Satya Hinduja is a sound artist working with a range of musical instruments, voice and experimental electronic composition for spatial sound environments. Helping bridge ancient practices of sound and energy medicine with emerging technologies, her work seeks to redefine the transformative power of sound. The capacity of certain tones, physical spaces and symbolic interventions intend to sensitise the receptive listener. Her process demands a specific state, one that contains a ritualistic power, suffused with energies that sit beyond the rational mind.

Merging her mother culture’s origin of meditative sound and her passion for experimental electronica, Satya creates Alchemic Sonic Environments (ASE): site specific, multi-sensory deep listening experiences designed to invoke states of reflection, receptivity and exchange.

Satya's study of the Yoga Sutras, Vedic philosophy and ancient wisdom inspire the symbolism present within the work. Influenced by the metaphysical Hindu concept of Nada Brahma (the primal sound of being), Satya researches the essence of resonance to develop ways of listening that lead to the neuronal regeneration of the intelligent body.

Since 2011, she has been researching and developing the ASE Method, collaborating with artists, neuroscientists and healing arts practitioners while exhibiting at various platforms such as Sages & Scientists Symposium, TEDx, Berklee India Exchange and the International Yoga Festival. She is a formally trained musician with a Bachelor of Music in Film Scoring from Berklee College of Music (Boston) and a Masters in Electronic Music Production from Dubspot (NY).Satya is currently based between Mumbai and New York.

Ludwig van Beethoven ( 17 December 1770 – 26 March 1827 ) was a German composer and pianist. Beethoven remains one of the most admired composers in the history of Western music; his works rank amongst the most performed of the classical music repertoire and span the transition from the Classical period to the Romantic era in classical music. His career has conventionally been divided into early, middle, and late periods. His early period, during which he forged his craft, is typically considered to have lasted until 1802. From 1802 to around 1812, his middle period showed an individual development from the styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterised as heroic. During this time, he began to grow increasingly deaf. In his late period, from 1812 to 1827, he extended his innovations in musical form and expression.

His first major orchestral work, the First Symphony, premiered in 1800, and his first set of string quartets was published in 1801. Despite his hearing deteriorating during this period, he continued to conduct, premiering his Third and Fifth Symphonies in 1804 and 1808, respectively. His Violin Concerto appeared in 1806. His last piano concerto (No. 5, Op. 73, known as the Emperor), dedicated to his frequent patron Archduke Rudolf of Austria, was premiered in 1811, without Beethoven as soloist. He was almost completely deaf by 1814, and he then gave up performing and appearing in public. He described his problems with health and his unfulfilled personal life in two letters, his Heiligenstadt Testament (1802) to his brothers and his unsent love letter to an unknown "Immortal Beloved" (1812).

After 1810, increasingly less socially involved, Beethoven composed many of his most admired works, including later symphonies, mature chamber music and the late piano sonatas. His only opera, Fidelio, first performed in 1805, was revised to its final version in 1814. He composed Missa solemnis between 1819 and 1823 and his final Symphony, No. 9, one of the first examples of a choral symphony, between 1822 and 1824. Written in his last years, his late string quartets, including the Grosse Fuge, of 1825–1826 are among his final achievements. After some months of bedridden illness, he died in 1827. Beethoven's works remain mainstays of the classical music repertoire.

British conductor David Murphy holds an unparalleled position in today’s international music scene. Crossing and combining genres effortlessly, Murphy creates new and vibrant performances that are crafted afresh each time he comes to the podium.

His experience and scholarly knowledge of repertoire together with his unconventional musical journey add an innovative and creative spark to his music making.

David Murphy was born in Pembrokeshire, trained as a violinist at The Purcell School and the Guildhall School of Music & Drama, and performed widely as a soloist and chamber musician. He subsequently spent two years in research and teaching at Wichita State University, then studied conducting with Jay Decker, Gustav Meier, Seiji Ozawa and Léon Barzin.

