Royal Philharmonic Orchestra: Online Concert Programme | Thu 4 Jun 2026
- Extended Concert Programme
Bristol Beacon presents
Royal Philharmonic Orchestra with Vasily Petrenko
Thu 4 June 2026, 7pm
This evening’s performance:
Vasily Petrenko Conductor
Alexander Edmundson Horn
Ben Hulme Horn
Katy Woolley Horn
Royal Philharmonic Orchestra
Rachmaninov Isle of the Dead (19 mins)
Hisaishi The Border (Concerto for Three Horns and Orchestra) UK Premiere (25 mins)
Interval
Scriabin Symphony No. 3 ‘The Divine Room’ (48 mins)
Pre-concert talk hosted by music educator Jonathan James
Welcome
We are delighted to welcome the RPO to Bristol Beacon for this penultimate concert in our orchestral season. It’s also a pleasure to have conductor Vasily Petrenko back with us, following his visit with the Royal Liverpool Philharmonic Orchestra in October.
Together they bring us an intriguing programme of works, not least of all Scriabin’s mighty Third Symphony, which is enjoying a rare outing within these walls tonight. Joining that, and some evocative Rachmaninov, is the UK premiere of a new concert work by legendary Studio Ghibli maestro Joe Hisaishi – a triple horn concerto, no less.
Speaking of all things ‘new’, our 2026/27 season is now on sale, and opens with a must-see recital by the brilliant pianist Víkingur Ólafsson on Tuesday 8 September. With 19 concerts to choose from, there is sure to be something to entice you back to Bristol Beacon.
In the meantime, enjoy tonight’s performance and we hope to see you at our season finale concert with the Bournemouth Symphony Orchestra, Chloe Van Soeterstède and Anna Lapwood on Wednesday 17 June.
With best wishes,
Simon Wales
Chief Executive, Bristol Beacon
Jonathan Dimbleby
Chair of the Board of Trustees, Bristol Beacon
Sergei Rachmaninov (1873-1943): Isle of the Dead
In 1907, Sergei Rachmaninov accepted an invitation from Serge Diaghilev, an impressario and promoter of the arts, to join him in Paris for a series of Russian concerts, in which Rachmaninov would appear as the soloist in his Second Piano Concerto – which had restored Rachmaninov’s
popularity with the public after the disastrous premiere of his First Symphony. It was during his stay in Paris that he came across a black and white reproduction of Arnold Böcklin’s painting, Isle of the Dead, a painting that was then so popular that prints could be found hanging not just on the walls of private homes, but even in the studies of Sigmund Freud, Vladimir Lenin and Georges Clemenceau. Böcklin, who painted at least six different versions between 1880 and his death in 1901, described the painting as ‘a dream picture: it must produce such a stillness that one would be awed by a knock on the door.’ Although the different versions vary in their finer details, in each one the central focus is a bleak, rocky island, made up of steep cliffs and towering cypress trees. In the foreground, a small rowing boat approaches the island, bearing a coffin and a mysterious figure shrouded in white.
The idea for the symphonic poem came to Rachmaninov as soon as he set eyes on the painting, although it would take him two years to sit down and compose the score. ‘When composing’, he explained, ‘I find it very helpful to have a book in mind, a beautiful picture or a poem … And they come: all the voices at the same time. Not one piece here, one piece there. Everything. The whole emerges. Thus the Isle of the Dead.’ It was only after he had completed the work that Rachmaninov came to know the original full-colour painting, which he found far less arresting. ‘If I had seen first the original, I probably would not have written my Isle of the Dead. I like the black and white.’ Rachmaninov’s music opens with the ominous rumble of lower strings, timpani and harp, as we look upon the dark expanse of the water and the shadowy spectre of the island beyond. The orchestra swells as the island looms into view, and glimmers of light in the upper strings begin to pierce the gloom as the landscape comes sharply into focus. When we arrive at the island, it is with a thundering crash of the waves, the rowboat beating an irregular 5/8 metre as it navigates the tumultuous waters on its approach. And yet, in the second half of the work, we leave behind the earthly journey, coursing through anguish and despair but eventually arriving at a state of cathartic transcendence and acceptance, the waves now lapping gently at the shore.
