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Osian Gwynn Ellis[1] CBE (8 February 1928 – 5 January 2021[2]) was a Welsh harpist, composer and teacher. He was principal harpist of the London Symphony Orchestra, a founding member of the Melos Ensemble and a professor of harp at the Royal Academy of Music. Many composers wrote music for him. From 1959 onwards, Ellis had a close professional partnership with Benjamin Britten that lasted to the latter's death. He was often first to perform and record Britten's works.

Key Information

Career

[edit]

Osian Gwynn Ellis was born in Ffynnongroew, Flintshire,[3] in 1928, the son of the Rev. Tomos Ellis, a Welsh Methodist minister, and his wife Jenny (née Lewis), a harpist,[4] and spent the first four years of his life at Llys Myfr on Llinegr Hill.[1] As a boy Ellis was obsessed with playing the harp and playing football. In 2018 he recalled: "I chose the harp because we had one at home. My mother, Jennie, was a good amateur harpist. We did spend some years living in Denbigh and I was the goalkeeper for Denbigh County School. I taught myself to play the harp to some degree and was encouraged by my mother."[5]

He studied at the Royal Academy of Music with Gwendolen Mason, whom he later succeeded as professor of harp from 1959 to 1989.[3][4] He joined the London Symphony Orchestra in 1961 and became principal harpist.[4] He recalled: "I did two Royal Variety Performances in the pit at the London Palladium involving Bob Hope and many other top stars. I also joined the Wally Stott Orchestra and we played on the original Goon Shows starring Spike Milligan, Harry Secombe and Peter Sellers and, for a short time, Michael Bentine."[6] He was a founding member of the Melos Ensemble[4] and also formed the Osian Ellis Harp Ensemble.[7]

Ellis's 1959 recording of Handel's harp concertos (with Thurston Dart) won the Grand Prix du Disque. In 1962, the Melos Ensemble with Ellis released what is considered by musicologist Paul Loeber the finest rendition ever of Ravel's Introduction and Allegro,[1] playing with flautist Richard Adeney, clarinettist Gervase de Peyer, violinists Emanuel Hurwitz and Ivor McMahon, violist Cecil Aronowitz and cellist Terence Weil.[8] The record, released on the L'Oiseau-Lyre label, OL 50217, included works by three other French composers — Debussy: Sonata for Flute, Viola and Harp; Albert Roussel: Serenade for Flute, Violin, Viola, Cello and Harp; and Guy Ropartz: Prelude, Marine and Chansons for Flute, Violin, Viola, Cello and Harp. He also took part in the ensemble's recording of Peter Maxwell Davies's cantata Leopardi Fragments.[8]

Honours and awards

[edit]

Ellis was made Commander of the Order of the British Empire in 1971.

He was the honorary president of the Wales International Harp Festival[1] and in 2018 was honoured at the festival, in Caernarfon, when a new work was premiered to celebrate his 90th birthday.[5]

A portrait of Ellis with Peter Pears by photographer Nigel Luckhurst is held in the collection of the National Portrait Gallery, London.[9]

Influence on other musicians

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Concertos were written for him by Alun Hoddinott (for the Cheltenham Festival in 1957), William Mathias (for the Llandaff Festival of 1970), Jørgen Jersild (1972), William Alwyn (1979) and Robin Holloway (1985).[3][1][10]

Ellis is particularly known for his musical association with Benjamin Britten, with whom he collaborated extensively. Their relationship began when Ellis was the harpist in a performance of A Ceremony of Carols in London on 4 January 1959, conducted by George Malcolm, which resulted in an invitation to play at the Aldeburgh Festival the following year.[4] Britten wrote the harp part in several of his major pieces with Ellis in mind, particularly A Midsummer Night's Dream, the War Requiem and the church parables. Britten also wrote his Harp Suite, Op. 83, for Ellis in 1969.[1] Ellis appeared in many first recordings of Britten's pieces, often with Britten himself conducting.[1] When Britten had to withdraw, due to heart surgery, from accompanying his partner, the tenor Peter Pears, on the piano, Ellis came to accompany Pears, and Britten wrote new pieces for them,[4] including Canticle V: The Death of St Narcissus (1974) and A Birthday Hansel (1975).[10][7]

