Helen Grime In Focus 18/01/2024

I. Largo
II. Calmo –
III. Vivo

Shadowplay for soprano saxophone and piano was commissioned by Audrey Innes. The work was premiered at the World Saxophone Congress XVI in St Andrews, Scotland, in July 2012 performed by saxophonist Rocio Banyuls Bertomeu and pianist Audrey Innes.

Lasting around six minutes, the piece falls into three short movements. In the first, a long saxophone melody gradually emerges from loud, resounding piano chords. At first very quiet and gentle, the melody becomes more ornate and active, rising from the instrument’s lowest register and reaching an impassioned climax very high up. Retracting into the resonance of the piano once again, the saxophone line becomes more playful. Surrounded by deep bass notes and melancholy chords in the piano, this movement gently disperses. The second movement is for unaccompanied saxophone. Cadenza-like in character, muted melodic fragments are juxtaposed with quicker, more aggressive outbursts. Towards the end of the movement the two materials combine leading directly into the final section of the piece. The third movement is fast and lively with virtuosic passages for both players. The piano begins alone with a lively staccato figure interrupted by bursts or faster material. The saxophone joins in with the muted melody reminiscent of the second movement while the piano contrasts this with spikier gestures before the two come together in an animated final section.

Programme note © 2011 Helen Grime

Remnant is one of a collection of 200 solo pieces written to celebrate the bicentenary of the Royal Academy of Music in 2022.

In response to Helen Grime’s piece Remnant, A Promised Return depicts the remnant as the remnant of God. The harmonies, that bring uneasiness and tension, in addition to the repetition of ideas, that bring a sense of aimlessness, all depict my musical interpretation of the remnant. The conversation between the trumpet and the piano are sluggish at first but gradually builds up to a unity of sound (the final chord of the piece), which marks the arrival of the promised return.

Programme note © 2024 Audrey Lam

Three Whistler Miniatures falls into three movements, contrasted in mood and tempo:

I: The Little Note in Yellow and Gold (Tranquillo)
II: Lapis Lazuli (Presto)
III: The Violet Note (Lontano, molto flessibile)

The titles refer to three chalk and pastel miniatures, which are displayed in the Veronese Room of the Isabella Stewart Gardner Museum in Boston. Although the music does not relate directly to the pictures, I was taken by the subtly graduated palate and intimate atmosphere suggested by each of them.

Throughout the piece the violin and cello form a sort of unit, which is set against the contrasting nature of the piano.

The first movement opens with a very quiet and gentle piano melody. Gradually the violin and cello become part of the texture, but moving at a slower pace. The violin and cello from an overlapping two-part melody, very high in register and ethereal in quality whilst the piano moves at a quicker pace with a more detailed and elaborate version of the string material creating a delicate, layered effect. This leads to a faster section, the two string instruments have overlapping material with more agitated outbursts from the piano. This builds to an impassioned and somewhat flamboyant piano solo, featuring falling gestures and is interspersed with an intensified and quicker version of the previous string material until the end of the movement.

The second movement is lively and virtuosic for all three players. A running continuous line is passed back and forth between the cello and violin, eventually being taken by the piano before a more melodic section. Lyrical lines are contrasted with the more jagged material of the opening, the three instruments coming together in rhythmic unison before an extended and complete melody is heard in the violin and cello. Each melodic entry is lower in register and dynamic, seeming to die away before the final presto section takes over until the movements close.

Beginning with a distant high piano melody and set against muted strings ‘quasi lullaby’, the third movement alludes to the textures and material of the opening of the piece. A more agitated florid section leads to a heightened rendition of the piano melody for high cello surrounded by filigree passagework in the piano and violin. The violin takes over before the final section, which combines the piano writing from the opening of the first movement, but here it is much darker in nature.

