London Symphony Orchestra: Online Concert Programme | Sat 13 Dec 2025
- Extended Concert Programme
Bristol Beacon presents
London Symphony Orchestra with Sir Antonio Pappano and Antoine Tamestit
Sat 13 December 2025, 5pm
This evening’s performance:
Sir Antonio Pappano Conductor
Antoine Tamestit Viola
London Symphony Orchestra
Musgrave Phoenix Rising (23 mins)
Walton Viola Concerto (27 mins)
Interval
Vaughan Williams A London Symphony (Symphony No. 2) (44 mins)
Pre-concert talk hosted by music educator Jonathan James
Welcome
The London Symphony Orchestra remains one of the world’s greatest ensembles, and so it’s always a thrill to be able to welcome them back to Bristol Beacon. Their first visit this season offers an early feast, with Thea Musgrave’s electrifying Phoenix Rising served alongside tantalising helpings of Walton and Vaughan Williams. With Sir Antonio Pappano on the podium and Antoine Tamestit playing the Walton, it’s sure to be a memorable concert and we hope you enjoy it.
While we don’t want to wish the evening away, we can’t help but look ahead to the LSO’s next visit to us (on Wednesday 22 April), when they will be joined by the acclaimed London Symphony Chorus. Anyone who has been to see Nicholas Hytner and Alan Bennett’s new film The Choral will know that Elgar’s sumptuous The Dream of Gerontius has something of a starring role, and we are so looking forward to it being brought to vivid life here in the hall next year. We hope you’ll join us.
From all of us at Bristol Beacon, we would like to thank you for supporting our orchestral series. We wish you a very Merry Christmas and Happy New Year, and we hope to see you for more wonderful concerts in 2026!
With best wishes,
Simon Wales
Chief Executive, Bristol Beacon
Jonathan Dimbleby
Chair of the Board of Trustees, Bristol Beacon
Thea Musgrave (b. 1928): Phoenix Rising
In the mid-1960s Musgrave’s approach to orchestral writing evolved into what she termed ‘dramatic-abstract’. By ‘dramatic’ she did not mean storytelling in a conventional sense, but the depiction of confrontations between instruments or sections of the orchestra. As Musgrave wrote, ‘I used certain ideas that are dramatic ones, either in the way the performers are seated, or in the way certain players can take over and become almost like characters in a drama.’ Phoenix Rising (1997), composed some three decades later, is a brilliantly crafted example of this ‘dramatic-abstract’ style, quasi-cinematic in its scope. It opens in a bleak landscape, dominated by timpani – the aggressive overlord of the opening passages. A solo horn takes on a heroic role, rallying its comrades, and ushering in the possibility of regeneration, symbolised by the rising of the phoenix. The musical language itself is transformed from jagged dissonance to uninhibited passion, before finally concluding in a shimmering coda.
The opening section (subtitled ‘Dramatic, violent’) introduces the timpani, which seems bent on controlling the musical texture. It noisily interrupts themes from elsewhere in the orchestra, and engenders a frenetic, convulsive atmosphere. As the music eventually begins to subside, a piccolo and solo violin lead the orchestra into the following section, marked ‘Desolate’. A cor anglais – so often symbolising loneliness in orchestral works – plays a melancholy solo. A solo horn sounds (initially offstage) yet is almost instantly confronted by the timpani. The horn then arrives onstage, and gears up for the following section, appropriately titled ‘Aggressive’. Horn and timpani not only lock horns in this passage but attempt to recruit their instrumental colleagues to join the fight, while the rest of the ensemble provides heated commentary on the proceedings. Eventually, as Musgrave puts it, ‘the solo horn prevails’, and the timpanist storms off.
At this point, marked ‘mysterious’ in the score, the phoenix rises and quells the storm with delicate, hushed scoring for harp and pitched percussion. The following passage, described as ‘peaceful’, conjures up a completely different world, with warm solos from the horn and lushly scored strings. The mood is not, however, entirely calm: a turbulent build to a passionate climax emphasises how hard-won such peace can be. Yet the ‘floating and luminous’ coda finally establishes the longed-for serenity, magically orchestrated for solo violin, harp and silvery cascades of percussion. The timpani is heard faintly off-stage, reminding the ensemble of its savage regime – but also of its defeat.