Compositions and writings

[edit]

Ellis's own compositions drew on his Welsh heritage, including settings of Welsh folksongs for tenor and harp and settings of medieval Welsh strict metre poems.[7] Diversions for two harps includes a cerdd dant setting of Dylan Thomas' poem "And death shall have no dominion".[11]

His writings include The Story of the Harp in Wales (1991) ISBN 0-7083-1104-0 (a revision of an earlier publication in Welsh), which traces the harp's development and discusses some famous harpists.[1][7]

Discography

[edit]

Source:[12]

  • Franck: Sonata for Violin and Piano; Debussy: Sonatas; Ravel: Introduction and Allegro, 1988, London/Decca
  • Masterworks for the Harp, 1993, Boston Skyline
  • Diversions, 1994, Sain
  • Mathias: Clarinet Concerto; Harp Concerto; Piano Concerto, 1995, Lyrita
  • Harp Concertos, 1997, London
  • 17th & 18th-Century Harp Music, 2008, L'Oiseau-Lyre
  • 19th & 20th-Century Harp Music, 2008, L'Oiseau-Lyre
  • Debussy & Ravel: String Quartets; Cello Sonata; Introduction & Allegro, 2016, Alto
  • Songs with Harp, Eloquence
  • Handel: Jephtha; Rodrigo; Concertos for Lute & Harp; Concerto Grosso, HWV 318, Decca/Eloquence[13]

References

[edit]
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Osian Ellis

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Osian Ellis was a Welsh harpist, composer, and teacher renowned for his long service as principal harpist of the London Symphony Orchestra and his profound influence on contemporary harp repertoire through collaborations with Benjamin Britten. Born on 8 February 1928 in Ffynnongroew, Flintshire, Wales, he studied at the Royal Academy of Music under Gwendolen Mason and went on to hold the position of professor of harp there from 1959 to 1989. [1] [2] [3] Ellis pursued a versatile career as a freelance performer in his early years, engaging in solo recitals, chamber music, theatre orchestras, radio broadcasts—including work with Wally Stott’s orchestra for The Goon Show—and orchestral engagements before joining the London Symphony Orchestra in 1961, where he remained until 1994 and frequently appeared as a soloist. He was a member of the Melos Ensemble, contributing to landmark recordings such as Ravel’s Introduction and Allegro. His artistry extended to joint poetry recitals with actors including Peggy Ashcroft, Richard Burton, and Paul Robeson, and he occasionally performed Welsh folk songs and penillion as a light baritone. [1] [4] [3] A defining aspect of Ellis’s legacy was his close association with Benjamin Britten, beginning in 1959 and encompassing premieres and performances of major works including A Midsummer Night’s Dream, the War Requiem, the three church parables, and Britten’s Suite for Harp, Op. 83, written specifically for him. Britten also composed Canticle V and A Birthday Hansel for Ellis in partnership with tenor Peter Pears, with whom Ellis toured extensively as accompanist. Ellis’s playing inspired numerous other composers—including William Mathias, Alun Hoddinott, Gian Carlo Menotti, Elizabeth Maconchy, and Robin Holloway—to write new works for the harp. [1] [2] [3] Ellis championed Welsh musical heritage throughout his life, authoring The Story of the Harp in Wales and promoting traditional forms such as Cerdd Dant. His recordings, including Handel’s Harp Concerto (a Grand Prix du Disque winner) and various Welsh folk arrangements, remain influential. Appointed CBE in 1971, he continued composing into his nineties, producing works such as Lachrymae and a cycle of Welsh folk songs premiered by Bryn Terfel. Ellis died on 5 January 2021 in Pwllheli, North Wales, at the age of 92. [1] [4] [5]