© Helen Grime

Born in 1981, Helen Grime studied at the Royal College of Music with Julian Anderson and Edwin Roxburgh (composition) and John Anderson (oboe).  She came to public attention in 2003, when her Oboe Concerto won a British Composer Award.  In 2008 she was awarded a Leonard Bernstein Fellowship to attend the Tanglewood Music Center where she studied with John Harbison, Michael Gandolfi, Shulamit Ran and Augusta Read Thomas. Grime was a Legal and General Junior Fellow at the Royal College of Music from 2007 to 2009.

Grime has had works commissioned by ensembles and institutions including the London Symphony Orchestra, Barbican Centre, Aldeburgh Music, Birmingham Contemporary Music Group, Britten Sinfonia, BBC Scottish Symphony Orchestra, Chamber Music Society of Lincoln Center and the Tanglewood Music Center. Conductors who have performed her work include Sir Simon Rattle, Pierre Boulez, Daniel Harding, Yan Pascal Tortelier, Oliver Knussen and Sir Mark Elder.

Between 2011 and 2015 Grime was Associate Composer to the Hallé Orchestra. This fruitful period resulted in a series of new works and a recording of her orchestral works released by NMC Recordings. This disc was awarded ‘Editors Choice’ by Gramophone Magazine on its release and was nominated in the Contemporary category of the 2015 Gramophone Awards. In 2016 her Two Eardley Pictures were premiered at the BBC Proms and in Glasgow, winning the prize for large-scale composition in the Scottish Awards for New Music and a nomination in the British Composer Awards the following year.

In 2016 Grime was appointed as Composer in Residence at the Wigmore Hall. Highlights of this period include a day of concerts devoted to her music, as well as the premieres of a Piano Concerto for Huw Watkins and Birmingham Contemporary Music Group conducted by Oliver Knussen, and a song cycle, Bright Travellers, for soprano Ruby Hughes and Joseph Middleton.

Recent works include Woven Space (2017), which was commissioned by the Barbican for Sir Simon Rattle’s inaugural season as Music Director of the London Symphony Orchestra, a Percussion Concerto for Colin Currie, which received its premiere performances with the London Philharmonic Orchestra and Baltimore Symphony Orchestra conducted by Marin Alsop in January 2019, Limina a co-commission for Tanglewood Music Center and Boston Symphony Orchestra, and Meditations on Joy for the Deutsches Symphonie-Orchester Berlin, Los Angeles Philharmonic and the BBC.

Between 2010 and 2017 Grime was Lecturer in Composition at Royal Holloway, University of London. In 2017 she was appointed Professor of Composition at the Royal Academy of Music in London.

www.helengrime.com | www.wisemusicclassical.com

The title and starting point for this nocturnal miniature comes from a box assemblage by the American artist Joseph Cornell. Although the box itself is quite small, I was struck by Cornell’s ability to create a self contained miniature world. There is a melancholy yet fantastical undertone to the work and this is something I have attempted to create in Night Songs.

The piece opens with high oboe solo echoed by muted piccolo trumpet, and it is this melody which weaves its way through the work, shifting in colour, shape and impulse before coming to a brief, yet passionate, climax towards the end. A brighter, more insistent, widely spaced staccato melody pierces the texture, moving through background and foreground throughout.

A sequence of dreamy, very hushed episodes, which interrupt the melodic line become increasingly frantic and disturbing as the piece develops, leading to a rare orchestral tutti utilising the whole registral gamut available. These passage gradually subside and shorten, appearing as enigmatic memories at the work’s close.

Night Songs was commissioned by the BBC to mark Oliver Knussen’s 60th birthday and was premiered on 25 August 2012 at the BBC Proms with Oliver Knussen conducting the BBC Symphony Orchestra.

© Helen Grime

This piece consists of gestural, quasi-melodic lines that dissolve into pointillistic, fragmented material, like strings and wires that unravel and fray, losing their sense of coherence. Different “strings” weave together more and more, creating intricate patterns that dissolve into increasingly frayed strands – and those frayed strands themselves become their own strange patterns. The lines become distorted and granulated, with harmonies becoming offset and warped; this then gives way chaotic finale where elements splinter off rapidly, and all sense of togetherness in harmony or rhythm is broken.

