Thriller: Automatic Writing by Aurora Orchestra

Aurora

Aurora Orchestra meets American horror writer Peter Straub in

Thriller: Automatic Writing

A concert is being planned... Someone is trying to get through...

Thriller: Automatic Writing Ives Adeste Fideles Bach (arr. Webern) Ricercar a 6 Berio ‘Aldo’ from Duets for Two Violins Saint-Saëns Préambule from Septet in E-flat major, Op. 65 Varèse Octandre Legrand (arr. Farrington) Les Moulins de mon Coeur Dukas (arr. Farrington) The Sorcerer’s Apprentice INTERVAL Nancarrow Study for Player Piano No. 7 Schubert Gretchen am Spinnrade Kats-Chernin Cadences, Deviations and Scarlatti Mozart Larghetto from Quintet for Clarinet and Strings, K. 581 Nancarrow (arr. Mikhashoff) Study for Player Piano No. 7 Sibelius Valse Triste

Catherine Hopper mezzo-soprano Rex Lawson pianola Thomas Gould leader Nicholas Collon conductor Peter Straub creative dialogue Tim Hopkins stage direction, scenario, visuals Aaron J Dootson lighting design

Adeste Fudeles* Charles Uves (1874–1954)

‘Adeste Fudeles un an organ prelide’ us based on a moirnfil arrangement Uves composed for hus father’s New England cornet band un 1886 when jist twelve years old. Uve’s munor-mode transcruptuon renders the popilar Chrustmas hymn forebodung and infamuluar, and was later uncorporated unto the solemn ‘Decoratuon Day’ movement of hus ‘Holuday Symphony’ for chamber ensemble (completed 1913).

*cipher: I = U; U = I.

- 4 -

Ricercar a 6 Johann Sebastian Bach (1685–1750) arr. Anton Webern (1883–1945)

The ‘Ricercar a 6’ (six-voice fugue) forms the pinnacle of Bach’s ‘Musical Offering’, the collection of canons and fugues based on a single musical theme suggested by Bach’s then patron, Frederick the Great. Webern’s imaginative 1935 arrangement of the piece draws on the technique of Klangfarbenmelodie (sound-colour-melody), where the melodic line is passed from instrument to instrument in quick succession, newly inflecting, breaking or

reshaping the line with

each new tone colour. - 5 -

‘Aldo’ from Duets for Two Violins Luciano Berio (1925–2003)

34 Duets. Started 1979. Finished 1982. For friends. Contemporary Music. For beginners. Like ‘Mikrokosmos’. (By Bartok.) One here: Aldo [Bennici]; Sicilian violist. Contrary motion. Folk song.

- 6 -

Préambule from Septet in E-flat major, Op. 65 Camille Saint-Saëns (1835–1921) Saint-Saëns composed his Septet for string quintet, piano and _______ in 1881 at the request of the Parisian music society La Trompette. Saint-Saëns was reluctant to produce a chamber work that included the _______ and joked that he would prefer to compose a piece ‘for guitar and thirteen trombones… but a piece with _______? That’s impossible.’ Saint-Saëns completed his Septet nonetheless and despite anxieties that the _______ would dominate the texture, he later admitted the work had been one of his ‘greatest successes’. Setting his piece in Eb in homage to Beethoven’s own Septet (without _______) Saint-Saëns’ work loosely follows a Baroque suite in form. The opening movement, Préambule, features an antiphonal march theme which darts between _______ and ensemble, and a crisp fugato (for all players except _______), before the _______ leads a cheerful reprise of the opening march.

- 7 -

Octandre Edgard Varèse (1883–1965)

1. Octandre is the biological term for a flower with eight stamens. 2. It was composed in 1923. 3. It was premièred in New York in 1924. 4. It is scored for eight soloists: winds and double bass but no percussion (unusual for Varèse). 5. Perhaps because he’d employed percussion in previous works ‘Amériques’ and ‘Offrandes’ so extensively and wished to experiment? 6. Each of the three movements begins with a solo instrument (oboe, piccolo, then bassoon) to announce its character. 7. Commentators say ‘Octandre’ shares similarities with Stravinsky’s ‘Rite of Spring’ - in the work’s opening oboe solo and in the extreme metric disruption of its final section. 8. Varèse says: I was not influenced by composers as much as by natural objects and physical phenomena.