© Lucy Walker
William Walton (1902-1983): Viola Concerto
1. Andante comodo
2. Scherzo and trio
3. Finale – allegro moderato
In 1928, the conductor Sir Thomas Beecham suggested to the 26-year-old William Walton that he write a work for the virtuoso violist Lionel Tertis (who later invented the rich-toned ‘Tertis Viola’). Walton was intrigued, largely due to his liking for Berlioz’s Harold in Italy, a viola concerto in all but name. He also felt the new work might offer him the chance to escape the reputation as a modernist enfant terrible he had acquired through such pieces as the witty ‘musical entertainment’ Façade (1923) and the jazzy overture Portsmouth Point (1926). He composed the concerto during the winter of 1928/9 while staying with his friends the Sitwells on the Amalfi coast. On his return to England in the spring of 1929 he sent it to Tertis – who promptly, and ironically, rejected it as ‘too modern’.
An upset Walton toyed with the idea of re-writing the piece for violin. However, BBC music producer Edward Clark suggested he send it to the violist and composer Paul Hindemith (whose Kammermusik No. 5 for viola and chamber orchestra, Walton later admitted, had inspired his own piece). Hindemith liked the work and gave its premiere on 3 October 1929 at the Queen’s Hall in London, with the Henry Wood Symphony Orchestra conducted by the composer.
Walton’s Viola Concerto comprises a pensive opening movement, a rapid scherzo (a playful, short movement – scherzo literally means ‘jest’ in Italian) and a large-scale, complex finale. The Andante comodo is in a compressed sonata form. The first theme (‘the first subject’) is a yearning melody passed between the viola and the oboe. For the calmer second theme (‘the second subject’), the viola is accompanied by pizzicato (plucked) strings. The mercurial middle (development) section includes two dramatic orchestral outbursts, a brief tango-like episode and a short cadenza-like passage for viola with tremolo (extremely rapid) string accompaniment. In the final section (the recapitulation, which returns to material from the opening section) the viola’s flowing triplets accompany the orchestral melody.
The short Vivo, con molto preciso is by contrast lively, characterised by dance-like syncopated rhythms and dramatic fluctuations in dynamics and textures. Noisy full-orchestral passages alternate with lightly accompanied, virtuosic viola solos featuring copious double-stopping (two notes played simultaneously). The concluding bars are delightfully playful.
The ambitious finale opens with a cheeky theme introduced in the bassoon, reminiscent of the ironic mood of Façade. The second theme could not be more different: a tender dialogue between viola and woodwind with (in the 1962 version) harp accompaniment, it recalls Walton’s beloved Elgar at his most lyrical. The two themes’ ensuing struggle for supremacy culminates in a massive orchestral interlude that includes a fugue (a form of counterpoint in which a theme is introduced by one group of instruments and then passed among others, with increasingly complex accompaniment). The viola’s re-entrance recalls music from the concerto’s opening and leads into a dreamy final section that Walton’s biographer Michael Kennedy believed was ‘the single most beautiful passage in all his music, sensuous yet full of uncertainty’.
The premiere of the Viola Concerto met with much acclaim, and established Walton’s reputation as a leading British composer. Lionel Tertis admitted he had misjudged the work, and from 1930 performed it many times. However, Walton himself was not wholly satisfied. In 1961 he revised it, creating a more intimate scoring, adding a harp, reducing the triple winds to double, and cutting the tuba and one of the trumpets. It is this version – which received its premiere in 1962 and is now considered definitive – that will be performed tonight.
© Kate Hopkins
Ralph Vaughan Williams (1872-1958): A London Symphony (Symphony No. 2)
1. Lento – Allegro risoluto
2. Lento
3. Scherzo (Nocturne): Allegro vivace
4. Andante con moto – Epilogue: Andante sostenuto
Despite the breakthrough success of his choral Sea Symphony in 1910, Vaughan Williams still held back from writing a purely orchestral symphony. But his friend and fellow composer George Butterworth urged him on, until the idea came to him of taking some sketches he’d made for a symphonic poem about London and reworking them into a highly unusual four-movement symphony. Once the idea had taken root it took shape quickly, and by 1913 the score was finished.