Programme note by Eve Vickers.

This composition draws inspiration from two distinctive sounds: tam-tam spectra and a motif with the timbre of oboes and similar instruments. The oboe sound is sharp and cutting, like a knife, while the tam-tam-like resonance creates a sense of space, guiding us to a universe seemingly free from gravitational pull.

The music explores two contrasting concepts: human desire, often sparked by different attractions, and the pervasive force of gravity in the universe. The title ‘Desire, Attraction and Non-gravitational Force’ captures this duality.

The composition reflects on a unique force without gravity, symbolizing moments in human society where attraction feels absent. While this idea might seem surreal, it challenges the notion that attraction can be entirely eliminated. The music suggests that just as it’s impossible for humans to fully restrain their desires, it’s equally improbable to escape the forces of attraction and gravity that shape our existence.

Experience the exploration of this piece-whether through performance or as listeners. Allow the oboe sound to express the sharpness of desire, and let the tam-tam-like tones convey the boundless realm beyond gravity. Even in moments seemingly devoid of attraction, the forces of connection persist, shaping the intricate tapestry of human desires.

Programme note by Florencio Ruitao You.

Scored for a large orchestra (triple winds, three percussionists, piano, harp, and strings), Limina is a single movement of about 12 minutes’ length. Its energy, nuance, and multi-levelled activity require a high level of virtuosity and cohesion among the players.

“Limina” signifies “thresholds,” a point at which one state becomes another; in Grime’s piece the thresholds are between musical ideas representing expressive states. The idea of shifting states was suggested by a chapter in the Norwegian author Tarjei Vesaas’s 1963 novel The Ice Palace, which describes a young girl’s emotions as she moves between chambers within a frozen waterfall. Although some of Grime’s previous works have links to imagery or literary ideas, Limina’s connection to Vesaas’s narrative was unusually explicit and direct; the various chambers and the girl’s corresponding emotions determined the episodic structure of Grime’s piece. In spite of this specificity, once Grime was fully involved with the piece, purely musical, compositional concerns became the focus. Although there are a few clear shifts, these musical states are frequently layered and dovetailed with one another, leaving the listener balanced, as it were, right on that liminal boundary. The overlapping of larger ideas and small rhythmic variations among similar parts “blurs” the impact of any expressive state, paralleling the girl’s unsettled blend fear, joy, and confusion. The music also contrasts the girl’s physical fragility with the dispassionate strength and coldness of the ice.

Limina’s opening, marked “Bright, icy,” has a deliberately cold, somewhat off-putting character. This passage develops in increasingly complex waves, filling out the orchestra — shimmering, suspended strings with vibraphone, a glittering, rising figure in high woodwinds, a fragmented chorale in brass. The arpeggiated figure played by three solo violins signals a recurrent dream state. A warming, humanizing element appears with the expansion of the strings into the bass register; the various layers come into clearer focus with definite pulse and distinct melodic lines. Increasing density and intensity leads to a big sustained chord starting the final episode, marked “Ecstatic and tender.” The once-obscured chorale for winds comes to the foreground, but this is still interrupted by the strings’ breathless textures, as though it’s unwilling to take on the full burden of conclusion.

Programme note © 2019 Robert Kirzinger

Dear Mr. ‘Forever’, named after the composer’s deceased grandfather, this work like a letter written with musical notes, expressing endless longing. “The death of a loved one is not a rainstorm, but the long humidity of this life.I am forever trapped in this humidity, causing violent storms in every calm day.”

The whole piece begins with the rapid down glissando of the bass string instruments, followed by the string overtones and the bass drum, like the heart beats slower and slower, weaker and weaker, until it stops. The harsh high-overtone is the ruthless sound of the machine. Then the bassoon plays the theme of despair, and the whole piece unfold.