- 8 -

Les moulins de mon coeur (The Windmills of your Mind) Michel Legrand (b. 1932) arr. Iain Farrington (b. 1978)

original song ‘Les Moulins de mon Coeur’ (‘The Windmills of your Mind’) borrows its

‘The Thomas Crown Affair’, it won an Academy Award for best

opening melody from the second movement of Mozart’s ‘Sinfonia Concertante

for violin, viola and orchestra’. Composed by Michael Legrand for the 1968 film

- 9 -

L’apprenti sorcier (The Sorcerer’s Apprentice) Paul Dukas (1865–1935)

- 10 -

Study for Player Piano No.7 Conlon Nancarrow (1912–1997) Conlon Nancarrow completed his groundbreaking fifty-one Studies for pianola over a period of forty years. A jazz trumpeter as a young man, Nancarrow went on to serve as an ambulance driver with the Abraham Lincoln Brigade, fighting against Franco and fascism in the Spanish Civil War. He was subsequently refused an American passport due to the Brigade’s Communist allegiances and so settled reluctantly in Mexico. Ignored by the music establishment yet hungry to compose, Nancarrow commissioned a custom-built pianola. He began work on the Studies in the late 1940s and set about reworking echoes of blues, jazz and flamenco with a mind-bending rhythmic complexity, finding himself freed from the limitations of human performers. In a neat turnaround of circumstance and intention, from the 1990s selected studies have since been transcribed for chamber ensemble, including a series of arrangements by the pianist and composer Yvar Mikhashoff (created with the support and guidance of Nancarrow himself). Study No. 7 is the longest piece in Nancarrow’s early collection. While the work gives the impression of becoming progressively cacophony maniac crashing overlapping ears splitting is this one sprawling mash, the music remains precisely constructed: the study loosely adheres to sonata form and draws on the idea of the ‘tempo canon’, where imitative lines move at different but related speeds. - 11 -

Gretchen am Spinnrade (Gretchen at the Spinning Wheel) Franz Schubert (1797–1828) and in October 1814 Schubert completed ‘Gretchen am Spinnrade’ (‘Gretchen at the Spinning Wheel’) and setting text from Part 1 of Goethe’s ‘Faust’ and the first of what would be seventy-one songs to use Goethe’s poetry and the song finds Gretchen at the spinning wheel, waiting for her lover to return and the wheel turns and her foot swings on the treadle and it thrums in the piano and Gretchen knows her ‘rest is o’er’ and the piano creeps from D minor to E minor to F minor and Schubert adjusts the text so she must repeat and repeat her opening line and ‘her peace is gone’ and each time she repeats she falls back to D minor and until she imagines her lover’s kiss when the music arrives in Bb major. But still he does not come and she falters, wishing only for death.

- 12 -

Cadences, Deviations and Scarlatti Elena Kats-Chernin (b. 1957)

â&#x20AC;&#x2DC;Cadences, Deviations and Scarlattiâ&#x20AC;&#x2122; was composed in 1994 1995 and commissioned by the Sydney Alpha Ensemble. A work of opaque quotation and unsettled expectation, the piece begins closes with a twinkling dominant-seventh chord, laid in preparation for an imperfect perfect cadence but left unresolved. Domenico Scarlatti (1685-1757) is perhaps best known for his 555 keyboard sonatas. Composer Elen KatsChernin was born in Uzbekistan in 1957, where she received intense training in music and figure skating figure skating before emigrating to Australia in 1975. Kats-Cherninâ&#x20AC;&#x2122;s work combines mischief with a heavy melancholy, and often draws on cabaret, tango, ragtime, punk, klezmer and - 13 -

