HISTORY
Côr Meibion Dowlais Male Choir
The Choir can trace its roots back to the late 1800s and continued until the 1950s. At some points, the Choir boasted over 100 members, but towards the 50s, it was much reduced and could be described more as a “Glee Party,” which eventually disbanded.
The present Choir was re-formed in 1965 by 13 men keen to see a revival of choral music in Dowlais, and that number rose to 120, reflecting the enthusiasm of the early days. Today the number of choristers registered is 45 and we are constantly looking to recruit new members, to ensure that the Welsh choral tradition lives on.
Over the years, the Choir has traveled extensively to many countries, including America, Canada, Northern Cyprus, Holland, France, Bulgaria, Ireland and Italy.
It has won the National Eisteddfod and represented Wales twice at the International Celtic Festival in Lorient Brittany. Its travels have seen the Choir sing in some very prestigious venues including: Massey Hall Toronto, Bercy Stadium and Champs Elyse Paris, the Millennium Stadium, Millennium Hall and St David’s Hall Cardiff, Birmingham Symphony Hall, Bellapais Abbey Cyprus, St Paul’s Cathedral and the Science Museum as well as the world-renowned Royal Albert Hall. We also believe we are unique in having had a taped recording of the Choir taken into space by Canadian born astronaut Daffydd Rhys Williams in 1998, on his sixteen day mission aboard space shuttle Columbia, which orbited the earth 256 times covering 6.3 million miles.
The Choir has made a number of television appearances and sung with a variety of famous names including Bryn Terfel, Katherine Jenkins, Haley Westenra, Donny Osmond, Wynne Evans, Rebecca Evans, Peter Karrie, (widely considered to be one of the best at portraying the role of Phantom in Phantom of the Opera) and Jason Howard, an ex-Dowlais Choir member, who in addition to his many opera roles in many parts of the world, most recently took the lead role in South Pacific at the Barbican Theatre London and continued on a nationwide tour of the UK. Peter and Jason both hailed from Merthyr Tydfil. The Choir also had the honour of performing for and before Diana Princess of Wales. In 2010, the Choir had the privilege of singing for HRH The Prince of Wales and the Duchess of Cornwall when they attended the Armed Forces Day in Cardiff.
The old and the new
There are a several interpretations of the name Dowlais; one such explanation refers to the local streams, merging to create the concept of “Two voices” blending as one, -an appreciative concept for the choir and its supporters. The original Dowlais Male Voice Choir was established in 1898 under the musical direction of the nationally renowned Harry Evans. The Choir set the highest standard in male voice choral music, and gained many prizes at various Eisteddfods and competitions. By 1915, however this Choir had disbanded, leaving the name “Dowlais Male Voice Choir” in a state of Nirvana.
Earlier in 1910 Cor Meibion Penywern, another nearby male choir had been founded by seventeen young men of the local Congregational Chapel, Evan Thomas “Alaw Morlais”, a native of Penywern, was appointed the conductor. In the 1920s a decision was made by the committee of Cor Meibion Penywern to rename the choir, “Dowlais Voice Male Choir”. The original title did not give a true representation of the area where the members lived; also the name associated a link with a reputable male chorus from a bygone era. With the closure of collieries in 1920s and sections of the Dowlais steel works closing by 1930, a decision was made to disband the choir due to choristers leaving the area in the pursuit of employment, thus leaving huge gaps affecting the balance of the choir. The last concert this choir performed was in 1932.
For 33 years, the Dowlais sound lay dormant, until a small group of workers from the Guest Keen and Nettlefold Company, which had maintained Dowlais Iron and Steel Industrial tradition, a meeting was held in 1965 to reform the choir. A new generation of choristers, aided by choristers of the old male choir combined to recreate the resonance of the Dowlais Sound and revive the name of the Dowlais Male Choir. Its founder conductor was D. T. Davies MBE a musician of great repute throughout South Wales as conductor, adjudicator and accompanist.
Musical Directors
The Choir has been fortunate in having the expertise of respected musicians behind up the baton since its commencement: D. T. Davies, Wynford Jones, John Samuel, Elwyn Gildas Williams, Annette Moore, and Gareth Ellis, Stewart Roberts and David Last. The present Musical Director, Darya Brill Williams, took up the position in 2012.
