MOZART’S PIANO AT KINGS PLACE Concerto Patrons
PRINCIPAL CONDUCTOR’S WELCOME: SUPPORTING MOZART’S PIANO Mozart’s Piano is Aurora’s greatest adventure to date: a five-year project which for the first time in the modern era gives British audiences the opportunity to hear all 27 of Mozart’s piano concertos performed in a single intimate venue by the same orchestra. Add to that a roster of guest soloists which includes some of the great pianists of our age, and a diverse wealth of other repertoire from Bach to Birtwistle, and you have the makings of something very special indeed. One of the great privileges of my job is to have the pleasure of conducting in many great concert halls all over the world. But for me, the thrill of performing in Hall One at Kings Place can’t be beaten: the hall’s glorious acoustic and proportions produce an incomparable atmosphere. I’m hugely looking forward to taking audiences with us on a unique five-year adventure in this extraordinary space. Aurora’s artistic success since the launch of the orchestra a decade ago has been built on the generosity of our friends and patrons, whom the players and I regard as part of the orchestra’s extended family. We look forward immensely to welcoming new and existing supporters as part of the Concerto Patrons scheme which will help us make this oncein-a-lifetime journey. I hope that the idea of being part of the series will be as exciting for you as it is to us. With thanks in advance for your support,
Nicholas Collon Principal Conductor, Aurora Orchestra
CHIEF EXECUTIVE’S INTRODUCTION: IN THE FOOTSTEPS OF MOZART’S PATRONS Archbishop Sigismund von Schrattenbach. Countess Maria Wilhelmine von Thun. Baron Friedrich Melchior von Grimm. Not exactly names that trip off the tongue. But without the support of these and dozens of other patrons in eighteenth-century Austria, Wolfgang Amadeus Mozart could never have produced the extraordinary catalogue of 27 piano concertos which he completed before his death at the age of just 35. More than any other single facet of his outrageously prolific musical legacy, it is this body of work for orchestra and solo piano – Mozart’s own instrument – which underpins his claim to have been the greatest musical talent that has ever lived. Though his relationship with benefactors rarely ran smoothly(!), without their support the piano concertos could never have come into existence. And now, almost 250 years later, we are looking for a new cohort of 21st-century patrons to help us mount what we believe will be the first complete cycle of all 27 concertos ever staged by a professional orchestra in a single series in the UK.
Just as Mozart’s own patrons helped him to create his music in the first place, we hope that you’ll take this extraordinary journey with us, helping us to make the series a reality by ‘adopting’ one or more of the concertos as part of the cycle. For the first year of this five-year project, we are seeking to match each of the first seven concertos with a patron – or group of patrons – contributing a donation of £2,000. In exchange, supporters can expect not only a programme credit and a pair of complimentary concert tickets, but also some very special personal tokens of our thanks, including behind-the-scenes rehearsal access; an opportunity to meet the artists performing; and a copy of the score of your ‘adopted’ concerto, signed by the performers as a memento of your gift. In addition to helping support Aurora’s activity at our Kings Place home, we hope that supporters may be drawn to adopting a concerto as a way of marking a special occasion in their own lives. Why not celebrate an anniversary by sponsoring a concerto that you particularly enjoy? Or join with other friends to share the costs, and enjoy watching together as the fruits of your support are performed on stage at Kings Place by world-class artists. We look forward to welcoming you to a Mozart’s Piano event soon.
MOZART’S PATRONS:
Archbishop Sigismund von Schrattenbach Mozart’s very first patron in Salzburg. Lavish supporter of the arts (albeit leaving extraordinary debts). Encouraged the Mozart family’s travels and appointed Mozart assistant Konzertmeister of the Court.
Best wishes,
John Harte Chief Executive, Aurora Orchestra
A SERIES LIKE NO OTHER (AND WHY WE NEED YOUR SUPPORT) Firmly established amongst the greatest achievements of his or any other composer’s musical output, Mozart’s piano concertos bear dazzling witness to his life-long love affair with the keyboard. Though several complete cycles exist in recorded form, in the modern era no British orchestra has attempted all 27 concertos in performance within the context of a single, through-conceived series staged in the same concert hall. Mozart’s Piano is just that – a monumental musical journey spanning the experimental first footsteps of his teenage years through to the masterpieces of maturity in Vienna. Staged at Kings Place over 25 concerts and five years from 2016–20, the series will feature several of the outstanding pianists of our time, with guests including Robert Levin, Imogen Cooper and the Labèque sisters, as well as younger rising stars such as Cédric Tiberghien and Francesco Piemontesi. Several of the programmes will be broadcast on BBC Radio 3.