Early life and education

Birth and family background

Osian Ellis was born on 8 February 1928 in the village of Ffynnongroyw, Flintshire, Wales. [1] He was the son of the Rev. Tomos Ellis, a Methodist clergyman, and Jenny Ellis (née Lewis). [1] Ellis was brought up in Denbigh, North Wales, in a family environment shaped by his father's ministerial role within the Welsh community and his mother's amateur harp playing. [3] [4] His mother, an amateur harpist, encouraged his early engagement with the instrument, fostering an initial interest in music amid the cultural traditions of North Wales. [3] [4] This childhood setting in a Welsh-speaking region provided a foundation for his lifelong connection to the harp and Welsh musical heritage. [3]

Musical training and early career

Osian Ellis's formal musical training began after he won a harp competition at the 1943 National Eisteddfod in Bangor, securing a scholarship to the Royal Academy of Music.[6][7] At the Academy, he studied the harp under Gwendolen Mason.[6] Prior to this, his initial harp instruction came from Alwena Roberts, while he also studied piano and organ during his time at Denbigh Grammar School.[6] In 1948, Sir John Barbirolli invited Ellis to join the Hallé Orchestra, but he declined owing to impending National Service; as a conscientious objector, he spent his conscription period working as a porter at St Asaph Hospital.[6] By the 1951 Festival of Britain, he was performing in the theatre orchestra at Stratford-upon-Avon.[6] He soon relocated to London and established himself as a freelance harpist, appearing regularly on radio broadcasts, in concert halls, and on BBC Wales television programmes featuring Welsh music.[6][8] His early engagements included poetry-and-music recitals with actors such as Peggy Ashcroft, Sybil Thorndike, and Richard Burton, contributions to new scores for Charlie Chaplin's classic films, theatre work at the London Palladium, and performances with the Wally Scott Orchestra accompanying The Goon Show.[6] In 1959, Ellis succeeded Gwendolen Mason as Professor of Harp at the Royal Academy of Music, a position he held for thirty years.[6][8] That same year, his recording of Handel's harp concertos with Thurston Dart was awarded the Grand Prix du Disque.[6]

Classical music career

Orchestral positions

Osian Ellis served as principal harpist of the London Symphony Orchestra from 1961 until his retirement in 1994. [3] [1] He joined the LSO as principal harpist in 1961 and remained a regular member throughout his tenure, earning a reputation as a highly respected orchestral player among conductors and colleagues. [3] [9] During this period, Ellis worked closely with many eminent conductors, including Pierre Monteux, Pierre Boulez, Sir Colin Davis, Antal Doráti, André Previn, and Claudio Abbado. [9] His long association with the LSO placed him at the center of numerous high-profile performances and recordings with the orchestra. [3] Ellis also held earlier orchestral affiliations, including membership in the theatre orchestra at Stratford-upon-Avon and participation with the Philomusica of London. [2] He was a founding member of the Melos Ensemble, contributing to its chamber orchestral repertoire as principal harpist. [2] [9]

Solo performances and recordings

Osian Ellis was internationally recognized as one of the foremost harp soloists of his generation, earning lavish acclaim for his performances around the world. [10] [11] His solo recitals emphasized the harp's versatility across diverse repertoire, from early periods to contemporary works, and helped elevate the instrument's status beyond its traditional orchestral role. [11] Among his most significant solo recordings are three classic albums released on L'Oiseau-Lyre in the late 1960s, including 17th & 18th Century Harp Music (1969), which presented Baroque works for solo harp or transposed for it, and 19th & 20th Century Harp Music (1969), featuring Romantic and modern pieces. [11] [12] He also recorded Songs with Harp during this period, accompanying himself vocally on arrangements that highlighted Welsh and other folk traditions. [11] Earlier, in the 1950s, he produced recordings of Welsh folk music on the Delyse label (1954–1955), where he served as harpist, singer, arranger, and composer. [11] His 1959 recording of Handel harp concertos with the Philomusica of London on L'Oiseau-Lyre earned the Grand Prix du Disque in 1960. [11] Later in his career, Ellis released recordings of his own compositions for harp and voice on the Sain label, with the final one appearing in 2019, including the solo harp piece Lachrymae recorded in 2018. [11] [4] As Professor of Harp at the Royal Academy of Music from 1959 to 1989, Ellis shaped harp pedagogy and influenced generations of players, among them Elinor Bennett and Sioned Williams, while advocating for excellence and clear musical communication in performance. [9] [4] His teaching and scholarship promoted a broader view of the harp's capabilities, encouraging composers such as William Mathias, Alun Hoddinott, and others to create new works that expanded the solo harp repertoire. [9]