Some of the Choir’s accomplishments
Like the ‘Phoenix rising from the ashes’ the Choir grew in number from 13 original choristers, reaching 120 at various periods. 1973 was the first of many musical peaks the Choir climbed, when it won the Chief Male Choral competition at the Royal National Eisteddfod at Ruthin. Over the years the Choir has received invitations to perform at some of the UK’s major concert halls, with numerous appearances at the Royal Albert Hall. Throughout its existence, the Choir has sung for many members of the Royal Family, including a Royal Command Performance in the presence of HRH Prince of Wales at the New Theatre, Cardiff. Tours began in 1975, visiting such countries as Luxembourg, Bulgaria, Eastern and Western States of the USA and Canada, Holland, Ireland, Italy, and Northern Cyprus. In 2005, the Choir was selected to represent Wales at ‘The Festival Interceltique’, in Lorient, Brittany. These excursions enabled the choir to represent the Principality and enhance its reputation through a high standard of male voice choral music’.
Dowlais sound reaches the universe
Back in the summer of 1997, BBC Wales visited the Houston Space Centre, Texas, USA. The purpose of the visit was to produce a television programme on the “Welsh Connection” of people employed by NASA who had involvement in the American Space Programme. Astronaut and Welshman Dafydd Rhys Williams had been selected for a space mission. Being of Welsh blood and proud of it, he kindly offered to take a CD of the Dowlais Male Choir with him on his mission. In April 1998, Dafydd was launched into space, circulating the world at a height of 150 miles, covering a distance of over 6 million miles at approximately 35 times the speed of sound – carrying the Dowlais Male Choir’s resonance around the planet in space. In recognition of the occasion, the title and the artwork on the CD cover symbolises the Choir’s aim in promoting choral music to far horizons.
Singing in Dowlais
Before the Iron Works were established in Dowlais there was no distinct name to the locality. The Welsh name “Dowlais” is unique: it is not duplicated in any other part of Wales. One interpretation, “Dow” is derived from “Ddu,” the Welsh word for black and “Lais” refers to the sound of rivulet, hence “Black rivulet.” Probably the name originated as a result of the Iron industry in the area, which caused the rivulet to change its crystal appearance to a polluted black murky colour, as a result of coal and iron waste. The interpretation favoured by Dowlais choristers refers to two local streams merging, to create the concept of “Two voices, blending” as one.
The following narrative is a short synopsis of the Choir’s history and its close association, firstly with Dowlais Iron Works and secondly with GKN.
This is an historical account of the formation of male choral singing in the locality of Dowlais, from its initial formation to the present day. With development of the iron and coal industries associated with the Iron works and collieries at Dowlais made famous since 1767 by John Guest from Broseley in Staffordshire, by 1845 Dowlais Iron Works was the biggest ironworks in the world, employing 8800 employees. Men and women throughout Wales and England heard of the opportunities to earn a higher wage than the pittance they were being paid as agricultural workers where poverty was a way of life.
The Welsh have always been renowned for their singing: whenever a group of Welsh men or women congregate together for social interaction, there is usually a cord struck, followed by an outburst of song. With the influx of immigrants to Dowlais in the seventeenth century and the dangerous and harsh working conditions they endured, three activities gave the working classes opportunities to escape from their oppressed environment: the imbibing of alcohol, sporting activities or associating themselves with religious fraternities which embraced hymn singing. Singing was one of those leisure activities that helped alleviate the drudgery of everyday life. In the mid-1800s, Dowlais was like the Klondike. In the early establishment of the community, it encapsulated a collection of people from all parts of the United Kingdom and beyond, with such a high density of population that those who shared a passion for choral singing would usually attend a chapel or church, as these spiritual places promoted the choral activity, where children were taught the rudiments of tonic Sol-fa through a modulator.
One tradition of the Welsh is to complete at festivals of literature and music called an Eisteddfod, which dates back to the 12th century. Due to the number of small choirs in Dowlais at that period, Eisteddfods were organised frequently, giving opportunities to choirs to strive for excellence among choral competitors.
