Aurora was written for my dear friend Tony Fernandez and the José White Chamber Orchestra in Cuba. This piece captures the celestial beauty of an aurora, translating its shimmering, ethereal glow into sound.

Scored for string orchestra, harp, piano, vibraphone, suspended cymbal, and bass drum, the work employs an unusual and evocative technique: throughout the piece, the string players hum while playing, blending their voices with their instruments to create an otherworldly resonance.

The piece begins with a soft, atmospheric humming and a gentle swell in the suspended cymbal, setting the stage for the main motif, introduced delicately in the harp harmonics and vibraphone. Gradually, the strings join in, playing both natural and artificial harmonics, creating a glassy, icy texture reminiscent of the Arctic sky.

The borealis melody, inspired by the contour of the Old Hundredth chorale, emerges in the violas and second violins, gently expanding as cascading sixteenth-note patterns ripple through the strings, harp, piano, and vibraphone. The music intensifies, culminating in a breathtaking climax, where the aurora reaches its most radiant and dazzling form.

Then, just as suddenly as it appeared, the music fades, returning to the humming, harp, and vibraphone before a final, tender reprise of the main themes in the string harmonics, like a fond reminiscence of the aurora’s glow. The piece concludes with a warm G major chord, as the harp slowly ascends in a luminous arpeggio—like the last whisper of light in the night sky.