© Joanna Wyld
Joe Hisaishi (b.1950): The Border (Concerto for Three Horns and Orchestra)
1. Crossing Lines
2. The Scaling
3. The Circles
Composer, conductor, pianist and musical director Joe Hisaishi’s career is as rich and diverse as his musical output. Best known for his film scores to Japanese anime adventures including My Neighbour Totoro, Spirited Away and Ponyo, with more than 100 credits to his name, Hisaishi has been called Japan’s answer to John Williams, and his collaborations with director Hayao Miyazaki likened to those with Steven Spielberg. But such comparisons do not account for the extraordinary breadth of his output, which has seen him found his own recording studio, release multiple albums of experimental electronica, and provide the soundtrack to the 1998 Winter Olympics – all while continuing to compose for music for the concert hall. In 2024, he became the RPO’s Composer-in-Association, forming a musical partnership that has celebrated his works in concert around the world.
Hisaishi’s musical language is just as unique, combining western and Japanese classical traditions with effortless ease. His collaborations with the likes of Bryce Dessner, Philip Glass and Terry Reilly speak to his love for rhythm and melody, and a distinct minimalist thread runs through almost everything he writes. ‘When I discovered minimal music I felt I could create my vision’, he explains, ‘it was totally different to traditional music.’ His concerto for three horns and orchestra, The Border, is a case in point. Written at the request of horn player Nobuaki Fukukawa and premiered in Tokyo in February 2020, The Border is a rhythmic tour de force, a joyous exploration of time, texture and timbre that delights in playing with patterns.
The first movement, Crossing Lines, is dominated by pulsing irregular rhythms and a furious flurry of irrepressible momentum. A stream of unceasing semiquavers is punctuated by accents on an irregular series of offbeats, driving the music ever onwards while threatening to wrong foot the listener at every turn. The second movement, The Scaling, offers a chance for some welcome pause and contemplation, which plays out in a series of melismatic and expressive statements from the three horns (including some quirky moments of ‘sing-playing’). Like the first movement, this one is also structured around repeated patterns, but here it is a tonal pattern of seven notes (G#-A-B-C#-D-E-F#) that provides the movement’s governing motif. The final movement, The Circles, returns us to the frenetic energy of the opening, with alternating rondo-like sections that switch between the three soloists and full orchestra. Reconfigured from the third movement of Hisaishi’s Chamber Symphony for Electric Violin and Chamber Orchestra, it is transformed here, in Hisaishi’s words, into ‘a completely different piece’, with glimmers of Bernstein’s West Side Story in its infectious, dance-like syncopations.
© Joanna Wyld
Alexander Scriabin (1872-1915): Symphony No. 3 ‘The Divine Poem’
1. Lento – Luttes (Struggles)
2. Voluptés (Delights)
3. Jeu Divin (Divine Play)
Like Rachmaninov, Alexander Scriabin was most at home at the piano. His mother had been a concert pianist and as a child Scriabin became so fascinated by the inner workings of the house piano that he made various attempts at building his own. He would go on to graduate from the Moscow Conservatory with a Gold Medal in piano while failing to complete his degree in composition, but as his career as a pianist morphed into one as a pianist-composer, he became fixated on composing for solo piano. As a consequence, he wrote comparatively little for orchestra: just an early orchestral miniature (Rèverie), a piano concerto, three symphonies, and two tone poems that are symphonies in all but name.
But what Scriabin’s orchestral works lack in number, they more than make up for in their conceptual ambition. In his symphonies, Scriabin attempted to distil his far-reaching mystical and philosophical beliefs, and to grasp at the infinite, to truly grapple with what it means to be human, and how to be human is to be divine. Inspired by the writings of Schopenhauer, Nietzsche and Kant, Scriabin hoped to liberate his symphonies from traditional musical paradigms and to give a voice to the ineffable, to find a language that reaches beyond our earthly world to convey something deeply transcendent.
It took time for Scriabin to fully realise these grand artistic ambitions, and his early works, including his first two symphonies, are still recognisably rooted in romantic forms and tonalities. But by the time he composed his Third Symphony, ‘The Divine Poem’, he began to feel that his ideas were taking flight. ‘This was the first time I found light in music… the first time that I felt a stir, a liberation, knew the breathlessness of happiness.’ Spun over three movements, ‘The Divine Poem’ presents a journey from the mortal to the divine, a process of liberation that begins with a recognition of our earthly selves and a rejection of our long-held religious beliefs. Scriabin put it somewhat poetically in his own explanation to the piece:
‘The Divine Poem represents the evolution of the human spirit, which, torn away from a complete past of beliefs and mysteries which it surmounts and overturns, arrives, having passed through Pantheism, at the intoxicated, joyous affirmation of its liberty and its unity with the universe (the divine ‘I’).’
