Ar hyn of bryd mae'r cynnwys hwn ar gael yn Saesneg yn unig.
Ar hyn of bryd mae'r cynnwys hwn ar gael yn Saesneg yn unig.
Ar hyn of bryd mae'r cynnwys hwn ar gael yn Saesneg yn unig.
hyrwyddo a dathlu cerddoriaeth Cymru
promoting and celebrating the music of Wales
+44 (0)29 2063 5640
Sarah Lianne Lewis 1988
Tirweddau Cymru, barddoniaeth Japaneaidd a phensaernïaeth gofodau perfformio sy’n dylanwadu ar gerddoriaeth Sarah Lianne Lewis ac mae wedi’i disgrifio fel ‘tawel a chain’ (Matthias Roth, Rhein Neckar Zeitung, 2016) ac yn ‘llawn soniarusrwydd dychmygus’ (Steph Power, Wales Arts Review, 2016). Astudiodd ym Mhrifysgol Caerdydd gan dderbyn BA 2:1 (Anrhydedd) mewn Cerddoriaeth a Hanes ac M Mus mewn Cyfansoddi. Ers graddio, mae wedi derbyn sawl comisiwn a chyfle i berfformio gan wyliau yn y DU ac Ewrop ac mae wedi cael blas ar arwain gweithdai addysgol a chynnal dosbarthiadau meistr cyhoeddus sy’n trafod ei cherddoriaeth.
Yn ddiweddar mae Sarah wedi cydweithio â Quatuor Bozzini drwy breswyliad Embedded/Composers’ Kitchen Sound and Music ac ag Orchestre Philharmonique de Radio France (ManiFeste Academie 2017). Ar hyn o bryd mae’n gweithio ar gomisiynau ar gyfer ensemble UPROAR a Sonata i’r Feiolín i Mary Hofman a Richard Ormrod.
Sarah Lianne Lewis’ music has been described as “quiet and delicate” (Matthias Roth, Rhein-Neckar-Zeitung, 2016), “full of imaginative sonorities” (Steph Power, Wales Arts Review, 2016), with “pristine dissonance and eerie ambience” (Weeping Tudor Productions, 2018). She studied at Cardiff University between 2006 and 2011, gaining a BA (Hons) 2:1 in Music & History, and an MMus in Composition, and her music has since been performed in Europe, Canada and Australia, broadcast on several UK and European radio stations, and featured in festivals including Festival d’Aix-en-Provence, Heidelberg Frühling Festival, St Magnus Festival, sound festival, Bangor Music Festival, Musiikin Aika, Festival de Royaumont Lucerne Festival and gmem CNCM’s Festival Les Musiques.
Her current interests are in exploring semi-improvisatory gestures within larger ensembles, and the dialogue that this creates between composer and performer, and the intentional blurring of lines between sounds produced by acoustic instruments and those by electronics. As a composer and singer, she also runs schools workshops, focussing on enhancing creativity and classroom composition, and leads vocal masterclasses for amateur musicians.