The second part pushes the music in the form of fragments, which are actually restlessness, pain, and beautiful memories flashing in my mind. Back to reality, the theme of despair appears in the double bass, followed by a redemptive chorale. Those fragments swept through me again, and in the end, all that was left in my mind was the sound of the wind and the nursery rhymes my grandpa always sang, which turned into minor-key nursery rhymes.

Programme note by Yige Wu.

I. Fanfares
II. Woven Space
III. Course

Helen Grime wrote her first orchestral piece, Virga, for the London Symphony Orchestra just over a decade ago, music of spectral luminescence and captivating mystery, suitably named after an upper-sky phenomenon, of shafts of rain that seem to hang in the air, never reaching ground level, because they will have evaporated away. Now, in this bigger composition, her thinking turns from nature to art – though not all the way, for Woven Space takes its title from a structure by Laura Ellen Bacon, whose work, exploding the notion of basketry, is done with fresh willow twigs wound into forms that might echo those of plant growth or water flow. In her choices of both material and structure, therefore, Bacon is an artist of the natural, which would be one reason for Grime to find her work sympathetic. What Bacon does with withies, Grime accomplishes with lines of notes: shapes them into curves, balances their strains, weaves them.

One big difference, of course, is that where Bacon’s pieces, often made for specific outdoor locations, are bound to disintegrate within a few years, a musical composition will with time become firmer, as successive performances discover its strengths. Another is that woven space, in music, must be woven time.

The first movement, ‘Fanfares’, was written for the orchestra’s opening concert of the season, back in September. ‘Bright, dance-like’ is the marking at the start, aptly describing the characters of the two kinds of music set in motion and how they interact: clangs from tuned percussion with rushing woodwind scales are intercut with, then combined with, a springing drive from strings, harp and celeste.

Trumpets and horns, hitherto mostly in the background, spill forwards at an initial climax and stay involved, up to a point where the music becomes ‘Submerged, distant’. The cor anglais sets out a line that is threaded through what follows, along with reminiscences, until there comes a full restoration of brilliance in a melding of the musical principles that initiated the movement. The ending, though, is again withdrawn.

Woven Space, the title the big central movement shares with the whole work, was also the name of a structure Bacon created at Chatsworth in 2009, an enclosure in an enclosure, made of curving walls of interlaced willow twigs within the spaces of an ancient yew.

Grime’s music may similarly give a sense at times of enfolding the listener. Its opening is mysterious, a resonance of bells and tam tam sustained by muted brass and lower strings as background for lines winding down in groups of second violins. To these the firsts respond with defined figures, thus re-establishing, in a very different atmosphere, the contrast that sparked off ‘Fanfares’. A third item is due, and it comes with a brass chorale. Then everything begins to interweave, to interconnect, and to strengthen in doing so, until the growing tension is released in bright triplet energy, coming first from high woodwind and celesta. Slower music persists on other levels, but the exuberance bounds on. As woodwind solos and duets come forward, the movement arrives at its close, with alternations between steady melodic winding and triplet speed.

The finale also takes its title, ‘Course’, from a work of Bacon’s, a channel of woven willow made to snake down into the river in the grounds of Hall Place, in Bexley. ‘Driven’ is the marking, for music that maintains its swirling motion of lines upon lines, speeds upon speeds, through a central sequence in which the drive recedes into the distance for a focus on woodwind solos. When the energy comes forward again, impelled by trumpets, something is held in reserve. Then, with earlier ideas rushing back, the music can be let fly.

Programme note © 2018 Paul Griffiths

Born in 1981, Helen Grime studied at the Royal College of Music with Julian Anderson and Edwin Roxburgh (composition) and John Anderson (oboe).  She came to public attention in 2003, when her Oboe Concerto won a British Composer Award.  In 2008 she was awarded a Leonard Bernstein Fellowship to attend the Tanglewood Music Center where she studied with John Harbison, Michael Gandolfi, Shulamit Ran and Augusta Read Thomas. Grime was a Legal and General Junior Fellow at the Royal College of Music from 2007 to 2009.

