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Simon Nathan arranger orchestrator copyist MD



Simon is an orchestrator, copyist and MIDI programmer based in London and Cambridge. He is the principal arranger for the London Musical Theatre Orchestra, producing new arrangements of musical theatre shows and songs for them, and occasionally directing a group of handpicked arrangers to create new symphonic orchestrations of enitre shows. He is also the principal arranger of the Orion Symphony Orchestra, having worked with them on sold out shows in the Royal Festival Hall, Cadogan Hall, and other venues.


He has had performances of reconstructions of lost MGM film scores by the John Wilson Orchestra and the Royal Scottish National Orchestra at the BBC Proms, Royal Festival Hall, and many other leading venues around the country. In 2017, he orchestrated Chris Bryant's hugely successful Brexit: The Musical as well as Pippa Cleary's masterful adaptation of Tess of the D'Urbervilles. Working with Cleary further, he has orchestrated for radio and TV spots, as well as standalone performances. His orchestrations of Vikki Stone's Concerto for Comedian and Orchestra were performed to acclaim at Glastonbury, Latitude and  the Edinburgh Festival. Further orchestration credits can be found here.

Fluent in Sibelius and Finale, Simon routinely undertakes copyist work, from single works to full shows and recording sessions. He has worked on musicals  and other shows both in the West End and further afield and is known for delivering the highest quality work accurately, and most importantly, on time.


Running his own home studio, Simon also has the facilities to create MIDI mockups - realistic, synthetic, orchestral tracks. His work has featured both on TV and in CD and EP releases, and have even been used by synthetic instrument manufacturers to demonstrate what their products are capable of.

Simon's strong background in classical music has helped him learn the intricacies and delicacies of writing for a large ensemble, and by playing almost every common instrument, he also writes considerately and idiomatically for smaller groups, taking the standard of players into account. His excellent knowledge of music theory means his parts are legible and playable. His speedy use of all common computer music engraving programs ensures on-time delivery, and his keen eye for detail ensures accuracy and legibility.

(Last updated: Jan. 2018)

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