The first movement, Luttes (Struggles), depicts a battle between two states: a humanity ‘enslaved’ by a traditional personified deity, and an enlightened version of humanity that recognises that divinity comes from within. These opposing conditions are manifested in the Symphony’s two-part opening theme, which begins with an ominous question posed by the trombones and bass, and is answered by a rising trumpet figure. Over the next 20 minutes the two jostle for supremacy, ebbing and flowing with alternating feelings of joy and despair. When the theme returns in its original guise in the movement’s closing bars, it is still not clear who has won the battle.
So it is with a sense of precarious unease that we topple into the second movement, Voluptés (Delights), a scene of hedonistic delights and sensual pleasures (with more than a passing resemblance to Wagner’s Tristan und Isolde) that threatens to lure us back to the earthly world. It takes strength to leave this ecstatic rapture behind and to abandon ‘mortal weakness’ for something more meaningful and long-lasting. Only in the final movement, Jeu Divin (Divine Play), is this eventually achieved and a new state of transcendence attained. As we surrender to the joy of existence, and to the divinity within ourselves, the opening theme is tested once more – but this time the heavenly facing trumpet motif emerges triumphant.
© Joanna Wyld
Vasily Petrenko
Conductor
Vasily Petrenko is Music Director of the Royal Philharmonic Orchestra, a position he assumed in 2021, and which ignited a partnership that has been praised by audiences and critics worldwide. The same year, he became Conductor Laureate of the Royal Liverpool Philharmonic Orchestra, following his hugely acclaimed 15-year tenure as their Chief Conductor from 2006 to 2021. He is the Associate Conductor of the Orquesta Sinfónica de Castilla y León and has also served as Chief Conductor of the European Union Youth Orchestra (2015–2024), Chief Conductor of the Oslo Philharmonic Orchestra (2013–2020) and Principal Conductor of the National Youth Orchestra of Great Britain (2009–2013). He stood down as Artistic Director of the State Academic Symphony Orchestra of Russia ‘Evgeny Svetlanov’ in 2022, having been their Principal Guest Conductor from 2016 and Artistic Director from 2020.
He has worked with many of the world’s most prestigious orchestras, including the Berlin Philharmonic, Bavarian Radio Symphony, Leipzig Gewandhaus, London Symphony, London Philharmonic, Philharmonia, Accademia Nazionale di Santa Cecilia (Rome), St Petersburg Philharmonic, Orchestre National de France, Czech Philharmonic and NHK Symphony orchestras, and in North America has led the Philadelphia Orchestra, Los Angeles Philharmonic Orchestra, Cleveland Orchestra, and the San Francisco, Boston and Chicago Symphony orchestras. He has appeared at the Edinburgh Festival, Grafenegg Festival and BBC Proms. Equally at home in the opera house, and with over 30 operas in his repertoire, Vasily has conducted widely on the operatic stage, including at Glyndebourne Festival Opera, the Opéra National de Paris, Opernhaus Zürich, Bayerische Staatsoper and the Metropolitan Opera, New York.
Recent highlights as Music Director of the Royal Philharmonic Orchestra have included wide-ranging touring across major European capitals and festivals, China, Japan and the USA. In London, recent acclaimed performances have included Mahler’s choral symphonies and concerts with Yunchan Lim and Maxim Vengerov at the Royal Albert Hall, performances at the BBC Proms, and the Icons Rediscovered and Lights in the Dark series. In the 2025–26 Season, at the Royal Albert Hall, they will perform three mighty Mahler’s symphonies alongside Bernstein’s Chichester Psalms and Korngold’s Violin Concerto. At the Royal Festival Hall, highlights include Shostakovich’s Symphony No. 10, Messiaen’s Turangalîla-Symphonie, orchestral music from Wagner’s Parsifal and Scriabin’s Symphony No. 3, ‘The Divine Poem’.