MOZART’S PATRONS:
Countess Maria Wilhelmine von Thun One of Mozart’s keenest patrons during the composer’s early spell in Vienna. A lively and intellectually discriminating host of musical salons whom Mozart described as ‘the most charming and delightful lady I have met in my whole life’, before neatly adding ‘and she also thinks highly of me’.
There’s a reason, of course, why an adventure on this scale has never previously been attempted. Staging all of the concertos across five years’ worth of programmes in an intimate venue like Kings Place is a daunting challenge: whilst keeping ticket prices at affordable rates, even with sell-out successes box office revenues cover only a very modest portion of the total cost of the series. Just as Mozart was reliant on his patrons to commission them in the first place, we too need to enlist the support of benefactors to ‘adopt’ the concertos for performance in our cycle. We are very grateful for generous pledges of support for this series from the Parabola Foundation and Kings Place Music Foundation; the Concerto Patrons scheme will help us cover the remaining costs of the Mozart’s Piano project.
2016 PROGRAMMES AND GUEST ARTISTS In typically eclectic and adventurous style, Aurora has taken the concertos as a starting point for a kaleidoscopic journey across centuries and contrasting repertoire, bursting with world-class guest artists and great music. The result is a virtuosic, vibrant and playful series which illuminates Mozart’s life, music and legacy in new and unexpected ways. Perhaps, in fact, the kind of series the irrepressibly dynamic composer might himself have programmed around his own music.
MOZART’S PATRONS:
Count Joseph Nepomuk von Deym Having fled Austria after a youthful duel, the Count returned to Vienna in 1780 under the name Joseph Müller to open a curious waxworks museum, commissioning Mozart to compose for the museum’s mechanical organ. Mozart was skeptical (‘It is the kind of composition which I detest’) but the resulting fantasias were triumphant.
“BACH IS THE FATHER, WE ARE THE CHILDREN”
IN THE COURT OF THE MAD KING
Saturday 16 January 2016, 7.30pm
John Reid piano George Humphreys baritone Nicholas Collon conductor
John Butt harpsichord/director Broadcast on BBC Radio 3
Mozart’s Piano begins with a look back to the composer’s musical forbears, and in particular to the profound effect which members of the Bach family had on his life and music. One of the world’s leading early music specialists, John Butt, directs a programme exploring the foundations of Mozart’s artistry, setting the scene for all that will follow over the next five seasons. Including works by JC and CPE Bach, as well as JS Bach’s Brandenburg Concertos Nos. 1 and 3. Piano Concerto No. 1 in F major, K 37
Saturday 19 March 2016, 7.30pm
Georgian London hosted and inspired Europe’s leading musicians. For the young Mozart, London became home for a year in 1764/65, during which he was a regular visitor at the royal court and even accompanied the young Queen Charlotte at the keyboard. This theatrical concert traces a path from the vibrant flowering of culture in the early years of George III’s rule to the lonely and painful unravelling of the monarch’s mind in the latter part of his reign, depicted here in Peter Maxwell Davies’ Eight Songs for a Mad King. Piano Concerto No. 2 in B-flat major, K 39
CHILD’S PLAY
GRAND TOUR
L’ENFANCE
Saturday 23 April 2016, 7.30pm
Saturday 17 September 2016, 7.30pm
Friday 16 December 2016, 7.30pm
Robert Levin piano/director
Cédric Tiberghien piano Thomas Gould violin Nicholas Collon conductor
Lara Melda piano Martin James Bartlett piano Nicholas Collon conductor
As a keyboard player, Mozart astonished his contemporaries not just with technical virtuosity and musicianship, but with an unsurpassed talent for improvisation that was both boundlessly inventive and apparently effortless. Robert Levin, one of the great pianists and improvisers of our age, directs a programme exploring youthful precocity, showmanship and the visceral impact of a newlyspun cadenza.
