Aurora unlocks new worlds of pure sonic ecstasy at Kings Place

In the centre of a dimly lit hall, a piano, several percussion instruments and three slightly-raised platforms for the viola, cello and harp players created an unusual stage. This set-up, reminiscent of a boxing ring, allowed each performer a clear view of the others, while the audience encircled them. It was one of the final concerts of the Sound Unwrapped series at Kings Place, which has been a host to numerous outstanding events throughout the year, inviting the audience to “discover new sonic dimensions”. This particular evening, featuring Aurora Orchestra's trimmed line-up of five musicians and one sound engineer on electronics, indeed proved to be an absolute success, unlocking new worlds of pure sonic ecstasy.

The concert opened with a series of shorter pieces. Harpist Sally Pryce gave a captivating rendition of Toru Takemitsu’s Stanza II, where the harsh and obsolete electronic sounds of the 1970s coexisted harmoniously with her resonant and resolute playing. I only wished for a touch more delicacy with quieter dynamics. Following this, the rest of the ensemble took to the stage, and viola player Ruth Gibson provided a brief overview of the programme and what to expect from it. From that point onward, the pieces seamlessly transitioned from one to another, leaving no room for the audience to reward the group with an ovation or fully absorb the shifts in the sonic landscape.

The lyrical cello melody of Michael Gordon’s Light is Calling flowed brilliantly as Sébastien van Kuijk tamed a pulsating pre-recorded electronic part. The execution was tender and clean, yet the vibrato felt somewhat overemphasised. Then came the intense first movement, Hora Lungǎ, of Ligeti’s Viola Sonata. Gibson skilfully conjured up a range of vivid textural atmospheres, ranging from the gentle, whispering and lullaby-like to the rich and tart, swirling in the thin upper registers or wailing with anguish in the viola’s lowest notes. The delicacy I previously sought in Takemitsu arrived in Pryce’s performance of Des pas sur la neige by Debussy, arranged for harp. It offered a fresh perspective on the well-known classic, creating a hauntingly beautiful sense of stillness.

Yet the full potential of Aurora Orchestra revealed itself only when they began playing Anna Thorvaldsdottir’s In the Light of Air. Only then could one see how individual strengths added up to the group’s overall effortlessness, attentive interaction and masterful treatment of the highly-evocative material, making the audience breathe with the music. It feels strange to write about a performance as if it was a game of football, but the ensemble's team-play was spot-on tight. The piano wasn’t overpowering the ensemble, string players were perfectly in tune with each other, and everyone had a clear role and responsibility in each section of the piece.

The group showcased a variety of moods, from cool, mostly quiet and ethereal to somewhat aggressive and agitated. There were also a plethora of colours: string harmonics, glissandi and drones, monochrome piano playing, muffled and metallic percussion, light harp chords, electronic bleeps and blops – all blended seamlessly without individual members stealing the show and working towards the common goal. Yet, there were moments of individual exaltations, allowing for beautiful solo melodies to emerge. The whole experience was like seeing a kaleidoscope change colours very slowly, but without it getting boring.

Beyond the great lights, clever stage design and the continuous flow of the pieces, as well as the shorter concert duration (only clocking up around 70 minutes) and Gibson’s presentation of the works, it was, above all, Aurora Ensemble’s masterful ensemble playing that truly elevated the concert to the next level.