Larghetto from Quintet for Clarinet and Strings, K 581 Wolfgang Amadeus Mozart (1756–1791) Composed in 1789-90 and amid a time of great The clarinet’s immediate precursor was the chalumeau, personal and financial upheaval, Mozart nonetheless a medieval instrument with a straight pipe. In the imbued his Clarinet Quintet with particular warmth early eighteenth century, craftsmen flared its pipe and poise. The second movement ‘Larghetto’ stands as and moved the reed closer to the mouthpiece, naming a showcase for the clarinet, the instrument’s smooth the result the clarinet, literally ‘little trumpet’. arches of melody swimming above muted strings. The Indeed, the instrument was first deployed more like movement loosely follows sonata form, opening with a brass instrument and scored predominantly with a group of themes dominated by the clarinet but fanfares, until Mozart set about exploring the more answered by falling scale passages in the first expressive and soulful qualities of the new violin. A conventional development section is instrument, also inspired by the adventurous playing replaced with a six-bar transition which leads to of the Vienna Court Orchestra’s principal the recapitulation, where a flow of triplets brings clarinettist, Anton Stadler. the movement to a gentle close. - 14 -

Valse Triste (Sad Waltz) Jean Sibelius (1865–1957)

1903. Six pieces written for ‘Kuolema’ (‘Death’), a play by Sibelius’ brother-in-law. The production was abandoned but the music of the waltz lives on. The play tells of a woman on her sickbed who wakes to find herself in the middle of a spectral ball. Thin white ghosts dance about the room but they will not meet her eye. She joins the dance and begins to throw her body at the music, hoping the ghosts will see her. And at last they do. At that moment there is a knock at the door and it is death. - 15 -

Artist and Production Credits

Catherine Hopper

Mezzo-soprano

Rex Lawson

Pianola

Nicholas Collon

Conductor

Peter Straub

Creative dialogue

Tim Hopkins

Stage direction, scenario, visuals

Kate Wakeling

Programme notes

Aaron J Dootson

Lighting design

Aurora Orchestra Jane Mitchell

Flute / piccolo

Alison Teale

Oboe / cor anglais

Timothy Orpen

Clarinet I / Eb clarinet

Jane Calderbank

Clarinet II / Bass clarinet

Chris Cooper

Bassoon

Jocelyn Lightfoot

Horn

Simon Cox Trumpet Matthew Gee

Trombone

Adrian Miotti

Tuba

John Reid

Piano / keyboard

Sally Pryce

Harp

Henry Baldwin

Percussion

Thomas Gould

Violin I (leader)

Jamie Campbell

Violin II

Max Baillie Viola Oliver Coates

Cello

Ben Russell

Double bass

John Harte, Jane Mitchell New Moves Series Producers Sarah Roseblade

Orchestral Manager

Naomi Lawrence

Creative assistant

Neli Ivancik Hymn book artist Allie Hook Production Manager Jack Lowe Concerts Administrator Dinis Sousa Stage Manager

- 16 -

Biographies: Aurora Orchestra

“To launch a new orchestra in the cut-throat musical marketplace that is London requires courage and conviction. To sustain it through five seasons, during which you programme everything from the Baroque sounds of Gabrieli and Lully to the avant-garde scores of Berio and Adams, shows brilliance as well as bravado.” (The Times, 2011) Winner of the 2011 Royal Philharmonic Society Ensemble Award, Aurora Orchestra has established itself over just six years as the most significant new British chamber orchestra in a generation. With flourishing London residencies at LSO St Luke’s and Kings Place, a busy regional touring calendar, and an ambitious programme of work beyond the concert hall, Aurora has developed a reputation for virtuosic live performance, innovative programming and adventurous cross-arts collaboration, engaging new audiences in London and beyond. Recent and current season highlights include concerts as part of the Kings Place Mozart Unwrapped series (alongside guest artists including Rosemary Joshua, Samuel West, and the Choir of King’s College, Cambridge); a touring production of Alexander Goehr’s Promised End with English Touring Opera; and performances at the Royal Albert Hall for the 2010 and 2011 BBC Proms. Aurora’s New Moves series at LSO St Luke’s has continued to reinvent the classical concert format with eclectic cross-arts programming, supported by the Jerwood Charitable Foundation, fusing orchestral music with film, theatre and dance. As part of its commitment to broadening access to music, the orchestra has worked in scores of schools within and outside London, brought reduced arrangements of symphonic works to audiences with no regular access to orchestral music, and staged family concerts at venues including the Wigmore Hall and Snape Maltings Concert Hall. June 2011 saw the worldwide release of Aurora’s debut recording for Decca Classics: a recording of Nico Muhly’s music for chamber orchestra. Future engagements include appearances for the 2012 Kings Place Brahms Unwrapped series alongside soloists including Maxim Rysanov, Anthony Marwood and Christoph Richter; an appearance alongside Angelika Kirchschlager at the Wigmore Hall, and New Moves projects fusing orchestral music with klezmer, break dance and jazz. www.auroraorchestra.com