Grime has had works commissioned by ensembles and institutions including the London Symphony Orchestra, Barbican Centre, Aldeburgh Music, Birmingham Contemporary Music Group, Britten Sinfonia, BBC Scottish Symphony Orchestra, Chamber Music Society of Lincoln Center and the Tanglewood Music Center. Conductors who have performed her work include Sir Simon Rattle, Pierre Boulez, Daniel Harding, Yan Pascal Tortelier, Oliver Knussen and Sir Mark Elder.

Between 2011 and 2015 Grime was Associate Composer to the Hallé Orchestra. This fruitful period resulted in a series of new works and a recording of her orchestral works released by NMC Recordings. This disc was awarded ‘Editors Choice’ by Gramophone Magazine on its release and was nominated in the Contemporary category of the 2015 Gramophone Awards. In 2016 her Two Eardley Pictures were premiered at the BBC Proms and in Glasgow, winning the prize for large-scale composition in the Scottish Awards for New Music and a nomination in the British Composer Awards the following year.

In 2016 Grime was appointed as Composer in Residence at the Wigmore Hall. Highlights of this period include a day of concerts devoted to her music, as well as the premieres of a Piano Concerto for Huw Watkins and Birmingham Contemporary Music Group conducted by Oliver Knussen, and a song cycle, Bright Travellers, for soprano Ruby Hughes and Joseph Middleton.

Recent works include Woven Space (2017), which was commissioned by the Barbican for Sir Simon Rattle’s inaugural season as Music Director of the London Symphony Orchestra, a Percussion Concerto for Colin Currie, which received its premiere performances with the London Philharmonic Orchestra and Baltimore Symphony Orchestra conducted by Marin Alsop in January 2019, Limina a co-commission for Tanglewood Music Center and Boston Symphony Orchestra, and Meditations on Joy for the Deutsches Symphonie-Orchester Berlin, Los Angeles Philharmonic and the BBC.

Between 2010 and 2017 Grime was Lecturer in Composition at Royal Holloway, University of London. In 2017 she was appointed Professor of Composition at the Royal Academy of Music in London.

www.helengrime.com | www.wisemusicclassical.com

Mark Heron is a Scottish conductor known for dynamic and well-rehearsed performances across an unusually wide range of repertoire, and his expertise as an orchestral trainer.

As guest conductor he has appeared with the BBC Philharmonic, BBC Concert Orchestra, Philharmonia, Royal Liverpool Philharmonic Orchestra, Royal Scottish National Orchestra, Manchester Camerata, Psappha, Meininger Hofkapelle, Orquesta Sinfónica de la Región de Murcia, Pori Sinfonietta, St Petersburg Festival Orchestra and many more. He is the music director of the Nottingham Philharmonic and as Head of Conducting at the RNCM, he works regularly with all of the College’s orchestras and ensembles. Mark is the conductor laureate of the Liverpool Mozart Orchestra and for ten years was Director of Orchestras at the University of Manchester.

Dedicated to working with young musicians, in addition to his roles at the RNCM and Manchester University, Mark has conducted ensembles from the Royal Academy of Music, Royal Conservatoire of Scotland, Escola Superior de Musica de Lisboa, Tilburg & Maastricht Conservatories, the National Youth Wind Orchestras of Great Britain and Israel, Slovenian National Youth Orchestra, and many more.

Mark has a keen interest in contemporary music and has given world premieres of many important works. He has collaborated with leading composers such as Kalevi Aho, George Benjamin, Sir Harrison Birtwistle, Unsuk Chin, Tansy Davies, Detlev Glanert, Heiner Goebbels, Anders Hillborg, Giya Kancheli, Magnus Lindberg, Sir James McMillan, Colin Matthews, Christopher Rouse, Kaija Saariaho, Mark Anthony Turnage and Errollyn Wallen. In 2018 he gave the the world premiere of Adam Gorb’s opera The Path to Heaven, and in 2006 the European premiere of American composer Daron Hagen’s opera, Bandanna. He has recorded dozens of CDs with the RNCM Wind Orchestra featuring contemporary wind repertoire on labels such as Chandos, Naxos, NMC, ASC and Polyphonic.