Drawing the first year of Mozart’s Piano to a close, Aurora presents a concert celebrating the exuberance, playfulness and imagination of Mozart’s childhood. Former BBC Young Musicians of the Year Lara Melda and Martin James Bartlett join us for a programme including the witty piano concerto No. 7, commissioned by Countess Lodron for her daughters; Ravel’s enchanting Mother Goose Suite, composed for siblings Jean and Mimi, aged 6 and 7; and SaintSaëns’ The Carnival of the Animals.
As a keyboard player, Mozart astonished his contemporaries not just with technical virtuosity and musicianship, but with an unsurpassed talent for improvisation that was both boundlessly inventive and apparently effortless. Robert Levin, one of the great pianists and improvisers of our age, directs a programme exploring youthful precocity, showmanship and the visceral impact of a newlyspun cadenza. Piano Concerto No. 3 in D major, K 40 Piano Concerto No. 4 in G major, K 41
Piano Concerto No. 5 in D major, K 175 Piano Concerto No. 6 in B-flat major, K 238
Piano Concerto No. 7 in F major, K 242 (‘Lodron’)
PATRON BENEFITS The Mozart’s Piano Concerto Patrons scheme is designed to cater both for individual patrons and for a ‘consortium’ of friends who wish to join together to sponsor a concerto. In the first year of the scheme, individual concertos can be ‘adopted’ in exchange for a gift of £2,000. In return for the support Aurora offers the following benefits to patrons: – A pair of tickets for the relevant concert – A copy of a Bärenreiter study score for the concerto, signed by the conductor and soloist – Name credit under the concerto listing in the concert programme
This brochure gives details of the seven concertos featured in the first year of the Mozart’s Piano series (including dates, other repertoire and featured soloists), and also casts a glimpse forward to the works we will perform in future years. Please note: Costs associated with concerto patronage in years 2–5 will be announced in due course. If you are interested in a particular favourite concerto for future seasons, and/ or you would like to discuss the possibility of making a multi-concerto gift (for which discounts are available), please send an email to mozartspiano@auroraorchestra.com so that we can advise you of opportunities.
– Name credit under the Mozart’s Piano supporters list (all series concert programmes and Aurora website during year of gift) – Free interval drinks for two people – Access to the closed general rehearsal on the afternoon of the concert Please note: Where groups of friends join together to sponsor a concerto, we can offer rehearsal access and printed credits for all members of the consortium. Consortiums receive a pair of complimentary tickets for the lead member(s) as standard, but can also purchase additional tickets at 20% off the published price, subject to availability. The Rotunda restaurant at Kings Place offers a variety of pre- and post-concert catering options for you and your guests, ranging from light suppers to fine dining in the Private Dining Room. Please email mozartspiano@auroraorchestra.com if you would like us to help you make your arrangements with the restaurant.
MOZART’S PATRONS:
Baron Gottfried van Swieten A generous and loyal supporter of Mozart throughout his Vienna years. A diplomat, the director of the Court Library and renowned musical connoisseur. Also a longstanding patron of Beethoven (and went on to be the dedicatee of Beethoven’s First Symphony).
THE CONCERTOS YEAR ONE: 2016 (EACH AT £2,000) No. 1 in F major, K 37 (16 January 2016) Soloist: John Butt
No. 3 in D major, K 40 (23 April 2016) Soloist: Robert Levin
No. 5 in D major, K 175 (17 September 2016) Soloist: Cédric Tiberghien
This the first. (Bar the ‘harpsichord concerto’ Mozart’s father purportedly found his son composing aged four.) Oboes and horns. As with all five of the early piano concertos, each movement is firmly based on a sonata movement by a contemporary virtuoso. The origin of the concerto’s elegant second movement remains a mystery, but is quite possibly by Wolfgang himself…
Oboes, horns and now trumpets. The third movement is based on CPE Bach’s character piece La Boehmer, published in the early 1760s and dedicated to CPE Bach’s friend Johann Samuel Friedrich Boehmer, a professor of law at Frankfurt University. Given the work’s insistent pace and rhythm, Boehmer was evidently of a vigorous, quick-witted and ever-soslightly pushy disposition.
Fiery, dream-like, ingenious. Composed at age seventeen. The first of Mozart’s entirely original concertos. One of his favourite works of all (he continued performing the piece right up until the year of his death).