Collaboration with Benjamin Britten

Partnership and dedicated works

Osian Ellis formed a close and enduring professional partnership with Benjamin Britten beginning in January 1959, when the two met following Ellis's performance in a concert of Britten's A Ceremony of Carols at Westminster Cathedral. Their collaboration deepened the following year when Ellis premiered the elaborate harp part in Britten's opera A Midsummer Night's Dream at the 1960 Aldeburgh Festival. From that point, Britten composed with Ellis's distinctive harp technique in mind, particularly his exceptional control of finger damping, tone color, and phrasing, tailoring harp writing in major works to suit Ellis's abilities. Ellis's orchestral role with the Melos Ensemble and the London Symphony Orchestra enabled his participation in many of these premieres. Britten incorporated prominent and elaborate harp writing into the War Requiem (1962) with Ellis specifically in mind, and Ellis performed the part at the work's premiere in Coventry Cathedral as a member of the Melos Ensemble. In 1969, Britten composed the Suite for Harp, Op. 83 expressly for Ellis, who gave its premiere in a solo recital at the Aldeburgh Festival that year. Dedicated to Ellis, the 14-minute work in five movements explores the instrument's expressive range, culminating in a final Theme and Variations based on the Welsh hymn tune St Denio as a personal tribute to Ellis's heritage. Following Britten's 1973 heart surgery, which ended his ability to accompany at the piano, he established a performing duo with Ellis, leading to further dedicated works for tenor and harp featuring Peter Pears and Ellis. These included Canticle V: The Death of Saint Narcissus (1974), the first major work Britten completed after his recovery, and A Birthday Hansel, Op. 92 (1975), a cycle of Robert Burns settings composed for Queen Elizabeth The Queen Mother's 75th birthday and premiered by Pears and Ellis in January 1976. This late phase of their partnership reflected a deep musical rapport that lasted until Britten's death in 1976.

Premieres and performances

Osian Ellis was the harpist for the world premiere of Benjamin Britten's War Requiem, Op. 66, which took place in 1962 at Coventry Cathedral to mark the consecration of the rebuilt cathedral following its destruction in World War II. The elaborate harp part, which Britten had crafted with Ellis in mind, was integral to the work's texture, and Ellis's performance contributed to the event's profound impact as a statement against war. He also participated as harpist in Britten's own 1963 Decca recording of the War Requiem, alongside soloists Galina Vishnevskaya, Peter Pears, and Dietrich Fischer-Dieskau, further cementing his association with the piece. In 1969 Britten composed the Suite for Harp, Op. 83 specifically for Ellis, who gave its world premiere at the Aldeburgh Festival that year. The work, dedicated "For Osian," consists of five movements—Overture, Toccata, Nocturne, Fugue, and a closing Hymn based on the Welsh tune St Denio as a tribute to Ellis's heritage—and is now regarded as a cornerstone of the 20th-century harp repertoire for its virtuosic demands and expressive range. Ellis described the piece as "very rich, and quite often ecstatic," and his interpretation highlighted its blend of classical forms with harp-specific techniques such as glissandi and arpeggios. Ellis went on to premiere additional late Britten works featuring harp, including Canticle V: The Death of Saint Narcissus in 1974 and A Birthday Hansel in 1975, both performed with tenor Peter Pears. His recordings and live performances of Britten's harp-accompanied songs and chamber works, often in collaboration with Pears after Britten's illness prevented piano accompaniment, were acclaimed for their sensitivity and authority drawn from close partnership with the composer. Ellis's interpretations of these pieces remain influential, reflecting his role as Britten's preferred harp collaborator.