Vaughan Williams wasn’t an out-and-out Mahler fan, and yet the conception of his London Symphony is actually very Mahlerian: for Mahler a symphony had to ‘be like the world. It must embrace everything!’ Vaughan Williams presents a wonderfully vibrant collage of sounds and impressions – street-vendors’ cries, tavern music, the kaleidoscopic bustle of busy streets and, framing it all, the eternal ebb and flow of the city’s great river. At the same time, it’s a triumph of symphonic engineering, or rather it is in the familiar revised version of 1933, which Vaughan Williams regarded as definitive. What we’re listening to here isn’t simply an illustrative tone-poem; there’s a current, like that of the River Thames itself, which not only carries the ideas forward, but also challenges us to seek out deeper meanings.
When it came to explain what his music was ‘about’, Vaughan Williams was famously evasive, but he did compare the symphony’s ending and that of H.G. Wells’ novel Tono-Bungay: ‘The river passes – London passes, England passes…’ What Vaughan Williams doesn’t tell us is that the novel’s hero is sailing away in a destroyer, and that his last look back at the Imperial capital is dark-edged. Tono-Bungay contains a grim depiction of a hunger march, and the increasingly tragic march in the London Symphony is surely Vaughan Williams’s response to that. London here stands for life itself, in all its glory, but also in its pain and sadness.
A proverbial London fog lies over the Thames at the symphony’s opening, through which the muffled chimes of Big Ben can be heard. Then the city bursts into life, harshly at first, but with growing tenderness towards its heart, and culminating in a great shout of joy. Vaughan Williams described the moody second movement as ‘Bloomsbury Square on a November afternoon’; in this ‘pastoral of grey skies’ a lavender-seller’s cry can be heard on viola – a hauntingly lonely, fragile voice. Westminster Embankment at night ‘with its crowded streets and flaring lights’ is the scene for the nocturnal Scherzo, bustling at first, but hushed and troubled towards its end. Then the finale begins its tragic procession, climaxing in a great shout of grief and rage; but then comes stillness, Big Ben chimes again, and night descends as the river’s current carries the listener steadily away.
© Stephen Johnson
Sir Antonio Pappano
Conductor
One of today’s most sought-after conductors, Sir Antonio Pappano is renowned for his charismatic leadership and inspiring performances across both symphonic and operatic repertoires. He is Chief Conductor of the London Symphony Orchestra, and Conductor Laureate of the Royal Opera and Ballet Covent Garden and Music Director Emeritus of the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome, having held the position of Music Director at both institutions from 2002-2024 and 2005-2023 respectively. Nurtured as a pianist, repetiteur and assistant conductor at many of the most important opera houses of Europe and North America, including at the Lyric Opera of Chicago and several seasons at the Bayreuth Festival as musical assistant to Daniel Barenboim, Pappano was appointed Music Director of Oslo’s Den Norske Opera in 1990, and from 1992-2002 served as Music Director of the Théâtre Royal de la Monnaie in Brussels. From 1997-1999 he was Principal Guest Conductor of the Israel Philharmonic Orchestra.
Pappano is in demand as an opera conductor at the highest international level, including with the Metropolitan Opera New York, the State Operas of Vienna and Berlin, the Bayreuth and Salzburg Festivals, Lyric Opera of Chicago and the Teatro alla Scala, and has appeared as a guest conductor with many of the world’s most prestigious orchestras, including the Berlin and Vienna Philharmonic Orchestras, the Staatskapelle Dresden, the Gewandhausorchester Leipzig, the Bavarian Radio, the Czech Philharmonic Orchestra, the Orchestre de Paris and the Royal Concertgebouw Orchestra, as well as the New York Philharmonic Orchestra, Chicago and Boston Symphonies, the Philadelphia and Cleveland Orchestras. He maintains a particularly strong relationship with the Chamber Orchestra of Europe.
Highlights of the 2025/26 season and beyond include return visits to the Chamber Orchestra of Europe, the Royal Concertgebouw Orchestra, the Czech Philharmonic, and guest appearances with the Swedish Radio Symphony and the Orchestra of the Royal Danish Opera, and he continues the acclaimed new Ring Cycle at the Royal Opera with a new production of Siegfried. In his second season as Chief Conductor of the London Symphony, Pappano takes the orchestra on wide-ranging tours to major European capitals and festivals, and a residency in Hanoi, Vietnam, as well as concerts at London’s Barbican Centre with concertante performances of Wagner’s Tristan und Isolde, and symphonic repertoire from Bernstein, Britten and Copland, to Macmillan, Musgrave, Mahler, and further recordings of Vaughan Williams and Elgar for LSO Live.
