Thea Musgrave takes the opulent Energy Hall with its pioneering steam engines as starting point for a lithe study in textural interplay, then Christopher Mayo deploys cello and double bass with four samplers for a portrait of RJ Mitchell (designer of the Spitfire) in which the visceral sound of aeroplane engines is offset by a plangent string dialogue.

The presence of 2LO (the first BBC transmitter) and associated archive recordings are behind Claudia Molitor’s oblique synthesis of sound sources, whereas David Sawer takes that of the York Mail Coach for an eventful piece with flugelhorn evocatively to the fore. A pianist’s prosthetic limb is the unlikely source for Gerald Barry’s teasing study in intervallic change, while Barry Guy closes the sequence with a homage to Charles Babbage’s Difference Engine via a graphic score in which improvisation gives rise to music where dexterity and velocity are as one.

Throughout this diverse while cohesive miscellany, the Aurora Orchestra respond with keen virtuosity to Nicholas Collon’s alert direction. Vividly recorded, with booklet-notes providing ample context, it is more than just a memento of the live presentation at the Science Museum this October, which promises to be a watershed in the evolution of site-specific performance.