Work in film and television

Harp contributions to film scores

Osian Ellis occasionally contributed to film soundtracks as a session harpist, leveraging his expertise and position as principal harpist with the London Symphony Orchestra to provide harp parts for orchestral film scores.[13] His documented contributions include uncredited performances as musician: harp on the superhero film Superman (1978), directed by Richard Donner with a score by John Williams, and on the historical drama Monsignor (1982), directed by Frank Perry and also featuring music by John Williams.[13][13] These session roles highlighted Ellis's versatility, allowing him to apply his classical precision to large-scale cinematic orchestral recordings alongside his primary career in concert and recital performance.[13]

Television appearances and credits

Osian Ellis made numerous television appearances over the course of his career, predominantly as a performer in music programmes where he showcased his harp playing, often in solo recitals or chamber settings. These included early credits on British variety and music shows in the late 1950s, such as "Secombe and Friends" (1959) and "Serenade" (1959), where he appeared as himself.[14] In the 1960s and 1970s, he featured prominently on several programmes, including three episodes of "Hullabaloo" (1968), "Eric Robinson Presents" (1968), "Music Now" (1969), "Full House" (1973), "Aquarius" (1976), two episodes of "Andre Previn's Music Night" (1977–1978), and the dedicated episode "Music at Harewood: Osian Ellis" (1977), in which he performed as the featured harpist.[14] [15] Ellis also served on the judging panel for an episode of "BBC Young Musician" in 1986.[14] His harp performances were featured in the BBC Two documentary about composer Maurice Ravel, originally broadcast on 30 December 1973.[16] Early in his career, he appeared in popular television programmes on BBC Wales.[9] A Welsh-language documentary profile titled "Osian Ellis" portrayed his life and work as a leading harpist and aired on S4C.[17] In addition to appearances, Ellis received music credits for television productions, including as composer and performer of title music for the 1975–1976 TV mini-series "How Green Was My Valley".[13]

Awards and honours

Major recognitions

Osian Ellis's achievements as a harpist were acknowledged through several notable awards and appointments during his career. He won a scholarship to study at the Royal Academy of Music under Gwendolen Mason. [4] In 1959, he was appointed Professor of Harp at the same institution, where he taught for three decades until 1989. [1] His recordings received prestigious international recognition, including the Grand Prix du Disque for his 1959 recording of Handel's Harp Concerto directed by Thurston Dart. [1] In 1962, he earned another Grand Prix du Disque for his contribution to the Melos Ensemble's recording of Ravel's Introduction et Allegro. [4] He received an honorary doctorate from the University of Wales in 1970. In 1971, Ellis was appointed Commander of the Order of the British Empire (CBE) in recognition of his services to music. [1] He was also made an honorary bard. [1]

Later honours

In his later years, Osian Ellis continued to be recognized for his lifetime contributions to music through academic and institutional honours. [3] He was appointed Honorary Fellow of the University of Wales in 2000, acknowledging his enduring impact as a performer, teacher, and scholar. [18] Ellis also served as Honorary President of the Wales International Harp Festival, a role that reflected his status as a leading figure in Welsh and international harp traditions. [3] In 2018, the Wales International Harp Festival in Caernarfon honoured Ellis on the occasion of his 90th birthday with a special tribute that included the premiere of a new work dedicated to him. [7] This celebration underscored his ongoing influence on younger generations of harpists and musicians in Wales. [19]

