The Boston Composers’ Coalition presents: the female vocal quartet, Anthology. 8pm, Killian Hall. Free.
This concert features six world premieres written specifically for Anthology by the members of the Boston Composers’ Coalition. The program includes works by Brett Abigaña, Justin Casinghino, Ramon Castillo, Heather Gilligan, Andrew Smith and PoChun Wang. The Boston Composers’ Coalition, founded and directed by MIT Lecturer Justin Casinghino, is a non-profit organization dedicated to the creation, performance, education and dissemination of and about new American music. The vocal quartet Anthology is comprised of Anney Barrett, Allegra Martin, Sophie Michaux and Vicky Reichert. For information, please visit www.bostoncomposers.org.
9 | Wednesday
MTA Composer Forum presents: Stories in Wind: Justin Casinghino discusses his compositions for wind quintet, including One Hen, which was recently featured on the Boston Symphony Orchestra’s 2013 Tanglewood Family Concert. 5pm, Lewis Music Library, 14E-109. Free. A reception will follow.
Critical Band Plays Steve Martland. Evan Ziporyn’s new 11-piece ensemble performs works for winds and amplified instruments by Steve Martland, Joel Roston, and Ziporyn. 8pm, Kresge Auditorium. Visit: criticalband.org. Tickets: http://mitmta.eventbrite.com/. General admission $5; Free in advance only with MIT email.
This is the debut performance of a new Boston-based ensemble, Critical Band, presenting a program of pieces by British composer Steve Martland, who passed away unexpectedly this past spring. Martland’s music was rarely performed in the US during his lifetime, but his signature sound was well known in the UK and Europe: street-smart and hard-edged, lyrical and infectious, equal parts brass band and rock group. Critical Band draws on a broad range of Boston’s musical talent: including violinist Shaw-Pong Liu (whose own Arise was premiered at the Gardner Museum last spring), guitarist Joel Roston (of Big Bear and Beautiful Weekend), saxophonists Dylan Sherry and Kathy Olson, trumpeter Jonah Kappraff, trombonist Randy Pingrey, and members of MIT’s Festival Jazz Ensemble and Gamelan Galak Tika.
12 | Saturday
MIT Symphony Orchestra, Adam K. Boyles, music director, Brahms: Variations on a Theme by Joseph Haydn, Opus 56; Haydn: Symphony No. 45 in F-sharp minor, “Farewell”; Mussorgsky/Ravel: Pictures at an Exhibition. 8pm, Kresge Auditorium. Tickets: http://mitmta.eventbrite.com/. General admission $5 in advance or at the door; Free in advance to MIT Community with MIT email address.
IT’S ALIVE!!! a series of staged play readings featuring students, professional actors, and faculty directed by Anna Kohler presents: the Pulitzer prize winning play Angels in America Part I (The millennium approaches) Pulitzer Prize-winner for Drama by Tony Kushner. 7:30pm, Killian Hall. Free.
23 | Wednesday
MTA Composer Forum presents: Notes from a Sub-Composer: The Craft of Preparing and Playing Scores for Silent Films. Martin Marks, MIT Senior Lecturer in Music and Theater Arts. 5pm, Lewis Music Library, 14E-109. Free. A reception will follow.
Family Weekend Concert presents: Celebrating Master Composers. MIT Wind Ensemble & MIT Festival Jazz Ensemble, Frederick Harris, Jr., music director. This program includes Gershwin’s Porgy and Bess Suite, Finale from Tchaikovsky, Symphony no. 4, music of Benson, Bassett, Monk, Miles Davis, and others. With special members of Rambax, MIT Senegalese drumming ensemble. 8pm, Kresge Auditorium. Free.
25 | Friday
Film Screening: FAUST, a 1926 Silent Film by F. W. Murnau with Live Musical Accompaniment, created and performed by Ellen Harris, soprano, and Martin Marks, piano. 7pm, Killian Hall. Free.
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.