sfSoundSeries/sfSoundSalonSeries is a concert series in the san francisco bay area featuring contemporary and experimental music. our programs reach from the latest music of the european avant-garde to the grittiest sounds of the west coast improv-underground, encompassing recent trends in instrumental technique, conceptual art, music theater, and electronic sound.
we also present the sfSoundSalonSeries at the center for new music in san francisco!
jul 2, 2015 – james falzone
jul 15, 2015 - christopher burns & weston olencki
jul 28, 2015 - $Ɛ∨ƐR!ℵƐ ℬa||0∩
aug 30, 2015 - stefano scodanibbio, in memoriam @ o1c
sep 18, 2015 - sfSound @ presidio sessions
sep 22, 2015 - scott miller & pat o’keefe
sep 29, 2015 - rafael toral
oct 6, 2015 – eric mandat
oct 13, 2015 - daniel corral
nov 1, 2015 - nakamura/kahn/akiyama/eubanks
nov 22, 2015 — splinter reeds
feb 12-14, 2016 — san francisco tape music festival 2016
:: view previous 2015 concerts here ::
James Falzone: solo + RengaWest
Multi-faceted clarinetist/composer JAMES FALZONE is an acclaimed member of Chicago's jazz and creative improvised music scene. Falzone will perform Sighs Too Deep For Words for solo clarinet and a set of compositions for Renga, his ensemble that draws together some of the most diverse and adventurous clarinet and saxophone players working in jazz and improvised music today, including the Bay Area's own Ben Goldberg. This special West Coast edition will involve an all-star local cast:
James Falzone, clarinet
James Falzone, a veteran contemporary music lecturer and clinician, is the longtime Director of Music for Grace Chicago Church and an award-winning composer who has been commissioned by chamber ensembles, choirs and symphony orchestras around the globe. He leads his own ensembles KLANG, The Renga Ensemble, and Allos Musica and has released eight highly regarded recordings on Allos Documents, a label he founded in 2000. James has performed in recital halls, festivals and jazz venues throughout North America and Europe, appears regularly on Downbeat magazine's Critics' and Readers' Polls, and was nominated as the 2011 Clarinetist of the Year by the Jazz Journalist Association. His work has been featured in the New York Times, The Chicago Tribune, New Music Box, Point of Departure, and many other publications. Educated at Northern Illinois University and New England Conservatory, James is a respected educator himself and is currently a Senior Lecturer at Columbia College Chicago where he teaches in the interdisciplinary First Year Seminar program and is a research fellow at The Center For Black Music Research. James has also been on the faculty of Deep Springs College and North Central College.
The Renga Ensemble was convened by clarinetist and composer James for a series of concerts and a recording in April, 2013 in Chicago. The ensemble was handpicked by Falzone, drawing together some of the most diverse and adventurous clarinet and saxophone players working in jazz and improvised music today:
James Falzone: Bb and Eb clarinets Ken Vandermark: Bb clarinet, bass clarinet, baritone saxophone Keefe Jackson: tenor saxophone, bass clarinet, contra Bb bass clarinet Jason Stein: bass clarinet Ben Goldberg: Bb clarinet, contra Eb alto clarinet Ned Rothenberg: Bb clarinet, alto saxophone
This special West Coast edition will involve an all-star local cast including Goldberg and sfSound's Matt Ingalls.
The project is rooted in persona: how do diverse musical voices converge and find common ground, especially in a setting where composed and improvised elements coalesce? The intention in assembling such diverse players, most of whom had never played together before, was to allow space for each voice to be heard yet challenged and shaped by another, equally strong voice. The concerts in Chicago took place at The Chicago Cultural Center, The Hideout, and the Elastic Arts Foundation and received preview articles in The Chicago Tribune, Chicago Reader, and Chicago Music.
James named the group Renga after a centuries-old form of collaborative Japanese poetry, where two or three poets blend their words into a single meditative work. James' compositions, written especially for this project, were conceived around a haiku by American poet Anita Virgil. The titles of many of the compositions make up her brazenly clear yet emotionally compelling poem:
Cartilaginous Music: sfSoundGroup + Christopher Burns and Weston Olencki
For sfSound's mid-summer freakout, they brazenly problematize instrumentalism, embodiment, and the piece-hood of a piece. Co-founder-made-good Christopher Burns and post-trombone monster Weston Olencki join sfSoundGroup in a program of works by Burns, Pierluigi Billone, and Evan Johnson, culminating in an irresponsible evocation of John Cage's ghost for a free fantasia on Cartridge Music (1960).