No. 2 in B-flat major, K 39 (19 March 2016) Soloist: John Reid
No. 4 in G major, K 41 (23 April 2016) Soloist: Robert Levin
Oboes and horns once more. Outer movements arrange Raupach, while the central andante is based on a movement by Johann Schobert, a composer and harpsichordist who died in 1767 from mistakenly eating poisonous mushrooms.
Horns and now flutes. The last of the piano concerto patchwork ‘exercises’, with music from the Op.1 No. 1’s of Honauer and Raupach. As with all four of these early works for piano and orchestra, written when Mozart was just eleven years old.
No. 6 in B-flat major, K 238 (17 September 2016) Soloist: Cédric Tiberghien Direct, gentle, elegant. Scored for keyboard, strings, two oboes and two horns, the opening movement is marked ‘allegro aperto’, the latter term literally translated as ‘open’ and ‘frank’. No. 7 in F major, K 242 (16 December 2016) Soloists: Lara Melda & Martin James Bartlett Colourful, lucid, playful. Originally composed for THREE pianos (if later rearranged by Mozart for a more manageable two). Often nicknamed ‘Lodron’ after Countess Antonia Lodron who commissioned the work for her two young daughters Aloysia and Giuseppa to perform (alongside Wolfgang himself).
FUTURE YEARS
(Dates, soloists and concerto patronage costs to be announced)
YEAR TWO: 2017 No. 8 in C major, K 246
No. 9 in E-flat major, K 271
No. 11 in F major, K 413
Marching, floating, dancing. Composed in 1776 for the young Countess Antonia Lützow, a talented amateur pianist. Later sight-read by Mannheim virtuoso George Joseph Vogler at a party. Mozart was not impressed: ‘The first movement went prestissimo, the andante allegro, and the rondo, believe it or not, prestississimo… His fingering too, is miserable.’ Composer as teacher: Mozart wrote three sets of cadenzas for the work, each of varying difficulty (from student to virtuoso) to allow for soloists of all abilities.
Described by Alfred Brendel as “one of the greatest wonders of the world.” Written when Mozart was 21 and popularly known as the ‘Jenamy’ concerto after Victoire Jenamy, the daughter of legendary ballet dancer Jean-Georges Noverre and herself a fine pianist. An early masterpiece, demonstrating Mozart’s command of the genre and a ready capacity for musical surprises.
The first of the early Vienna piano concertos. Writing to his father of piano concerto numbers 11, 12 and 13, the young composer dryly declared: ‘In order to win applause one must write stuff which is so inane that a coachman could sing it, or so unintelligible that it pleases precisely because no sensible man can understand it.’
No. 10 in E-flat major, K 365
Often described as ‘The Tyrolean’. Small but perfectly formed (it can be played with just string quartet accompaniment). Composed in 1782. The second movement quotes Johann Christian Bach’s overture to La calamita de cuori, in tribute to Mozart’s wise and dedicated mentor who died in the January of that year.
MOZART’S PATRONS:
Prince Dmitry Mikhailovich Golitsyn The Russian ambassador in Vienna. A warm supporter of Mozart’s music (although the composer himself privately referred to the prince as ‘bignosed Paul’). When the Prince died in 1793, his will included reference to some 254 paintings, 14 carriages, 11 horses and 552 bottles of fine wine.
Piano meets piano. A concerto for two soloists. Date of composition hazy but thought to have been composed with Mozart’s sister, Maria Anna (affectionately known as Nannerl) in mind as the additional pianist.
No. 12 in A major, K 414
YEAR THREE: 2018 No. 13 in C major, K 415 Feisty, enigmatic, majestic. The last of the band of Vienna concertos composed for Mozart’s popular subscription concerts. The finale opens with a grand military theme, and features a tricksy fugatto that has long flummoxed critics. No. 14 in E-flat major, K 449 Warm, mature, individual. Composed after a twoyear hiatus in which he completed no piano concertos. Mozart noted that some of his works in the medium shared much in character and form, but proudly declared ‘the one in E-flat does not belong at all to the same category. It is one of a quite peculiar kind…’
No. 15 in B-flat major, K 450 Grand, intricate, tough. Mozart considered this (along with the Piano Concerto No.16 in D major) among his trickiest works to play: ‘I consider them both to be concertos which make one sweat; but the B-flat one beats the one in D for difficulty.” No. 16 in D major K 451 Brisk, wistful, high-spirited. Along with No. 15, the sixteenth piano concerto was written during Mozart’s spell in Vienna having ceased working for his loathed employer, Hieronymous von Paula in Salzburg. Writing to his father of this period, Mozart noted: ‘Today is a happy day for me… Please be cheerful, for my good luck is just beginning…” Mozart performed the concerto in Vienna on 31 March 1784, just nine days after completing it.