On returning to the UK he began his long association with Indian music through working with Wajahat Khan, the inspirational start of a journey that included world premieres, international tours and projects and resulted in collaborations with many other legendary maestros of Indian music.

With roots in the Western Classical Tradition, his work focuses on connecting diverse people and communities through the shared experience of sound. This pioneering musical journey was inspired by the combined forces of three musical greats: legendary violinist Yehudi Menuhin (leading to an exploration of Indian music and philosophy) Léon Barzin (giving him a direct line to the great conductors of the early Twentieth Century notably Toscanini, Furtwängler and Kleiber) and “the Godfather of World Music'' Pandit Ravi Shankar with whom David had a close performing and composing relationship.

Combining tradition and innovation, he works at the cutting edge of contemporary performance art, his Deep Listening Project bringing audience engagement to a new level through multi-sensory experiences combining the traditional western orchestra with electronics and projection alongside musicians, dancers and acrobats from a range of global cultural traditions.

The Royal Philharmonic Orchestra’s (RPO) mission to enrich lives through orchestral experiences that are uncompromising in their excellence and inclusive in their appeal, places it at the forefront of music-making in the UK and internationally. Typically performing approximately 200 concerts a year and with a worldwide live and online audience of more than 60
million people, the Orchestra embraces a broad repertoire that enables it to reach the most diverse audience of any British symphony orchestra. Whilst artistic integrity remains paramount, the RPO is unafraid to push boundaries and is equally at home recording video game, film and television soundtracks and working with pop stars, as it is performing the great symphonic repertoire.

orchestral community and education programme in the UK and internationally. In 2024, the Orchestra will move its headquarters to Wembley Park in the London Borough of Brent; this will be the realisation of its long-held ambition to embed the Orchestra in a community, in line with its mission to be a truly inclusive and contemporary international orchestra for the modern age.

Synergy Vocals is a unique pool of voices covering a broad spectrum of musical genres and working primarily on microphone. Providing bespoke teams of vocalists for amplified concerts, recordings and soundtracks, Synergy Vocals has, over 15 years, earned a worldwide reputation for excellence. Blend of sound is one of our primary concerns, so that we are never simply a disparate group of session singers. Bearing in mind that every singer has a distinct individual timbre, combinations of voices are selected extremely carefully in order to achieve the specific vocal sound required for each project. We take the time to liaise with composers and conductors to establish exactly what sound they have in mind. Our in-house director, Micaela Haslam, then works with each team to achieve that sound prior to the first general rehearsal. All our singers are accomplished, versatile musicians, renowned for their professionalism, enthusiasm (and rhythm!) Whilst having the flexibility of an unlimited pool of singers, our aim is always to generate the team-spirit of a fixed ensemble through enjoyment, commitment and hard work.

The group’s origins can be traced back to 1996 when Micaela, then a member of the Swingle Singers, was approached by the London Symphony Orchestra to sing Steve Reich’s Tehillim. She and her three female colleagues formed the ideal combination for a piece requiring a seamless vocal blend and rhythmic agility. The vocals were prepared under Micaela’s direction and Steve Reich was so delighted with the results that he asked her to put together another vocal ensemble for his new piece Three Tales, and for the first European recording and tour of Music for 18 Musicians.

In 1997 Micaela chose the name Synergy for the growing pool of singers and since then the group has developed into a highly respected team, renowned for its vocal blend, rhythmic precision and dynamic performances.

Mark Rogers is a producer and engineer whose epic experience has traversed the music recording industry for many years such as the position at Abbey Road Studios as the engineer responsible for Studio One.

During Mark Roger’s time with Decca Record Company, he collaborated with prolific artists such as Luciano Pavarotti and Sir Georg Solti. Following this, he pioneered many multimedia techniques that are now commonplace such as the first DVD in the UK and Takelog with his venture, Abbey Road Interactive.

Now working as a freelance producer, engineer and musician, Mark Rogers continues to extend his expertise to artists around the globe.