Personal life

Family and relationships

Osian Ellis was the son of the Rev. Tomos Ellis, a Welsh Methodist minister, and Jenny (née Lewis), who was a talented amateur harpist.[8][20] His mother often played the harp at home and actively encouraged his early interest in the instrument when he was a boy.[21] He married Rene Jones, a viola player, in 1951.[1][20] They had two sons: Tomos, the younger, who died in 2009, and Richard.[1] Rene died in 2012.[1][20] Ellis is survived by his son Richard, daughter-in-law Glynis, and two grandchildren.[4][22]

Interests outside music

Osian Ellis was deeply proud of his Welsh heritage, being born into a Welsh-speaking family in Flintshire and remaining closely connected to Welsh culture throughout his life. [1] [11] He retired to Pwllheli in North Wales, where he spent his final years in a quiet, private manner at his home. [11] Ellis was remembered for his kind and charming personality, which endeared him to colleagues and students alike. [4] Specific hobbies or activities outside his musical career are not extensively detailed in public sources.

Death and legacy

Final years and death

In his later years, Osian Ellis resided in Pwllheli on the Llŷn Peninsula in Gwynedd, north Wales, following his retirement as principal harpist of the London Symphony Orchestra in 1994.[11] He largely withdrew from public harp performance for fifteen years to care for his wife Rene (a viola player, whom he had married in 1951), who died in 2012, while also composing and serving as organist at his local chapel on Sundays.[11][6] His younger son Tomos had predeceased him in 2009.[1] Following Rene's death, Ellis revived his harp-playing activities in Wales and continued composing.[6] In 2018, around the time of his 90th birthday, he resumed greater activity as a composer, singer, and performer, producing new works including Cylch o Alawon Gwerin Cymru (a cycle of Welsh folk tunes for Bryn Terfel and Hannah Stone) and Lachrymae for solo harp.[11][3] He made several recordings of his own compositions for harp and voice with the Sain Label near Caernarfon, the last released in 2019.[11] Ellis also remained Honorary President of the Wales International Harp Festival, which honored him with a dedicated concert in 2018 featuring a new work by Welsh composer Mared Emyln, and he supported the William Mathias Music Centre in Caernarfon.[11][2] Osian Ellis died at his home in Pwllheli on 6 January 2021, aged 92.[11][1] A private funeral was held in Aberdaron on 15 January 2021, with his former pupil Elinor Bennett delivering the eulogy.[11] He was survived by his son Richard, grandchildren David and Katie, and his sister Elfrys.[1][3]

Influence and tributes

Osian Ellis left a profound legacy as one of the most influential harpists of the 20th century, shaping the instrument's role in both traditional Welsh music and contemporary classical repertoire. [4] His teaching at the Royal Academy of Music from 1959 to 1989 influenced generations of harpists, including prominent figures such as Elinor Bennett and Sioned Williams. [9] Ellis was known for his kind and charming personality, strong emphasis on musical excellence, and mentorship that provided students with opportunities to perform in ensembles like the London Symphony Orchestra and English Chamber Orchestra. [4] He actively encouraged contemporary composers to create new works for the harp, inspiring pieces from figures including William Mathias, Alun Hoddinott, Rhian Samuel, David Wynne, Malcolm Arnold, Robin Holloway, Elizabeth Maconchy, William Alwyn, Gian Carlo Menotti, and Jørgen Jersild. [7] Through his recordings, compositions, and advocacy, Ellis brought international attention to a diverse harp repertoire spanning four centuries, particularly highlighting Welsh compositions and historical sources. [4] His scholarly contributions, including publications on the history of the harp in Wales, further enriched the instrument's cultural and academic standing. [9] Following his death in January 2021, tributes underscored his status as a leading figure in harp performance and education. [7] Elinor Bennett, director of the Wales International Harp Festival, described him as "the most prominent and outstanding harpist of his time" and a "huge inspiration" to musicians worldwide, crediting his multifaceted contributions as performer, teacher, composer, arranger, penillion singer, and scholar to both Welsh traditional music and European classical developments. [7] His enduring impact was also recognized through his promotion of Welsh harp heritage and his role in integrating the instrument into modern classical contexts. [4]
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