Pappano has been an exclusive recording artist for Warner Classics (formerly EMI Classics) since 1995, and his discography features numerous complete operas, including Don Carlo, La Rondine, Guillaume Tell, Il Trittico, Werther, Il Trovatore, Tristan und Isolde, and Aida. 2022 saw the release on Sony Classical of Verdi’s Otello, and a disc of Verdi duets with Jonas Kaufmann and Ludovic Tezier, and Vaughan William’s 4th and 6th symphonies for LSO Live, and in 2023 Warner released the first studio recording of Puccini’s Turandot with the complete conclusion by Alfano, recorded in Rome with Accademia Nazionale di Santa Cecilia.
Pappano’s orchestral recordings with the Accademia Nazionale di Santa Cecilia include Strauss’s Ein Heldenleben, Rachmaninov’s 2nd, Mahler’s 6th, Dvořák’s 9th and Tchaikovsky’s 4th, 5th and 6th symphonies, Respighi’s Roman Trilogy, Rossini’s Stabat Mater, Petite Messe Solenelle and selected Overtures, Britten’s War Requiem, and Verdi’s Requiem, and his discography also documents his work with other ensembles including the London Symphony and Berlin Philharmonic Orchestras, and the orchestras of the Royal Opera House and the Théâtre Royal de la Monnaie, in music ranging from Pergolesi and Mendelssohn through to Panufnik, Boesmans and Maxwell Davies. Numerous productions from the Royal Opera House have been released on DVD, including Carmen, Les Troyens, Parsifal, Simon Boccanegra, Le nozze di Figaro, and Manon Lescaut. His recordings have received extensive accolades including Classic BRIT, ECHO Klassik, BBC Music Magazine and Gramophone Awards.
As a pianist, Antonio Pappano appears as an accompanist with some of the most celebrated singers, including Joyce DiDonato, Diana Damrau, Gerald Finley and Ian Bostridge. He has also partnered singers and instrumental soloists on disc, including in operatic recitals with Nina Stemme, Plácido Domingo, Anna Netrebko and Jonas Kaufmann, concerto recordings with soloists including Leif Ove Andsnes, Maxim Vengerov, Janine Jansen, Jan Lisiecki and Beatrice Rana, and chamber recitals with Ian Bostridge, Barbara Bonney and Joyce DiDonato. He has a strong commitment to nurturing young singers and instrumentalists, close connections with the Aldeburgh and Verbier Festivals, leading concerts and masterclasses.
Antonio Pappano was born in London to Italian parents and moved with his family to the United States at the age of 13. He studied piano with Norma Verrilli, composition with Arnold Franchetti and conducting with Gustav Meier. His awards and honours include Gramophone’s ‘Artist of the Year’ in 2000, the 2003 Olivier Award for Outstanding Achievement in Opera, the 2004 Royal Philharmonic Society Music Award, and the Bruno Walter prize from the Académie du Disque Lyrique in Paris. In 2012 he was created a Cavaliere di Gran Croce of the Republic of Italy, and a Knight of the British Empire for his services to music, and in 2015 he was named the 100th recipient of the Royal Philharmonic Society’s Gold Medal, the body’s highest honour. He has also developed a notable career as a speaker and presenter and has fronted several critically acclaimed BBC Television documentaries including ‘Opera Italia’, ‘Pappano’s Essential Ring Cycle’ and ‘Pappano’s Classical Voices’.
Antoine Tamestit
Viola
Antoine Tamestit stands as a singular voice in the world of classical music, redefining what it means to be a viola player in the 21st century. He has captivated audiences and critics alike, bringing a fresh perspective to both beloved masterpieces and contemporary works. His unique artistry, marked by an unparalleled sensitivity and a profound connection to his instrument, places him among the most distinguished musicians of our time.
Tamestit opens the 25/26 season at the Tanglewood Music Festival in a recital with Leonidas Kavakos, Yo-Yo Ma, and Emanuel Ax followed by returns to the London Symphony Orchestra, Chicago Symphony Orchestra, Royal Concertgebouw Orchestra, Cleveland Orchestra, Gewandhausorchester Leipzig, and Orchestre de la Suisse Romande. Further highlights include his debut with Filarmonica della Scala and Israel Philharmonic Orchestra; chamber residencies with LSO St. Luke’s and SWR Linie 2; and the Finnish premiere of John Williams’ Viola Concerto with the Helsinki Philharmonic Orchestra.
