News / Events
- Vocal Jazz Ensemble in Concert
- Music for the weekend!
- Laura Harrington play reading
- Concerts Before Thanksgiving!
- MTA Composer Forum: Peter Child
- This Weekend’s Concerts!
- Ziporyn delights audiences in California
- Mark Harvey and Aardvark
- Trio Concert in Killian Hall
- Faust Film Screening Tonight!
- Concert Tonight!
- Who was Steve Martland ?
DEC 6 | Fri | Triptych Winds. MIT Wind Ensemble, Frederick Harris, Jr., Music Director. Peter Child, guest composer. Featuring MIT Prof. Peter Child’s Triptych for wind ensemble; Hindemith, Symphony in Bb; Vaughn Williams Flourish for Wind Band; Grainger, Irish Tune from County Derry & Molly on the Shore; John Harbison, Cortège for percussion ensemble; and a performance by the MITWE Saxophone Ensemble. General admission $5; Free, in advance only, to MIT community with MIT email address. Tickets: http://mitmta.eventbrite.com/ and at the door.
DEC 7 | Sat | MIT Concert Choir, William Cutter, music director in collaboration with MIT Symphony Orchestra, Adam K. Boyles, music director. Verdi, Stabat Mater and Te Deum; Beethoven: Mass in C major, Opus 86. 8pm, Kresge Auditlorium. General admission $5; Free in advance only to MIT Community with MIT email address. Tickets: http://mitmta.eventbrite.com/.
DEC 6 | Fri | Rambax, MIT Senegalese Drum Ensemble. Winter Concert. Lamine Touré, director. 8pm, Lobdell, MIT Student Center. Free.
DEC 8 | Sun | “Definitely Not Retiring:” MIT Institute Professor John Harbison at 75. MIT celebrates John Harbison’s 75th birthday with his music, surprise guests, jazz, and the music of Bach. Program includes Harbison’s Cortège for percussion ensemble; premieres of some of his jazz songs with lyrics by MIT students and a piece for violin and jazz trio; Bach Cantata BWV 118, performed by MIT Chamber Chorus and members of the MIT Wind Ensemble conducted by Harbison; performances by MIT Vocal Jazz Ensemble, and MIT’s faculty jazz quintet, Strength in Numbers: John Harbison, piano; Keala Kaumeheiwa, bass; Fred Harris, drums; Dylan Sherry, tenor saxophone; Mark Harvey, trumpet; and special guest Rose Mary Harbison, violin. 7pm, Kresge Auditorium. Free. Tickets: http://mitmta.eventbrite.com/.
For Emerson and Chamber Music Society concert dates and times,
please visit the December Calendar page here.
Nov. 21 | Thu | MIT Faculty Series presents: Cellist Mariel Roberts in recital featuring the world premiere of Evan Ziporyn’s Old Growth and the Boston premiere of Tristan Perich‘s Formations, also selections from her critically acclaimed Non-extraneous Sounds CD and works by Xenakis, Simon Steen-Anderson, and Alex Mincek. 8pm, Killian Hall. Free. Visit: marielroberts.com.
Nov. 22 | Fri | MIT Guest Artist Series presents: the Jupiter Quartet in the first concert as part of the complete Beethoven String Quartet Cycle performances at MIT (2013-2015). Beethoven, Op. 18, No. 6; Op. 59, No. 3; Op. 127. 8pm, Kresge Auditorium. General admission $5; Free, in advance only, to MIT community with MIT email address. Tickets: http://mitmta.eventbrite.com/ and at the door. Funded in part by the MIT Visiting Artists program and Music and Theater Arts at MIT. Visit: jupiterquartet.com.
Nov. 23 | Sat |The Musical Worlds of Miguel Zenón. MIT Festival Jazz Ensemble, Frederick Harris, director, with special guest saxophonist-composer Miguel Zenón, feature rarely heard big band arrangements of Zenón’s music, small group compositions, music of Ellington, Mingus, Kenny Werner, Guillermo Klein, Magali Souriau, and the world premiere of Indigo by Peter Godart, ’15. 8pm, Kresge Auditorium. General admission $5; Free, in advance only to MIT community with MIT email address. Tickets: http://mitmta.eventbrite.com/and at the door. Funded in part by the Council for the Arts at MIT. Visit: miguelzenon.com.
Peter Child, Professor in Music , in a talk about his recent music with live performances by Vineet Gopal (’13), flute; Miriam Nussbaum (G), flute; Elaine Kwon (Lecturer, Music and Theater Arts), piano, and Peter Child, piano.