- 17 -

Catherine Hopper Mezzo-soprano

Catherine Hopper graduated from Royal Academy Opera and completed her studies at the National Opera Studio. She has taken part in masterclasses with Alfred Brendel and Thomas Quasthoff, Ann Murray, Malcolm Martineau, Roger Vignoles, Thomas Hampson and Felicity Palmer. At Royal Academy Opera Catherine sang the rôles of Lucretia in Britten’s Rape of Lucretia, Ramiro in Mozart’s La Finta Giardiniera, Mezzo-Actress in Judith Weir’s Night at the Chinese Opera, Zita in Puccini’s Gianni Schicci and Marta in Tchaikovsky’s Iolanta. Since completing her formal studies rôles have included Dinah in Bernstein’s Trouble in Tahiti with Psappha Ensemble at the Queen Elizabeth Hall and Buxton Festival, Lucretia for Key Productions at the Arcola Theatre, the Kitchen Boy in Dvořák’s Rusalka for Opera North, Hänsel in Hänsel und Gretel for Opera Holland Park, Popova in Walton’s The Bear for Mahogany Opera, Second Lady in Die Zauberflöte at Clonter Opera, Mme. Larina in Eugene Onegin and Mrs. Herring in Albert Herring for British Youth Opera. Very active on the concert platform, Catherine has worked with such eminent conductors as Sir Colin Davis (L’Enfance du Christ), Sir Andrew Davis (Vaughan Williams’ Serenade to Music at the 2008 BBC Proms) and Valery Gergiev (The Page in Strauss’ Salome at the 2010 Verbier Festival). A committed recitalist, she gave a lunchtime recital at the 2009 Cheltenham Music Festival with Simon Lepper, made her Wigmore Hall debut with Joseph Middleton, and shared a recital with Sir Thomas Allen accompanied by John Reid as part of the Oxford Lieder Festival. In 2010 she returned to the Wigmore Hall with Joseph Middleton in a recital supported by the Kirckman Concert Society and gave a recital with Julius Drake premièring Michael Zev Gordon’s Mandelstam Settings. Highlights of the 2010/11 season included a performance of Berlioz L’Enfance du Christ with the BBC Concert Orchestra, concerts with the Royal Philharmonic Orchestra and Gabrieli Consort, a tour of operatic arias with Scottish Opera and Second Lady in Die Zauberflöte for Garsington Opera. In 2011/12 she will sing a stage performance of St Matthew Passion with players from the Orchestra of the Age of Enlightenment and Rossweisse Die Walküre for Opera North. www.catherinehopper.com