Mark studied at the RSAMD and the RNCM. Following a successful chamber music career and freelance work with many of the UK’s professional symphony orchestras, he undertook conducting studies at the RNCM and in master classes with Neeme & Paavo Järvi, Jorma Panula, and Sir Mark Elder. He worked with Sir Colin Davis and the London Symphony Orchestra on their mentoring programme for young conductors.

Alongside his conducting engagements, Mark is increasingly recognised as one of the world’s foremost conducting teachers, and students of his have achieved notable success. As well as his work across all of the RNCM’s renowned conducting programmes, he developed an elite undergraduate conducting programme at the University of Manchester, is a visiting professor to the Royal Air Force and appears often as a guest at conducting courses and master classes all over the world.

Jakub Przybycień (Junior Fellow) is a Polish conductor and violinist. For the 2023/24 season he will be Assistant Conductor to Ludovic Morlot and the Barcelona Symphony Orchestra and National Orchestra of Catalonia, and Mills Williams Junior Fellow in Conducting at the RNCM. In March 2023 Jakub was a finalist of the Donatella Flick Conducting Competition. During the Gstaad Conducting Academy 2021 he was awarded the Neeme Järvi Prize. Currently he works as an assistant of Professors Johannes Schlaefli and Christoph-Mathias Mueller, with whom he is completing his Masters in Specialised Music Performance at the Zürich University of the Arts. He has already worked with many international orchestras, including Balthasar-Neumann Ensembles, Luzerner Sinfonieorchester, Württembergische Philharmonie Reutlingen, Orchestre de Picardie and Zielona Góra Philharmonic Orchestra. He has taken part in conducting masterclasses with Neeme, Paavo and Kristjan Järvi, Marin Alsop, Jaap van Zweden, Peter Eötvös, Thomas Hengelbrock, Jorma Panula and Michael Sanderling.

Josephine Korda (2nd year Masters) was the Trainee Female Conductor at Opera North 2022-23, Associate Conductor at Green Opera 2023-24, and Assistant Conductor at the Opera de Massy 2020-21. She is a participant in the 57th and 58th editions of the International Besançon Competition for Young Conductors. In 2021 she graduated in Conducting and Composition from the École Normale de Musique de Paris and the following year she studied conducting contemporary repertoire at the Conservatorio della Svizzera Italiana. She has participated in masterclasses with Marin Alsop, Jorma Panula, Sir Mark Elder, Daniele Gatti and Antony Hermus and has conducted the Philharmonia, Orchestre Victor Hugo, Orchestra Dijon Bourgogne, Dartington Festival Orchestra, Ensemble Variances and Ensemble des Apaches. At the RNCM she has assisted the BBC and the Royal Liverpool Philharmonic and conducted in workshops with the Hallé and Manchester Camerata. Josephine has a music degree Music from the University of Oxford where she was a choral and instrumental scholar.

Matteo Dal Maso (2nd year Masters) is an Italian conductor and clarinettist who graduated from the Guiseppe Verdi Conservatory of Turin. Prize-winner in more
than ten international music competitions, in 2023 he won the First prize at the Athens International Conducting Competition and the Audience Prize of the
Peter Maag International Conducting Competition. Matteo was invited to the Järvi Academy Masterclass in Estonia and during his first year in Manchester participated in masterclasses with the Hallé and Manchester Camerata, working with teachers such as Sir Mark Elder, Antony Hermus, Ludovic Morlot and Jorma Panula. As a conductor, he has with the Orchestra di Padova e del Veneto, Romanian Chamber Orchestra, Lithuanian State Symphony Orchestra, Athens Philharmonia Orchestra, Beogradski Simfoničari, Romanian Chamber Orchestra, Orchestra di Padova edel Veneto, Orquesta Filarmónica de Gran Canaria, and Dallas Winds. As an orchestral player, Matteo has worked with many Italian orchestras including the Teatro Regio of Turin, and has a composer his works have been performed in the Bolshoi Theater in Moscow, the Bernie Wohl Center in New York, and the Teatro Comunale in Bologna.