No. 17 in G major, K 453 Song-like and serendipitous: the last movement’s central theme derives from a tune sung by Mozart’s pet starling (first documented in Mozart’s expenses book as ‘Starling bird. 34 Kreutzer’, along with a transcription of its first tune).
FUTURE YEARS
(Dates, soloists and concerto patronage costs to be announced)
YEAR FOUR: 2019 No. 18 in B-flat major, K 456 Luscious solos: ravishing use of the flute in second movement theme and variations. Mercurial meter: capricious changes of time signature for winds then piano. Big questions: Was the concerto composed for Maria Theresa von Paradis? Was von Paradis already in London rather than Paris when the manuscript was finished? Might the manuscript have been rushed onto London anyway? No. 19 in F major, K 459 Often named the “Second Coronation Concerto’ (see also No. 26): performed by Mozart on the occasion of Leopold II’s coronation. The finale a notable Mozartian masterpiece: complex, mischievous, joyful.
No. 20 in D minor, K 466 Storm and fire. Triumph born of wild scrape. Leopold described the work as ‘an excellent new piano concerto by Wolfgang, on which the copyist was still at work when we got there, and your brother didn’t even have time to play through the rondo because he had to oversee the copying operation.’ (Said to be Joseph Stalin’s favourite piece of music, but don’t let that put you off.) No. 21 in C major, K 467 Poise, reverie, sparkle. Perhaps the most beloved of all Mozart’s piano concertos. Leopold worried that its harmonies were too strange for Viennese audiences, but the concerto happily made a powerful impression at its premiere: in a letter to Maria Anna, Leopold described the applause which met the performance as ‘deafening’ and conceded that the audience was far from puzzled but rather moved to tears.
No. 22 in E-flat major, K 482 A new addition and an unexpected absence: the first of Mozart’s piano concertos to feature a clarinet while, intriguingly, the piano at no point takes the principal theme of the opening movement. Bossy bassoons. An encore for the slow movement at the premiere. Delicate echoes of The Marriage of Figaro peep out from the playful finale.
YEAR FIVE: 2020 No. 23 in A major, K 488
No. 25 in C major, K 503
Perhaps the most lyrical of all. Rejoicing and melancholy meet. Composed the same year as Figaro, as evidenced by the work’s drama, sudden mood shifts and song-like solo line. The mesmeric ‘sicilienne’ movement is the only work Mozart ever composed in F# minor.
A Mozartian giant. One of the longest of all the composer’s concertos, lasting around 33 minutes. Written in 1786, alongside the Prague Symphony. Prophetic rumblings: a secondary theme in the opening movement is peculiarly reminiscent of the then-unwritten “La Marseillaise”.
No. 24 in C minor, K 491 Sturm und drang! Magnitude! Scored for the largest ensemble Mozart used in his piano concertos, with woodwinds, horns, trumpets and timpani. The manuscript is famously messy, full of crossings-out, re-writes and self portraits dotted throughout the margins. On hearing the premiere, Beethoven is said to have declared to his friend Johann Baptist Cramer: ‘Ah, we shall never be able to do anything like that!’
No. 26 in D major K 537
No. 27 in B-flat major, K 595 This the last. First performed the year of Mozart’s death. Radical, integrated, melancholy veiled. All three movements are ostensibly in a major key, yet the minor mode looms throughout. Thought to have been premiered in Vienna’s Jahn’s Hall in the March of 1791. If so, this was Mozart’s very last appearance at a public concert.
The “Coronation” (see also No. 19). Imperial status gained from proximity to the coronation of Leopold II as Holy Roman Emperor in October 1790. Intriguing manuscript ambiguity: tempi markings are absent for two of the movements. More fun still, a substantial portion of the piano’s lefthand line is also missing…
MOZART’S PATRONS:
Baron Friedrich Melchior von Grimm A significant patron of Mozart’s. Wrote several richly complimentary notices about Wolfgang and sister Nannerl, but the relationship was not without hiccups (Grimm was popularly known as “Tyrant le Blanc”). Apparently Grimm once complained to Leopold that he wished the young composer had half as much talent and twice as many social skills.