In Dowlais in the 1890’s there was an abundance of choirs representing various organisations. A particularly good example of this is the Merthyr Valley iron town, where the district of Dowlais produced between 1880-1900 the Dowlais Glee Party, the Dowlais Harmonic Society, the Dowlais Choral Society, the Dowlais Philharmonic, the Dowlais Choral Union, Dowlais and Merthyr United, and the Dowlais Temperance Union. The two prominent mixed choirs in existence were “The Dowlais Temperance Choir” and “The Dowlais Philharmonic Society” – the latter originating in 1893. Male Voice Choirs in the area were not so prominent in Dowlais, resulting in few male choral groups in existence.
One such Male Voice Choir was formed in the early 1890s; its conductor was Mr William James, and it was formed to enter the Eisteddfod at Abergavenny. Mr. Thomas Evans (Gwent House), a local philanthropist, was approached and accepted the position as president of the Male Voice Choir.
In 1894, another Male Voice Choir was formed under the direction Mr John Davies (Alma Street), and resolved to enter the competition at the Treorchy Eisteddfod. By 1897 the Male Voice Glee Society led by Mr Williams James had disbanded, leaving the remaining Male Voice Party under the leadership of Mr. John Davies to carry on the male voice tradition.
In1899, the renowned local musician Harry Evans F.R.C.O., conductor of Dowlais Philharmonic Society, had rendered a number of concert successes. Mr Evans was persuaded after some contemplation to enter a male voice choir for competition at the 1900 Liverpool National Eisteddfod. With Harry Evans’ distinguished reputation as a conductor and musician, it was a foregone conclusion that only choristers with quality voices who could also read Sol-fa or old notation would be considered. When it came to voice tests, only the crème de la crème were accepted. Such was the calibre of the choristers; their musical backgrounds were chapel presenters, soloists, church and chapel organists, and local choir conductors. Such was the level of singing, the choir soon gained a reputation as being a prestigious organisation. Lord Wimborne was invited to become President of the Dowlais Male Voice Party, and he expressed his pleasure in accepting the position.
Ivor Bertie Guest, 1st Baron Wimborne (1835-1914), was the son of Sir John Josiah and Lady Charlotte Guest, and an uncle by marriage of Winston Churchill. His middle name Bertie came from his mother’s family, the Earls of Abingdon.
At one rehearsal, Lord Wimborne addressed the choristers, expressing delight with the singing and furthermore said he hoped they would be successful at Liverpool. Part singing, more than any other form of vocal music, appealed to him and he had been very much struck by their rendition of the difficult sections. His lordship, in conversation with Mr Harry Evans, complimented the conductor upon the high state of the proficiency of the party.
After a triumphant win at the 1900 Liverpool National Eisteddfod, the choir gained high status in the male voice arena. By 1903, with adjudications and offers for a guest conductor, Harry Evans handed the baton of the Male Voice Choir to Mr W.J. Watkins, one of his prodigies, who had been the choir’s accompanist.
By 1906, Mr Harry Evans F.R.C.O. was invited to Liverpool to become the conductor of the Liverpool Welsh Union Choral Society. He also accepted the position of organist for the Great George Street English Congregational Church in Liverpool, which has long been recognised as the Tabernacle of the Liverpool City.
In 1909, the Male Voice Choir completed at the Welsh national Eisteddfod in London, gained victory and won first prize, but by 1910 the choir had disbanded.
In the same year, the Dowlais Philharmonic Male Voice Choir disbanded, leaving the name “Dowlais Male Voice Choir” in a state of Nirvana. As one fraternity dies, another is reborn, as was the case with Cor Meibion Penywern, another male choir in the principality, founded by seventeen young men of the local Congregational Chapel. Evan Thomas “Alaw Morlais”, a native of Penywern, was appointed the conductor. Evan Thomas was employed as a collier in one of the collieries owned by the Messrs Guest, Keen, and Nettlefolds, Ltd.
When King George and Queen Mary visited the Dowlais Steel Works in June 1912, an invitation by Messrs Guest, Keen, and Nettlefolds, Ltd., was extended to the Penywern Male Voice Choir to take part in celebrating the visit of their Majesties.