Vasily has established a strongly defined profile as a recording artist. Amongst a wide discography, his Shostakovich, Rachmaninov and Elgar symphony cycles with the Royal Liverpool Philharmonic Orchestra have garnered worldwide acclaim. With the Oslo Philharmonic Orchestra, he has released cycles of Scriabin’s symphonies and Strauss’ tone poems, and an ongoing series of the symphonies of Prokofiev and Myaskovsky. In autumn 2025, he launched a new partnership between the Royal Philharmonic Orchestra and the Harmonia Mundi label, with Elgar’s Falstaff and Rachmaninoff’s The Bells, to be followed by subsequent releases of Mahler, Strauss, Bartók and Stravinsky.
Born in 1976, Vasily was educated at the St Petersburg Capella Boys Music School and St Petersburg Conservatoire. He was Gramophone Artist of the Year (2017), Classical BRIT Male Artist of the Year (2010), and holds honorary degrees from Liverpool’s three universities. In 2024, Vasily also launched a new academy for young conductors, co-organised by the Primavera Foundation Armenia and the Armenian National Philharmonic Orchestra.
vasilypetrenkomusic.com
Alexander Edmundson
Horn
Alexander Edmundson grew up in Lytham St Anne’s, Lancashire. After initially learning the horn with Lizzie Davis at Chetham’s School of Music, Manchester, Alex moved to London aged 18. He studied with Jeffrey Bryant at the Guildhall School of Music & Drama, before continuing as a Master of Music scholar at the Royal College of Music under Simon Rayner.
Upon completion of his studies, Alex joined the London Symphony Orchestra as 3rd Horn in 2015, before joining the Royal Philharmonic Orchestra as Principal Horn in 2021. He won the post of Cor Solo in l’Orchestre National de France in 2025.
Since 2023, he holds the positions of Professor of Horn and Deputy Head of Brass at the Royal College of Music, London.
A well-respected orchestral musician, Alex has played Principal Horn under the baton of Bernard Haitink, Valery Gergiev, Sir Simon Rattle, Gustavo Dudamel, Esa-Pekka Salonen, Daniele Gatti and Michael Tilson Thomas among others. He is regularly invited as Guest Principal with some of the world’s great orchestras – Berliner Philharmoniker, Australian Chamber Orchestra, London Symphony Orchestra, l’Orchestre de Paris and London Philharmonic Orchestra.
As a soloist, Alex has played the complete Mozart and Strauss concerti, and the Britten Serenade in celebrated UK venues including Wigmore Hall, Barbican, LSO St Luke’s, Hull City Hall and the Bridgewater Hall. Tonight’s performance is his third appearance as soloist with the RPO.
An active session musician, Alex has played on the soundtracks of numerous film titles including War Horse, Thor, Spider-Man, The Avengers, Wonder Woman, The Shape of Water, Pinocchio and Astérix.
Outside of work, Alex enjoys relaxing with his wife, a French cellist, and their two young daughters. And… working on his French!
Ben Hulme
Horn
Ben Hulme was appointed Principal Horn of the Royal Philharmonic Orchestra in March 2023, following his previous position as Section Principal Horn of the BBC Philharmonic. Originally from Oldham, Lancashire, he attended Chetham’s School of Music in Manchester before moving on to study at the Royal Academy of Music with Richard Watkins, Michael Thompson, Martin Owen, Katy Woolley and Roger Montgomery. His studies at the Academy were generously supported by a Sir Elton John Scholarship.
Since graduating in 2019, Ben has built a varied career as an orchestral, chamber and session musician. Alongside his orchestral positions, he has appeared as Guest Principal Horn with ensembles including the Philharmonia Orchestra, London Symphony Orchestra, London Philharmonic Orchestra, Sydney Symphony Orchestra, Academy of St Martin-in-the-Fields, and BBC Scottish Symphony Orchestra. He is also an active chamber musician, with recent appearances with London Brass, Onyx Brass, London Sinfonietta and London Winds.
Away from the concert platform, Ben maintains a busy freelance career in the recording studio, regularly performing on film, television, video game, and pop soundtracks. Recent credits include Paddington in Peru, Wicked, Mufasa: The Lion King, F1, How To Train Your Dragon, Snow White and Mission: Impossible – Dead Reckoning.
In recognition of his achievements so far, Ben was made an Associate of the Royal Academy of Music in 2023, and in 2024 he was appointed there as Visiting Professor of Horn. Alongside his performing work, he is passionate about teaching and mentoring young brass players and has recently given classes at Chetham’s School of Music and Guildhall School of Music and Drama.
