli Llŷn yn gyfan, (fel gwelodd trigolion Tre’r Ceiri gynt), a’r mynydd wedi’i gerfio yn destament i ganrif o naddu bu’n cynnal y pentref, y band a’r corau, llanwodd y capeli a’r ysgol, a llwythodd y pier.Môr o atgofion yn donnau drwy’r tir hwn, cyffwrdd a phobl, a llefydd, llun a chân cartref fabwysiedig, atgofion a cherddoriaeth.Mae’r dysgwr gorau, y siaradwr newydd, yn baglu o dro i dro, ffordd o ddweud, cystrawen annisgwyl, yr anghyfieithadwy, felly hefyd yr hiraeth mabwysiedig, er wedi ei fagu o’r groth, anghyflawn fydd, weithiau’n bytiog, weithiau’n gysgod drwy’r dail. Er hyn, fe ellir ei synhwyro, a’i gyffwrdd, er gwaethaf y newydd-deb. Hyn ydyw, dim mwy, dim llai. Magu Hiraeth~~~It’s not the land of my father, or his father either, nor the land of my mother and her people, but Pen Llŷn is a land they knew well, the land I first came to sixty years ago in the womb, and came again and again, season upon season, legs lengthening, blue-eyed and burning skin, wandering on Mynydd Mawr, watching the currents ramping round Ynys Enlli, tickled and prickled by the same gorse and brushed by the same damp bracken where the adders hid on Anelog’s slopes, long days squeaking the sands with feet free, a prelude to late tea beneath the porcelain on the dresser.Sights and sounds familiar as the inner metronome calling when I’m away, calling me, an outsider but no stranger, visitor but no tourist, a friend I hope to the land of your fathers and mothers ... and, for all this, the land of song inflects me with music as you hear.Between 2007-2022, two waves of writing connect villages at either end of Pen Llŷn: Aberdaron, my earliest love, westermost tip, its beach-side church of stone and timber filled with sea-light and the remembered voice of the poet-preacher; my mind’s eye settles upon the heron alone in a pool left by the receding tide; and I see again the winding-gear skeletons at Porth Ysgo, the gull-camped islands in the bay, and, from Uwychmynydd, the isolated Ynys Enlli rising from the water, last resting place before the sea becomes the unbroken horizon; and Trefor, my newer home, eastermost gateway by “the etemal eroding sea” at Yr Eifl’s foot (as poet Brian Morris felt it), the heights above surveying all Pen Llŷn (as those at Tre’r Ceiri did before), and the carved mountain testament to a century of stonecraft that kept the village, sustained its band and choirs, filled its chapels and school, and made busy its pier.Myriad memories in and of this land, rippling out, lighting upon places and people, the sights and sounds of adopted home. Memories and music.Even the best of second language users are tricked occasionally by a turn of phrase, a quirk of grammar, an untranslatable; so, too, acquired nostalgia and the yearning for home, even when the learning began in the womb, will always be incomplete, sometimes fragmentary, often phantom. Nonetheless, it can be fully sensed, become embodied, all of this despite being second. It is what it is, no more no less. Magu hiraeth ...----Credits (as released June 6, 2023)Recording and Mixing: Sam GeeMusicians:George Bingham – double bass, percussionJacqueline Fay – cláirseach, violaRichard Fay – boxFabienne Fournelle – drum kitSam Gee – soprano/alto sax, piano, bassoonIdris Jones – violinMabon Jones – violinMéabh Kennedy – violinElana Kenyon-Gewirtz – violinJemima Kingsland – fluteDaniel Mawson – clarinetCaroline Morris – celloHugh Owen – guitarSheila Seal – piano, electric bassAli Vennart – violaPhotography: Liam PriorGraphic Design: Sam GeeMany thanks to Idris Jones for rendering my original text in Welsh.Diolch yn fawr i Idris Jones am addasu fy nhestyn gwreiddiol i’r Gymraeg.

Originally composed in 2007, this work (composition-as-output) features lever harp and piano and was recorded initially for the album Helix (2019) and subsequently reissued on the album Magu Hiraeth (2023). It also exists as a film (2021).Sleeve Note:Aberdaron, the small village at the western tip of the Lleyn Peninsula in North Wales, is both a place of childhood holidays and of more recent visits with Jacqueline when we stayed in the hotel overlooking the beach, with the waves a background to our sleeping, and to the beach the venue for our pre-breakfast striding out. This simple tune arose from these moments of solace with the sea, with the harp expressing the ins and outs of the waves, and the piano hinting at the sea breeze and the gull cries.(previously released on from Helix: Music for Hard Times (2020).creditsfrom Magu Hiraeth, released June 6, 2023Composed by: Richard Fay (2007)Recorded, mixed, mastered by: Sam GeeJacqueline Fay (cláirseach)Sheila Seal (piano)