In August 1914 Mr Tudor Davies M.E., came to Dowlais as deputy agent, after he appointed to the management of Guest, Keen and Nettlefolds, Ltd. When Mr. Howell R. Jones became general manager of the firm early in 1915, Mr. Davies was made chief agent of the Dowlais collieries. With his advent to the town he took an active interest in its welfare, and subsequently was invited to become president of the Penywern Male Voice Choir in 1914.
In the 1920s a decision was made by the committee of Cor Meibion Penywern to rename the choir, “Dowlais Voice Male Choir”. The original title did not give a true representation of the area where the members resided; also the name associated a link with a reputable male chorus from a bygone era.
In 1921 the choir were invited by Messers Guest, Keen, and Nettlefold Ltd., to a function at Cardiff given in honour of the Iron and Steel Trades Institute. For many years, inception of this choir Mr. Howell R. Jones J.P. general manager had taken an exceptionally kindly interest in the choir, and representations to him from time to time had always been met with greatest courtesy.
He had granted the choir many privileges, such as the Guest Memorial Hall, when it became at the disposal of the Choir with electricity and heating free of charge.
One of the choir’s patrons was Merthyr Tydfil-born Mr. H. Seymour Berry (later Lord Buckland). He became part of the management board of Guest, Keen and Nettlefold in 1920 and became its chairman in 1927. At a rehearsal in 1921, he made a presentation of a valuable addition to the choir, a new piano at the Guest Testimonial Library.
From its inception 1910 until the 1930s, the choir became a fierce competitor: its continuous winning at Eisteddfods and competitions made other choirs tremble at the name of Dowlais. Even Dylan Thomas, the famous Welsh poet, knew of the Dowlais Male Choir and made reference to it in one of his best-known works, Under Milk Wood – “How’s the tenors in Dowlais?”
Due to the depression of the 1920s, numbers dwindled, with choristers leaving the choir to seek work in the UK and abroad depleting the membership. Thankfully, the choir managed to survive until 1939: when war was declared between Great Britain and Germany a number of choristers were conscripted into the armed services, and the choir entered a state of Nirvana for a couple of years before reforming itself as a Glee Party between 1941-46.
It was nearly forty five years since the present Dowlais Male Choir was formed. The original meeting was made up of employees of the Messrs Guest, Keen, and Nettlefold Ltd who’d formerly been members of the disbanded Guest Keen Glee Party under the baton of Elwyn Morgan in the 1950s. One of the prominent activists responsible for its formation was Des Kelly, an employee of Messrs Guest, Keen, and Nettlefold Ltd, who planted the seed among his work colleagues who’d previously been choristers in the Guest Keen Glee party. Des’s pursuit in finding out if any of his work colleagues were interested in forming a male voice choir there was met with a favourable response to his endeavours.
A meeting was arranged on Wednesday October 27th 1965 at the Guest Keen Memorial Club. Thirteen men employed by Messrs Guest, Keen, and Nettlefold Ltd turned up, these are the men who are known to have attended the first meeting, Des Kelly, Meurig Price, John Francis, Ron Pope, Arfon Price, Austin Adams, Les Williams, Mostyn Davies, Bernard Barrett, Edgar Hughes, Tom Kinsey, and Adrian Newman. All those present were obviously disappointed with such a poor response but the low numbers did not deter those present; a proposal was made to hold another meeting to see if any more prospective members would be interested. At the subsequent meeting twenty-five men appeared, which was rather more encouraging, and at that meeting it was decided make an announcement, by displaying some coloured posters, the first rehearsal of the “newly formed male voice choir” would take place in the Guest Keen Memorial Club on Wednesday 10th November.
It was decided to invite Mr. Cyril Tasker, Manager of Guest, Keen, & Nettlefolds to become the Choir’s first President. In later years other managers, Mr Philip Green and Mr John Owen, became Vice Presidents
The Choir went from strength to strength and achieved first prize in the National Eisteddfod in Ruthin. Some of the original members are still active members of the current Choir.
Through the ages, a majority of male voice choristers living in Dowlais were employed by firstly the Dowlais Iron Works and subsequently GKN, whether they worked in the steel works, the surrounding collieries, or companies offices.
GKN and Dowlais Male Choir continued their association and the choir has appreciated the sponsorship and support of GKN over the years, and were privileged and delighted to be invited to participate in the celebration of 250 years of Guest Keen & Nettlefolds.