Katy Woolley
Horn
Born in Devon in 1989, Katy Woolley has served as Principal Horn of the Royal Concertgebouw Orchestra since 2019 and is widely regarded as one of the most exciting horn players of her generation. She studied as a scholar at the Royal College of Music in London with Simon Rayner, and at Berlin’s Universität der Künste with Christian-Friedrich Dallmann.
While still a student, Katy won the position of Third Horn with Philharmonia Orchestra in London under Esa-Pekka Salonen, becoming the first female brass player in the Orchestra’s 75-year history. At just 22, she was appointed Principal Horn of the Philharmonia Orchestra, a role that led to solo performances of the major horn concertos by Mozart, Strauss, and Britten, as well as the premiere of Tansy Davies’s Forest, a concerto for four horns, with both the Philharmonia and the New York Philharmonic orchestras.
Since joining the Royal Concertgebouw Orchestra (RCO), Katy has immersed herself in chamber music, performing across Europe and as far afield as Japan and Hawaii with the Camerata RCO and Concertgebouw Brass.
Passionate about helping young musicians realise their potential, Katy was Professor of Horn at London’s Royal Academy of Music from 2012 to 2019. Following her move to Amsterdam, this role evolved into that of International Visiting Professor. As a guest teacher, she has worked with students throughout Europe and across North and South America, Asia, Australia and New Zealand.
Royal Philharmonic Orchestra
The Royal Philharmonic Orchestra (RPO), with Music Director Vasily Petrenko, is on a mission to bring the thrill of live orchestral music to the widest possible audience. The RPO’s musicians believe that music can – and should – be a part of everyone’s life, and they aim to deliver on that belief through every note. Based in London and performing around 200 concerts per year worldwide, the RPO brings the same energy, commitment and excellence to everything it plays, be that the great symphonic repertoire, collaborations with pop stars, or TV, video game and movie soundtracks. Proud of its rich heritage yet always evolving, the RPO is regarded as the world’s most versatile symphony orchestra, reaching a live and online audience of more than 70 million people each year.
Innovation is in the RPO’s genes. Sir Thomas Beecham, who founded the RPO in 1946, was a force of musical nature: an entrepreneur, a wit and a conductor of great integrity, and he believed that great music-making belonged to everyone and that Britain needed an orchestra that was as adaptable as it was brilliant. This vision has remained integral to the RPO’s approach. The RPO was one of the first orchestras to set up a community and education programme, RPO Resound, and the first orchestra to create its own record label, as well as the first to travel to America post-COVID-19.
Throughout its history, the RPO has performed with the world’s most inspiring musicians, including Rudolf Kempe, André Previn, Yehudi Menuhin, Yuri Temirkanov and Vladimir Ashkenazy, as well as icons such as Kylie Minogue, Shirley Bassey, Deep Purple, Def Leppard and Rod Stewart. And not just musicians, either. From British movie classics such as The Red Shoes and The Bridge on the River Kwai to the anthem for the UEFA Champions League, the RPO has been part of the soundtrack to millions of lives, sometimes without people knowing it. The Orchestra has continued to embrace advances in digital technology and attracts a growing global audience for its streamed performances, artist interviews, ‘behind-the-scenes’ insights and other digital output. Each year, the RPO’s recorded music is streamed over 50 million times, has 17 million views on YouTube, and the Orchestra welcomes around 200,000 audience members to its live performances.
But live performance has always been at the heart of what the RPO does, and through its thriving artistic partnership with Vasily Petrenko, the RPO has reaffirmed its status as one of the world’s most respected and in-demand orchestras. In London, that means flagship concert series at Cadogan Hall (where the RPO’s residency is 21 years young this season), the Southbank Centre’s Royal Festival Hall, and the iconic Royal Albert Hall, where the RPO is proud to be Associate Orchestra. The Orchestra is also thrilled to be resident in four areas of the UK, performing at The Hawth in Crawley, Hull City Hall, Northampton’s Royal & Derngate and The Hexagon in Reading.