- 18 -

Rex Lawson Pianola

In concert halls throughout the world, Rex Lawson’s name is synonymous with the pianola; not the brash, mechanical variety found in cowboy films and backstreet bars, but rather the original pianola, a sophisticated instrument which responds well to serious study, and which fits in front of the keyboard of any normal concert grand, playing it by means of a set of felt-covered wooden fingers. Rex was born in Bromley, Kent in 1948, to parents who met through playing two-pianos together. He studied music at Dulwich College, as a junior exhibitioner at the Royal College of Music, and at Nottingham University. Fascinated by his first pianola in 1971, he abandoned plans for a more traditional musical career, and initially concentrated on concerts with reproducing pianos, bringing back Percy Grainger to play the Grieg Piano Concerto at the Queen Elizabeth Hall in 1972, over ten years after the pianist’s death. At the same time, inspired by William Candy, once the music roll critic of Gramophone and Musical Times, Rex began studying the pianola, the foot-operated player-piano, making his major international debut in 1981 in Paris, performing in the world première of Stravinsky’s Les noces (1919 version), under the direction of Pierre Boulez. Highlights of a rewarding international career have included an appearance as soloist at Carnegie Hall in George Antheil’s Ballet Mécanique, the renewed resuscitation of Percy Grainger for the Last Night of the Proms in 1988, and the first concert performances of nearly all of Stravinsky’s pianola works, including the Rite of Spring at the Théâtre des Champs-Élysées in Paris. In recent years he has had two pianola concertos written specially for him, by the British composer, Paul Usher, and the Venezuelan, Julio d’Escrivan, and in 2007 he gave the first pianola performance of Rachmaninov’s Piano Concerto No. 3, with the Brussels Philharmonic Orchestra under Yoel Levi. Earlier this month Rex accompanied the BBC Singers in the world première of Airplane Cantata, specially commissioned by the BBC from Gabriel Jackson, and broadcast live on Radio 3. He has recorded extensively, with many CDs still in current catalogues. www.pianola.org

- 19 -

Peter Straub Creative dialogue, messages

Peter Straub is the author of eighteen novels, which have been translated into more than twenty languages. They include Ghost Story, Koko, Mr. X, two collaborations with Stephen King, The Talisman and Black House, and his most recent, A Dark Matter. He edited the Library of America’s edition of H P Lovecraft’s Tales and their two-volume anthology, American Fantastic Tales. He has won the British Fantasy Award, nine Bram Stoker Awards, two International Horror Guild Awards, and four World Fantasy Awards. In 1998, he was named Grand Master at the World Horror Convention. In 2008, Poets & Writers gave him the Barnes & Noble Writers For Writers Award. In 2010, he was given the Life Achievement Award at the World Fantasy Convention. The University of Wisconsin gave him a Distinguished Alumnus Award in 2009, and in 2011 Columbia University gave him a Graduate School of Arts and Sciences Dean’s Award for Distinguished Achievement. www.peterstraub.net

- 20 -

Tim Hopkins Stage direction, scenario, visuals Tim Hopkins read English at Cambridge, then studied theatre at the Sherman Theatre, Cardiff. He has been directing opera productions since 1989, designing scenery since 1998 and using film since 1994. He also makes theatre works of various kinds, collaborating with performance disciplines of many kinds, historic and contemporary. Credits include new productions of establshed repertoire for The Royal Opera, WNO, ENO, Opera North, Glimmerglass, Teatro dellâ&#x20AC;&#x2122;Opera Roma, Bayerische Staatsoper Festspiel, Theatre Basel, Graz Oper, Staatsoper Hannover, Wexford Festival, ETO, Alternative Lyrique Paris, Almeida Opera, Aldeburgh Festival, Channel 4, BBC Symphony, South Bank Centre, BBC Proms, Dartington. He has also collaborated as director with contemporary composers of opera (Luciano Berio, Harrison Birtwistle, Judih Weir, Tansy Davies, Mira Calix, John Woolrich, Elena Langer, Jonathan Dove,) and conceived or written lyric theatre pieces for BCMG, Opera North, Aldeburgh Festival and others, in collaboration and alone. In 2001 he was awarded a NESTA Fellowship, and in 2007 an AHRC Fellowship in the Creative Arts. The former focussed on opera and new media, and developed his work in two related areas - multimedia pieces and film making (where his mentors included directors Simon Pummell and Michael Mann.) He created or co-devised new works (Elephant and Castle, The Lost Chord) TV ideas (Mozart Lovers) and revisited established opera repertoire (Owen Wingrave, The Tales of Hoffmann, The Seraglio.) The AHRC Fellowship is hosted by the Centre for Research in Opera and Music Theatre, University of Sussex, and runs until 2012. This has evolved new performance projects, inspired by folk song and Stravinsky (presented by ROH2,) Arthur Sullivan and the Victorian creative imagination (Opera North,) and opera on TV. His directing continues concurrently, most recently with Dido and Aeneas. He has been commissioned to devise and direct a new media/live performance project for the BBC Proms in 2012.