A reception will follow.
November 15-17, 2013
15 | Fri | MIT Symphony Orchestra, Adam K. Boyles, music director, in collaboration with the MIT Concert Choir, William Cutter, music director. Verdi: Stabat Mater; Verdi: Te Deum; Nielsen: Symphony No. 4, Opus 29 “The Inextinguishable.” 8pm, Kresge Auditorium. General admission $5; Free in advance only via Eventbrite with an MIT email address. Tickets: http://mitmta.eventbrite.com and at the door.
15 | Fri | Ellipsis Trio: Amanda Wang, violin, (MIT Class of 2003); Patrick Owen, cello; Tae Kim, piano. Works of Muhly, Piazzolla and Schoenfield. 7:30pm, Killian Hall. Free. http://www.ellipsistrio.com
16 | Sat | Purcell, Dido and Aeneas. MIT Chamber Chorus, William Cutter, music director. Karen Harvey, harpsichord; Empnefsi Quartet; Tiffany Wong, Dido; David Rolnick, Aeneas; Bozkurt Karasu, video; Kent Barrett, lighting; Lynn Torgove, stage director. Two performances: 2pm and 4pm, Killian Hall. Free. General admission $5; Free, in advance only, to MIT community with MIT email address. Tickets: http://mitmta.eventbrite.com/ and at the door.
17 | Sun | MITHAS presents Sanhita Nandi, Khyal. 4pm, Wong Auditorium. Tickets: $30 (adults); $20 (seniors); $10 (students). Regular concerts are free for members and MIT students. Please check http://www.mithas.org or contact email@example.com for tickets and final listing.
Ziporyn Rises at Bread & Salt
The clarinetist delighted a full house gathered for the solo conce
Bonnie Wright Evan Ziporyn performing in the transformed factory space.
New music champion Bonnie Wright concluded her Fresh Sound series on Nov. 1 with a bang, drawing in a large audience to experience the solo clarinet and electronics of Evan Ziporyn.
Ziporyn began with slow, pure tones, resonant stabs piercing the silence before branching out with more virtuosic language, showcasing a remarkable facility. He picked up the bass clarinet to open a suite of nine movements composed by Christine Southworth, the first of which featured dizzying, pre-recorded harmonies of what sounded like a Cambodian choir. Ziporyn’s dark, elastic phrasing and rhythmic pad-popping cycled over many layers of marimba sounds, thumb-pianos, assorted percussion and the swirl of spoken voices. The suite was an unqualified creative success.
Turning 180 degrees to interpret some po-classics from the 1970s, beginning with “Ride, Captain Ride,” from the Blues Image, Ziporyn continued with a ruminative reading of Joni Mitchell’s “Woodstock” and, as an encore, the Shuggie Otis classic “Strawberry Letter #23.”
Throughout the evening, Ziproyn impressed with his rich timbre and subtle virtuosity, maintaining listener interest even in the longer pieces, which could have bogged down in the hands of a lesser musician.
Music and Theater Arts presents Mark Harvey
and the Aardvark Jazz Orchestra performing
original works as part of 21M342,
Composing for Jazz Orchestra.
Saturday, November 2 at 8pm
in Killian Hall, 14W-111.
Admission is free.
The concert is on Friday, November 1 at 8pm in Killian Hall, 14W-111. Admission is free. Gabriela Diaz, violin; Jing Li, cello; and Heng-jin Park, piano, perform: Beethoven, Sonata for violin, Op. 12, No. 2; Mozart, Duo for violin and viola (arranged for violin and cello); Beethoven, Sonata for cello, Op. 102, No. 1; Dvorak, Piano Trio No. 3, Op. 65.
7pm, Friday, October 25, 2013, Killian Hall. Free admission.
Faust is a visually lavish and mesmerizing film. Director Murnau was at the height of his powers when he made it, and his cast included several fine German actors—most notably Emil Jannings in the role of Mephistopheles. Murnau’s version departs from Goethe’s in many respects, though the director does follow Goethe fairly closely in telling much of the “Gretchen” part of the story. To accompany the the film, film music expert Martin Marks has compiled a wide array of 19th-century pieces, including vocal works by Schubert, Schumann, Berlioz, Rossini, Brahms, and Humperdinck. Intermixed with these are incidental “mood” pieces that were commonly used in the twenties to accompany silent films. Marks has worked closely with Ellen Harris to make the vocal selections an integral part of the score, in a way that deepens the film’s tragic power.