Haydn Morris (1891-1965)

 








Being Welsh-born from a common family it is hardly surprising to learn that Haydn Morris went to work in the coal mines. He started work when he was 12 years old, and stayed there until he decided to devote himself entirely to music in 1916. He took an interest in music very early in life, and studied first under local teachers, and then under Vaughan Thomas at Swansea. 

After becoming A.R.C.M. in 1918 a concert was arranged to assist him to further his education. He went to the Royal Academy of Music in London later that year where he studied till 1922, gaining the Oliveria Prescott prize for composition and receiving the special commendation of Edward Elgar.

As his career progressed he declined teaching posts at the Royal Academy of Music and in Canada in 1923, and spent his career as organist and choirmaster in various churches in Wales. He devoted most of his time with composition and wrote extensively in all fields. As a composer Haydn Morris had a strong allegiance for Welsh traditional music. 

Overture - The four Kings 

This overture is an example of Morriss's love of his national heritage. The score is prefaced with a list of the four parts to the overture which all flow continuously. This is followed by a heartfelt introduction:

This overture is an attempt at portraying in music sketches of the four above mentioned heroes. Their contribution to Welsh culture was immeasurable, and remembering them fills the heart of ever true Welshman. The primary characteristic of the four sketches is  the happy side, geniality, with always a smile to greet you, with no scowl or malice in their natures. Their connection to the children of Wales kept their spirits young and healthy.

No 1. Darlun Syr Owen M. Edwards (Arloeswr) begins in a lively fashion and continues to do so. It's a spirited dance which would surely have the audience tapping their feet. 

No 2. Darlun Elfed (Emynydd a Baradd) is unashamedly schmaltzy in nature and features the celeste. However any sentimentality is overshadowed by ominous brass fanfares at the end in a rather Charles Ives moment.

Here are these first two parts.


SAMPLE: The Four Kings Nos 1 & 2