Violinist Marcus Thompson will play in the MIT Sounding series of 2017-18

In the midst of significant anniversaries, violist Marcus Thompson is set to perform at the Kresge Auditorium on February 24, as part of MIT's Sounding Series. This concert, coinciding with the 50th anniversary of Martin Luther King Jr.'s death and the founding of the MIT Black Students' Union, promises to be a poignant and thought-provoking event.

Thompson's career began in 1968, with a debut recital at the Isabella Stewart Gardner Museum in Boston. His journey in classical music, marked by his Juilliard education, saw him as one of only a handful of African-Americans finding success in the field at the time.

The program for this upcoming concert is diverse, featuring works by Vivaldi, Ralph Vaughan Williams, and Morton Feldman, among others. One of the highlights is the Boston premiere of Elena Ruehr's "Shadow Light," a concerto composed specifically for Thompson.

"Shadow Light" is a story about striving for light in the midst of darkness, a theme that resonates deeply with Thompson. The composition begins with a minor triad, somber and deep, before evolving into a journey towards light.

Ruehr, the composer, crafted "Shadow Light" with Thompson in mind, creating a piece that reflects his unique style and emotional depth. The viola d'amore, a baroque string instrument, inspired Thompson to include this composition as a quiet rebuttal to anti-Muslim sentiment.

Another notable piece in the program is Feldman's "Rothko Chapel," an exquisite work known for its eerie, wordless harmony. The MIT Chamber Chorus, under the direction of William Cutter, is tasked with delivering this harmony for "Flos Campi," another Feldman work included in the program.

Thompson hopes the pairing of music without lyrics will spark reflection and healing. He believes music is "not intended to be something that can be used as a weapon or a polemic." Instead, he sees a concert as "about bringing people together to share an experience and to contemplate what's going on."

This concert, therefore, is not just a musical event but a call for reflection, healing, and unity in these significant times. Thompson learned of King's death not long before walking onstage for his debut recital in 1968. Half a century later, he continues to use his music as a means to bring people together and to contemplate the world around them.