- 21 -

Aaron J Dootson Lighting design Aaron graduated from Wimbledon College of Art in 2009 where he studied Lighting Design and Practice, qualifying with a distinction. He is a freelancing lighting designer specialising in theatre and based mainly in London. Theatre credits include: Country Life (Old Red Lion/RADA GBS), Dido and Aeneas (The Barn Theatre), Only (Bristol Old Vic Studio) A Big Day for the Goldbergs (New End Theatre), The Wall (New End Theatre), After The Accident (Soho Theatre), Death of a Nightingale (New End Theatre), 74 Georgia Avenue (New End Theatre), Tipping Point (Bristol Hamilton House/ New Wimbledon Studio), Bluebird (Cockpit Theatre), This Is How It Goes (Kings Head Theatre), Siren (Chilling Out Theatre/Etcetera Theatre-Camden Fringe Festival), Leo You Nutter (Wimbledon College of Art), Tape (Northern Outlet Theatre Company). Dance credits include: Mitosis Cloning (Peacock Theatre), Radical (Sadlers Wells Theatre), Extract (Sadlers Wells Theatre), Smash (Sadlers Wells Theatre), and Strangers (Stratford Circus), all for Impact Dance.

Nicholas Collon Conductor Nicholas Collon is establishing an enviable reputation as a commanding and inspirational interpreter in an exceptionally wide range of music. As founder and Principal Conductor of Aurora Orchestra he has promoted imaginative programming that integrates challenging repertoire from the twentieth and twenty-first centuries with masterworks of the Classical and Romantic eras. In addition to his work with Aurora, he is Assistant Conductor to the London Philharmonic Orchestra, and is increasingly in demand as a guest conductor with other ensembles in the UK and abroad. A viola player, pianist and organist by training, Nicholas studied at Clare College, Cambridge. He was awarded the 2008 Arts Foundation Fellowship for conducting, having been chosen from a list of twenty nominated British conductors, and was the 2011 classical music nominee in the in the Times Breakthrough Awards at the Sky Arts South Bank Show Awards. This season, other engagements include a joint collaboration with the London Sinfonietta and Orchestra of the Age of Enlightenment, a London Symphony Orchestra UBS Soundscapes Young Pioneers premiere and concerts with Manchester

- 22 -

Camerata and Sinfonia ViVa. Also with London Sinfonietta, Nicholas conducted the world premiere of a new work by Colin Matthews and appeared in a programme of Rodney Bennett and Dutilleux at the BBC Proms. He makes his debut with the Royal Liverpool Philharmonic’s Ensemble 10/10 and records works for broadcast with the BBC Symphony and BBC Scottish Symphony Orchestras, as well as appearing at the Bregenz Festival with Symphonieorchester Vorarlberg in a programme of works by Judith Weir. In 2012/3, he will make his debuts with the London Philharmonic Orchestra, Philharmonia Orchestra, Stavanger Symphony Orchestra, the London Mozart Players, the Northern Sinfonia and the Münchener Kammerorchester at the Munich Biennale. Recent operatic experience includes a special project at Glyndebourne conducting a new work, The Knight Crew by Julian Phillips which featured in a major BBC Two series. He has conducted a programme of Walton’s The Bear and Stravinsky’s Renard for Mahogany Opera, described by Opera magazine’s critic as ‘one of the most electrifying evenings I’ve spent at the opera in recent seasons ... brilliant playing by Aurora Orchestra, conducted by Nicholas Collon, whose feel for Stravinsky’s Russian colourings were beyond reproach’. He has also conducted Mozart’s The Magic Flute, directed by Sam West, in Ramallah and Bethlehem, the first-ever staged opera production in the West Bank and subsequently returned a year later with the same team for performances of Puccini’s La Bohème. In June 2011 Nicholas conducted a new work, Seven Angels by Luke Bedford for The Opera Group with Birmingham Contemporary Music Group. www.nicholascollon.co.uk