In recent seasons, Antoine has performed with orchestras including the Berlin Philharmonic, New York Philharmonic, Wiener Symphoniker, Orchestre Philharmonique de Radio France, Tonhalle-Orchester Zürich, and NHK Symphony Orchestra among many others. He performs regularly with major conductors including Sir John Eliot Gardiner, Daniel Harding, Paavo Järvi, Klaus Mäkelä, Yannick Nézet-Séguin, Sir Antonio Pappano, Kirill Petrenko, Sir Simon Rattle, Francois-Xavier Roth, Christian Thielemann, and Jaap van Zweden.
Antoine Tamestit has premiered major contemporary works by composers such as Jörg Widmann, Thierry Escaich, Bruno Mantovani, Gérard Tamestit, and Olga Neuwirth. Recent premieres include Marko Nikodijević’s Psalmodija with the SWR Symphonieorchester and Francesco Filidei’s Viola Concerto with the Bavarian Radio Symphony Orchestra. A passionate advocate for new music, Tamestit believes that performing contemporary works is essential to keeping the viola repertoire vibrant and evolving – an artistic responsibility he embraces as both an interpreter and a collaborator.
He was a founding member of Trio Zimmermann with Frank Peter Zimmermann and Christian Poltera, performing in Europe’s most prestigious concert halls for more than ten years. As a passionate chamber musician, Antoine performs regularly with Emmanuel Ax, Martin Fröst, Leonidas Kavakos, Yo-Yo Ma, Emmanuel Pahud, Yuja Wang, Shai Wosner, and the Quatuor Ébène.
An ardent educator, Antoine Tamestit served for ten years as Programming Director of Viola Space Festival in Japan, where he focused on expanding the viola repertoire and creating diverse educational initiatives. Previously, he held professorships at the Musikhochschule in Cologne and the Paris Conservatoire and currently teaches at the Kronberg Academy.
Antoine Tamestit’s acclaimed discography spans a wide range of repertoire, from cornerstone works by Bach, Berlioz, and Hindemith to contemporary concertos and chamber music. His award-winning recordings feature works by Brahms, Schubert, Schoenberg, Telemann and Widmann, capturing both historical depth and modern innovation. Most recently, he recorded Joe Hisaishi’s newly written Viola Saga with Deutsche Grammophon.
Born in Paris, Tamestit studied with Jean Sulem, Jesse Levine, and with Tabea Zimmermann. In 2022, he received the prestigious triennial Hindemith Prize of the City of Hanau in recognition of his contribution to contemporary landscape within classical music.
Antoine Tamestit plays on the very first viola made by Antonio Stradivarius in 1672, generously loaned by the Habisreutinger Foundation.
antoinetamestit.com
London Symphony Orchestra
The London Symphony Orchestra believes that extraordinary music should be available to everyone, everywhere – from orchestral fans in the concert hall to first-time listeners all over the world.
The LSO was established in 1904 as one of the first orchestras shaped by its musicians. Since then, generations of remarkable talents have built the LSO’s reputation for quality, daring, ambition and a commitment to sharing the joy of music with everyone. Today, the LSO is ranked among the world’s top orchestras, reaching tens of thousands of people in London and on stages around the world, and millions more through streaming, downloads, radio, film and television.
As Resident Orchestra at the Barbican since the Centre opened in 1982, the LSO performs some 70 concerts there every year with its family of artists: Chief Conductor Sir Antonio Pappano, Conductor Emeritus Sir Simon Rattle, Principal Guest Conductors Gianandrea Noseda and François-Xavier Roth, Conductor Laureate Michael Tilson Thomas, and Associate Artists Barbara Hannigan and André J Thomas. The LSO has major artistic residencies in Paris, Tokyo and at the Aix-en-Provence Festival, and tours regularly in Asia and the US.
Through LSO Discovery, the LSO’s learning and community programme, 60,000 people each year experience the transformative power of music, with many more taking part in LSO Discovery’s work on tour and online. The Orchestra’s musicians are at the heart of this unique programme, leading workshops, mentoring bright young talent, working with emerging composers, visiting children’s hospitals, performing at free concerts for the local community, and using music to support neurodiverse adults. Concerts for schools and families introduce children to music and the instruments of the Orchestra, with an ever-growing range of digital resources and training programmes supporting teachers in the classroom.