EXCLUSIVE DINING OPTIONS FOR AURORA CONCERTO PATRONS Rotunda Bar and Restaurant, situated within Kings Place and on the edge of the Regents Canal, is the perfect place to dine or enjoy a drink before attending a performance. As well as our regular a la carte and early evening menus, we’re delighted to offer an exclusive package for all Aurora Concerto Patrons. AURORA CONCERTO PATRONS For all Aurora evening performances throughout the 2016 series, simply quote ‘Aurora Concerto Patron’ when booking and enjoy... Three courses as well as a glass of Prosecco during the interval for just £29.50 rotundabarandrestaurant.co.uk 020 7014 2840
FIT FOR A KING A CONCERT EXPERIENCE PERFECT FOR GROUPS
Get the full Kings Place experience by taking in a concert in exclusive style. Enjoy a welcome glass of Prosecco and canapés in the Gallery Room before taking your seats in Hall One. During the interval guests will reconvene in the Gallery Room to enjoy drinks and nibbles. Once the concert has finished bowl food and wine will be served in the Gallery Room, rounding off the evening in perfect fashion. Package includes: Four canapés per person Four food bowls per person 1/2 bottle of wine per person Glass of Prosecco on arrival for just £87.50 per person
For more information and to book please call us on 020 7014 2838 or visit kingsplaceevents.co.uk Please note, neither package includes concert tickets
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PLEDGE YOUR SUPPORT
Please use the form opposite to register your interest in becoming a Concerto Patron, or to pledge your support. You can return the form by post to the address below, or by emailing a copy to mozartspiano@auroraorchestra.com. If you would like to discuss the scheme in more detail, or to pledge your support by phone, please call 020 7014 2805 to speak to a member of Aurora’s Development Department. Multi-year commitments Multi-year commitments are particularly valuable as they enable Aurora to plan the remainder of the series with greater confidence and ambition. If you would be interested in making a multi-year commitment as a Concerto Patron for Mozart’s Piano, you can indicate this opposite. Gift Aid Aurora is a registered charity (number 1155738), meaning that gifts from UK taxpayers can be made under the Gift Aid Scheme. This enables the orchestra to reclaim the basic rate of tax that was paid on your donation, which equates to 25p in every £1 on gifts from UK taxpayers. For example, every £2,000 gift is actually worth £2,500 to Aurora. In order for us to reclaim the tax on your donation, you must have paid UK Income or Capital Gains Tax equal to the tax that will be reclaimed. Tax-efficient giving Higher rate tax-payers can reclaim the difference between the basic and higher rate of tax on their self-assessment tax return. So a gift of £2,000 will actually cost a higher rate tax-payer £1,500. Aurora Orchestra The Music Base Kings Place 90 York Way London N1 9AG
I / We would like to register interest in becoming a Concerto Patron for Mozart’s Piano at Kings Place I / We would like to pledge support as a Concerto Patron for Mozart’s Piano at Kings Place I / We would be interested in making a multi-year commitment as a Concerto Patron for Mozart’s Piano Name(s)_______________________________________ _______________________________________________ Primary contact details: Name __________________________________________ Email __________________________________________ _______________________________________________ Phone number _________________________________ Postal address __________________________________ _______________________________________________ _______________________________________________ _______________________________________________ Please indicate the concerto you wish to support by numbering in order of preference: Piano Concerto No. 1 in F major, K 37 Piano Concerto No. 2 in B-flat major, K 39 Piano Concerto No. 3 in D major, K 40 Piano Concerto No. 4 in G major, K 41 Piano Concerto No. 5 in D major, K 175 Piano Concerto No. 6 in B-flat major, K 238 Piano Concerto No. 7 in F major, K 242 (‘Lodron’) Please note that support of a particular concerto will be designated on a first-come-first-served basis, and it cannot be guaranteed that your preferred concerto will be available to support at the point of returning this form. Every effort will be made to enable the support of your preferred concerto and a final decision on the particular concerto for support will be made in discussion with the primary donor contact and Aurora’s Development Department.
AURORA ORCHESTRA mozartspiano@auroraorchestra.com 020 7014 2805 @auroraorchestra facebook.com/auroraorchestra www.auroraorchestra.com
Supported by The Parabola Foundation