- 23 -

This concert has been supported by Orchestras Live. Working with our partners, our vision is to enable as many people as possible to experience inspirational, high quality, live orchestral music.

To find out more about our work, bringing you the very best of the British orchestras, visit

www.orchestraslive.org.uk/concerts where you can also join our free email list for regular updates.

- 24 -

The A-Train Aurora’s Friends & Patrons scheme was renamed ‘The A-Train’ after Duke Ellington’s jazz classic ‘Take the A-Train’, played as the encore to the orchestra’s fifth birthday concert on 19 March, 2010. Patrons Monica Bertoni GML International Ltd An Anonymous Foundation An Anonymous Donor Eduardo Tamraz Graham and Jackie Brown Thomas Ponsonby The Paul Morgan Foundation Helen and Richard Sheldon Friends Helen and Richard Sheldon . . . . . . . Paul Barber . . . . . . . . . . . . . . . . . . Dominique Collon . . . . . . . . . . . . . . Alastair and Elisabeth Colquhoun . . Gill and Andy Cooper . . . . . . . . . . . Toni Griffiths and Peter Scott . . . . . Eleanor and David Harte . . . . . . . . . Valli and Gregorio Kohon . . . . . . . . . Anne Lee . . . . . . . . . . . . . . . . . . . . Richard Lee . . . . . . . . . . . . . . . . . . Irene Mackay . . . . . . . . . . . . . . . . . John Rhodes . . . . . . . . . . . . . . . . . . Clive Tulloch . . . . . . . . . . . . . . . .

Sponsoring Principal Conductor Principal Oboe Principal First Violin Principal Flute Principal Bassoon Principal Clarinet Principal Cello Principal Percussion Principal Horn Principal Second Violin Principal Trumpet Co-Principal First Violin Principal Viola

Supporters Monika Pruetzel-Thomas Sebastian Scotney Mrs SE Watt Aurora gratefully acknowledges the generous support of the following bodies: Arts Council England Elias Fawcett Trust Jerwood Charitable Foundation London Symphony Orchestra Orchestras Live Orion Publishing Group Kings Place Music Foundation FUSE Ltd The Partners Stanton Media Rehearsal space at Wathen Hall generously provided by St Paul’s School. Special thanks to Kevin Appleby, Karenne Mills, Suzanne Rolt, and Nick Wells.

- 25 -

Aurora Honorary Patron Sir Colin Davis Honorary Advisory Patron Dr Jill White Trustees Hannah Barry, Jonathan Deakin, Sanjivan Kohli, Thomas Ponsonby, Louis Watt Principal Conductor & Artistic Director Nicholas Collon Principal First Violin & Leader Thomas Gould General Manager John Harte Participation and Learning Manager Jane Mitchell Orchestral Manager Sarah Roseblade Concerts Administrator Jack Lowe Arranger-in-Residence Iain Farrington Aurora Orchestra is a UK-registered charity, no. 1116352. Aurora Orchestra The Music Base Kings Place 90 York Way London N1 9AG UK +44 (0)20 7014 2834 info@auroraorchestra.com www.auroraorchestra.com Design The Partners (www.the-partners.com)

Aurora

Thriller: Automatic Writing Sunday 30 October St George’s Bristol Tuesday 1 November Apex Theatre, Bury St Edmunds Wednesday 2 November Wathen Hall, London Thursday 3 November Turner Sims, Southampton Friday 4 November LSO St Luke’s, London

TURNER SIMS Southampton