The home of much of this work is LSO St Luke’s, the LSO’s venue on Old Street. In the Autumn of 2025, following a programme of works and upgrades, the LSO will be opening up the venue’s unique facilities to more people than ever before, with new state-of-the-art recording facilities and community spaces.
The LSO’s record label LSO Live is a leader among orchestra-owned labels, bringing to life the excitement of a live performance. The catalogue of over 200 acclaimed recordings reflects the artistic priorities of the Orchestra – from popular new releases, such as Janáček’s Katya Kabanova with Sir Simon Rattle, to favourites like Vaughan Williams’ symphonies with Sir Antonio Pappano and Verdi’s Requiem with Gianandrea Noseda.
The LSO has been prolific in the studio since the infancy of orchestral recording, making more recordings than any other orchestra – over 2,500 projects to date – across film, video games and bespoke audio collaborations. Recent highlights include soundtrack recordings for the video game Genshin Impact, a Mercury Music Prize-nominated collaboration with Floating Points and Pharoah Sanders, and appearing on screen and on the Grammy-winning soundtrack for the film Maestro, which was also nominated for multiple BAFTA and Oscar awards.
Through inspiring music, learning programmes and digital innovations, the LSO’s reach extends far beyond the concert hall. And thanks to the generous support of The City of London Corporation, Arts Council England, corporate supporters, trusts and foundations, and individual donors, the LSO is able to continue sharing extraordinary music with as many people as possible, across London, and the world.
lso.co.uk
Orchestra Credits
Violin 1
Benjamin Marquise Gilmore, Leader
Seohee Min
Clare Duckworth
Stefano Mengoli
Olatz Ruiz de Gordejuela
Maxine Kwok
William Melvin
Claire Parfitt
Elizabeth Pigram
Laurent Quénelle
Sylvain Vasseur
Julia Rumley
Grace Lee
Dániel Mészöly
Julian Azkoul
Djumash Poulsen
Violin 2
Julián Gil Rodríguez, Principal
Thomas Norris, Co-Principal
Sarah Quinn, Sub-Principal
Miya Väisänen
David Ballesteros
Helena Buckie
Matthew Gardner
Naoko Keatley
Alix Lagasse
Iwona Muszynska
Csilla Pogány
Paul Robson
Louise Shackelton
Juan Gonzalez Hernandez
Viola
Eivind Ringstad, Principal
Gillianne Haddow, Co-Principal
Malcolm Johnston, Sub-Principal
Anna Bastow
Germán Clavijo
Steve Doman
Julia O’Riordan
Sofia Silva Sousa
Thomas Beer
Elisabeth Varlow
Jenny Lewisohn
Nancy Johnson
Cello
Floris Mijnders, Guest Principal
Richard Birchall
Alastair Blayden, Sub-Principal
Salvador Bolón
Daniel Gardner
Amanda Truelove
Joanna Twaddle
Henry Hargreaves
Jessie Ann Richardson
Double Bass
David Desimpelaere
Patrick Laurence
Thomas Goodman
Joe Melvin
Jani Pensola
Charles Campbell-Peek
Evangeline Tang
Ben Griffiths
Flute
Gareth Davies, Principal
Imogen Royce
Piccolo
Patricia Moynihan
Oboe
Juliana Koch, Principal
Rosie Jenkins
Cor Anglais
Sarah Harper
Clarinet
Chris Richards, Principal
Chi-Yu Mo
Bass clarinet
Ferran Garcerà Perelló, Principal
Bassoon
Daniel Jemison, Principal
Joost Bosdijk
Contrabassoon
Martin Field, Principal
Horn
Diego Incertis Sánchez, Principal
Timothy Jones, Principal
Angela Barnes
Oliver Johnson
Jonathan Maloney
Trumpet
Adrian Martinez, Guest Principal
Adam Wright
Thomas Fountain
Katie Smith
Trombone
Merin Rhyd, Guest Principal
Jonathan Hollick
Bass Trombone
Paul Milner, Principal
Tuba
Ben Thomson, Principal
Timpani
Nigel Thomas, Principal
Percussion
Neil Percy, Principal
David Jackson
Patrick King, Co-Principal
Helen Edordu
Harp
Bryn Lewis, Principal
Anneke Hodnett