Recent concert highlights have included performances of all three of Mahler’s epic choral symphonies at the Royal Albert Hall, appearances at the BBC Proms and Edinburgh International Festival, and concerts within leading European festivals, such as the George Enescu, Lucerne, Merano and Grafenegg festivals. Artistic partners have included Joe Hisaishi (RPO Composer-in-Association), Anne-Sophie Mutter, Yunchan Lim, Julia Fischer, Eric Lu, Maxim Vengerov, Roderick Williams OBE and the RPO’s 2024–25 Cadogan Hall Artist-in-Residence Johan Dalene, among many others. During the 2025–26 Season, the Orchestra looks forward to welcoming Ray Chen, Midori, Benjamin Grosvenor, Boris Giltburg, Artist Laureate Sir John Rutter, Associate Conductor Emilia Hoving and Cadogan Hall Conductor-in-Residence Kevin John Edusei. And around the world, the RPO will be flying the flag for the best of British music-making, with tours to Japan and South Korea, Germany, Italy, Spain, Switzerland and the USA.
The RPO remains true to its pioneering, accessible roots. Now in its fourth decade, the RPO Resound community and education programme continues to thrive as one of the UK’s – and the world’s – most innovative and respected initiatives of its kind. And in 2025, the RPO moved its headquarters to Wembley Park in the London Borough of Brent – the realisation of a long-held ambition to become part of the everyday life of a diverse community and audience that the Orchestra is seeking to serve.
Passionate, versatile and uncompromising in its pursuit of musical excellence, and with the patronage of His Majesty King Charles III and the artistic leadership of Vasily Petrenko, the Royal Philharmonic Orchestra continues to build on an enviable heritage to scale new heights. The Orchestra looks to the future with a determination to explore, to share and to reaffirm its reputation as an orchestra with a difference: open-minded, forward-thinking and accessible to all. Sir Thomas Beecham would have approved.
rpo.co.uk
Orchestra Credits
Violin 1
Duncan Riddell
Tamás András
Janice Graham
Esther Kim
Lauren Bennett
Savva Zverev
Andrew Klee
Kay Chappell
Anthony Protheroe
Erik Chapman
Adriana Iacovache-Pana
Rosemary Wainwright
Judith Templeman
Imogen East
Catherine Haggo
Geoffrey Silver
Violin 2
Andrew Storey
Elen Hâf Rideal
Jennifer Christie
Charlotte Ansbergs
Jennifer András
Peter Graham
Stephen Payne
Manuel Porta
Inês Soares Delgado
Sali-Wyn Ryan
Leonardo Jaffe
Susie Watson
Clare Wheeler
Sheila Law
Viola
Abigail Fenna
Wenhan Jiang
Liz Varlow
Joseph Fisher
Ugne Tiškuté
Esther Harling
Jonathan Hallett
Tríona Milne
Sara Ramirez Rodriguez
Rebecca Gould
Pamela Ferriman
Samantha Hutchins
Cello
Rosie Biss
Jonathan Ayling
Chantal Woodhouse
Roberto Sorrentino
Jean-Baptiste Toselli
Rachel van der Tang
Anna Stuart
Naomi Watts
Emma Black
George Hoult
Double Bass
Jason Henery
David Gordon
Ben Wolstenholme
Joe Cowie
David FC Johnson
Martin Lüdenbach
Cathy Colwell
Lewis Reid
Flute
Emer McDonough
Joanna Marsh
Fiona Sweeney
Diomedes Demetriades
Piccolo
Diomedes Demetriades
Oboe
John Roberts
Alexandra Hilton
Ruth Contractor
Cor Anglais
Patrick Flanaghan
Clarinet
Katherine Lacy
Massimo Di Trolio
Emily Meredith
Richard Russell
Bass clarinet
Richard Russell
Bassoon
Richard Ion
Ruby Collins
Emily Newman
Fraser Gordon
Contrabassoon
Fraser Gordon
Horn
Zoë Tweed
Kathryn Saunders
Andrew Budden
Finlay Bain
Phillippa Slack
Thomas Findlay
David Horwich
Derry Sowinski
Chloe Harrison
Trumpet
Matthew Williams
Kaitlin Wild
Mike Allen
Toby Street
Juliette Murphy
Richard Blake
Trombone
Matthew Gee
Thomas Berry
Bass Trombone
Josh Cirtina
Tuba
Sasha Koushk-Jalali
Timpani
Murray Sedgwick
Percussion
Stephen Quigley
Martin Owens
Gerald Kirby
Harp
Suzy Willison-Kawalec
Daniel De Fry
Piano
Elizabeth Burley