Composed by Richard Fay in 2022, a recording of this (composition-as-output) work - with additional arrangement by Sam Gee - was published in 2023 on the mid-length album Magu Hiraeth.Sleeve Note:Between the small sandy beach and old pier (where the stone quarried from the mountain was transported by ship to England) and the pebble beach at West End, there is a stretch of coastland - a headland with steep cliffs into the sea, and stacks for colonies of birds - along which we walk most days when we are in the nearby village of Trefor. This tune captures that daily experience of going along the cliffs, immersed in the sounds of the waves thudding against the cliff bottoms, the bird cries and sheep bleats, and the wind, with the sun often bearing down, and the sea beyond calling out to us to sail back across the sea to Ireland.creditsfrom Magu Hiraeth, released June 6, 2023Composed by Richard Fay (2022), and co-arranged with Sam Gee (2022).George Bingham (dbl bass and percussion)Jacqueline Fay (viola and (cláirseach)Sam Gee (soprano and alto saxes)Idris Jones (fiddle)Mabon Jones (fiddle)Caroline Morris (cello)Sheila Seal (piano)Record, mixed, and mastered by Sam Gee.

A version of this (composition-as-output) work from 2020 was re-worked in 2022 (by Sam Gee as co-author) and included on the mid-length album Magu Hiraeth (released in 2023).Sleeve NoteWest End Shore is a pebbled beach that sits beneath the quarry-carved most northerly peak in the mountain group Yr Eifl. It's a beach rarely visited except by those in the nearby village of Trefor, and yet it is a place where glorious sunsets over the water to Ynys Môn are common, as are sightings of dolphins and seals. And when the evening light is right, distant across the Irish sea, the Wicklow mountains haunt the horizon. It can be a peaceful place - the mood captured, I hope, in this piece - but also a wild one when the storms lash in off the sea and where, on occasion, we have quite literally been blown off our feet. The original version of this track opens this EP, and here at its close is the wonderful reworking of it by Sam Gee (who also plays sax on both versions as well as being the sound engineer for everything). Sam adds so much to all the musicking I do - from my musical lumps of clay he fashions works of great beauty, giving the very best of his own performance (listen to his sax solos on both versions of this piece for example) and bringing out the best in all the other performers. Here, in this closings to the EP, we also benefit from his arrangement skills and re-imagining of my original musings.

Originally composed in 2020, this (composition-as-output) piece was recorded for the album Magu Hiraeth (2023).

Originally composed by Richard Fay in 2020, this (composition-as-output) work was recorded in 2023 for the mid-length album Magu Hiraeth. Its debut performance was for a klezmer-for-Ukraine performance in St. Bueno's Church, Clynnog Fawr, Gwynedd, Wales, in summer 2022.Translation from the Welsh: The Eifl / The Carved MountainSleeve NoteThe three peaks above the village of Trefor are collectively known as Yr Eifl. The most northerly of the three was the site of a quarry for many decades, and these old workings have left their mark on the mountain, great chunks blasted out of the rock but with fascinating veined faces of ancient stone thereby revealed, hence the name of the 2nd tune which translates as The Carved Mountain.

A Klezmer Klassica quintet arrangement of Joseph Achron's 'Hebrew Lullaby (op.33, no.2) and 'Hebrew Melody' (op.35)Clarinet: Daniel MawsonViolin: Elana Kenyon-GewirtzViola: Chris EmersonCello: Caroline MorrisPiano: Sam GeeAudio Recording and Director of Photography: Sam GeeCamera Operators:James WalkerRichard FayProducer: Richard FayMusical Director: Daniel MawsonPerformed in March 2023 at the International Anthony Burgess Foundation in Manchester.www.anthonyburgess.orgwww.richardfay.co.uk/klezmer-klassicaKlezmer Klassica explores the richly generative but often un(der)explored meeting point of Western ‘classical’ music and Jewish ‘folk’ music, musical encounters against a complex historical, cultural, and political backdrop. Conceived by Richard Fay and Daniel Mawson, the Klezmer Klassica chamber ensemble explores this rich musical vein through fresh interpretations of pieces by composers both well-known (e.g. Shostakovich) and perhaps less well-known (e.g. Joseph Achron).

Sustainable development (SD) refers to development that meets the needs of the present without compromising the ability of future generations to meet their own needs. In 1987 the United Nations (UN) formally recognised SD as a critical agenda, and called for world leaders to respond based on principles of science and research. World leaders signed the UN Millennium Declaration in September 2000, expressing their commitment to resolve eight challenges affecting global citizens through the UN Millennium Development Goals (MDGs). In September 2015 this commitment was renewed through the adoption of the UN 2030 Agenda for SD. The eight challenges set out in the MDGs were refined and presented in the form of the UN Sustainable Development Goals (SDGs), with 17 global goals set for implementation ranging from no poverty (SDG 1) to partnership for success (SDG 17).