Andreas Asiikkis (2nd year Masters) is a Cypriot conductor with a remarkable musical journey. He graduated first of his class in Orchestral Conducting from the
Ionian University before pursuing further studies at the Academy of Performing Arts in Bratislava through Erasmus+. In Greece, he conducted the university
Symphony Orchestra and Choir and served as an assistant conductor at the Philharmonic Society of Corfu. Andreas also founded and directed a youth orchestra focused on film music. In Manchester, he has collaborated with esteemed orchestras like The Hallé, Manchester Camerata, and New Sinfonia through RNCM partnerships. He has had the privilege of assisting conductors such as Jon Storgårds, Juanjo Mena, and Martyn Brabbins, with the BBC Philharmonic and Royal Liverpool Philharmonic Orchestra. Notably, Andreas conducted an adaptation of Miss Havisham’s Wedding Night during the RNCM’s Lab Week, using music to raise awareness about mental illness, love, and disappointment.

* denotes RNCM

VIOLIN 1
Yuri Torchinsky
Midori Sugiyama
Thomas Bangbala
Christina Maxfield*
Kevin Flynn
Siyu Chen*
Catherine Mandelbaum
Lizzie Dawson*
Anya Muston
Orla McGarrity*
Karen Mainwaring
Jocelyn Lau*
Julian Gregory
Rory Masterson*
Toby Tramaseur
Dylan Latham*

VIOLIN 2
Lisa Obert
Glen Perry
Gemma Bass
Bruno Robalo*
Matthew Watson
Georgina Bloomfield*
Lucy Flynn
Sam Kane*
Alexandra Webber-Garcia
Zinan Wang*
Melody Prophet
Elena Orsi*
Elizabeth Lister
Natalie Purton

VIOLA
Steven Burnard
Sarah Greene
Fiona Dunkley
Michaela Jones*
Matthew Compton
Jeanette Szeto*
Rachel Janes
Hannah Borlase*
Rosalyn Cabot
Thomas Cai*
Rhiannon Collins*
Matthew Hayes*

CELLO
Peter Dixon
Maria Zachariadou
Jessica Schaefer
Jasmine Blackshaw-Britton*
Elinor Gow
Sabrina Giovanardi*
Miriam Skinner
Hongze Zhao*
Rebekah Clarke*
Susannah Roman*

BASS
Ronan Dunne
Joseph Cowie
Andrew Vickers
Marcelo Nunes Rodrigues*
Miriam Shaftoe
Saulo Da Silva Martins*
Joana Moura*
Sara Banks*

FLUTES
Alex Jakeman
Jessica Pun Lai Yuen*
Jennifer George (picc)

OBOES
Rachael Clegg
Mariam Jackson*

COR ANGLAIS
David Benfield

CLARINETS
Fraser Langton
Josh Pyman*

BASS CLARINET
Elliot Gresty

BASSOONS
Nina Ashton
Angharad Thomas

CONTRA BASSOON
Bill Anderson

HORNS
Rebecca Levis
Molly Bielecki*
Phillip Stoker
Tom Kane
Timothy Doyle
Catherine Hewitt

TRUMPETS
Tom Fountain
Cameron Chin-See*
Ruby Orlowska

TROMBONES
Richard Brown
Freddie Hughes*
Russell Taylor

TUBA
Christopher Evans

TIMPANI
Tim Williams

PERCUSSION
Paul Patrick
Geraint Daniel
Michael Harper
Ben Gray
Oliver Patrick
John Melbourne

HARP
Sue Blair
Ellie Wood*

CELESTE
Ian Buckle