P R O G R A M
Pierluigi Billone's mani.mono moves beyond any form of ritualized theater and into ritual itself. twenty-five minutes for solo performer and spring drum, and instrument whose hollow cavity resembles that of our own body - skin stretched over resonating chamber. the instrument responds to touch, to the body, which may activate or dampen its alienating timbre. mani.mono takes a magnifying glass to every possible gesture, every possible method of interacting with this foreign instrument, turning a single touch into a teeming ecosystem.
Kurt Isaacson's music is bleak. Very bleak. Utterances too unstable or unwieldy to be repeated are often subjugated to an unhealthy amount of rigid repetition - instruments assume manifold characters reminiscent of a Pynchon novel gone horribly wrong. What possibly remains after such a treatment is the transformation of euphonium into noise generator "filtered" through the instrument's valve systems, some of which are left uncharacteristically open; and the trombone is...
...well, let's just not talk about that.
WESTON OLENCKI is a San Francisco-based trombonist specializing in the performance and production of new music. Weston is a member of Fonema Consort, Wild Rumpus, ATHLETICS, and has performed regularly with Ensemble Dal Niente, a.per.iod.ic, Chamber Cartel, and the Chicago Symphony Orchestra. He is a recipient of a Kranichsteiner Stipendenpreis from the 47th Internationales Musikinstitut Darmstadt (IMD). An active commissioner of new repertoire, Weston has premiered/commissioned new works by Peter Ablinger, Katherine Young, Pablo Chin, Monte Weber, Dave Reminick, and Joan Arnau Pamies with noted US premieres from Elliott Carter, Bernhard Lang, Simon Loeffler, and Ming Tsao. He holds a B.M. cum laude from Northwestern University with degrees in trombone performance and musicology.
CHRISTOPHER BURNS is a composer and improviser developing innovative approaches to musical architecture. His work emphasizes trajectory, layering and intercutting a variety of audible processes to create intricate forms. The experience of density is also crucial to his music: his compositions often incorporate materials which pass by too quickly to be grasped in their entirety, and present complex braids of simultaneous lines and textures. Several recent projects incorporate animation, choreography, and motion capture, integrating performance, sound, and visuals into a unified experience.
Christopher's work as a music technology researcher shapes his work in both instrumental chamber music and electroacoustic sound. He writes improvisation software incorporating a variety of unusual user interfaces for musical performance, and exploring the application and control of feedback for complex and unpredictable sonic behavior. In the instrumental domain, he uses algorithmic procedures to create distinctive pitch and rhythmic structures and elaborate them through time. Christopher is also an avid archaeologist of electroacoustic music, creating and performing new digital realizations of music by Cage, Ligeti, Lucier, Stockhausen, and others. His recording of Luigi Nono's La Lontananza Nostalgica Utopica Futura with violinist Miranda Cuckson was named a "Best Classical Recording of 2012" by The New York Times.
A committed educator, Christopher teaches music composition and technology at the University of Wisconsin-Milwaukee. Previously, he served as the Technical Director of the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University, after completing a doctorate in composition there in 2003. He has studied composition with Brian Ferneyhough, Jonathan Harvey, Jonathan Berger, Michael Tenzer, and Jan Radzynski.
Christopher is also active as a concert producer. He co-founded and produced the strictly Ballroom contemporary music series at Stanford University from 2000 to 2004, and has contributed to the sfSoundGroup ensemble in the San Francisco Bay Area since 2003. Since 2006, he has served as the artistic director of the Unruly Music festival in Milwaukee.
French cello virtuoso $Ɛ∨ƐR!ℵƐ ℬa||0∩ returns to the Bay Area with a concert of new and recent works exploring resonance, order, and chaos for solo cello and solo piano by Elizabeth Adams, David Kant, Andrew C. Smith, Ma'ayan Tsadka, and K.C.M. Walker, curated by Indexical.
P R O G R A M
$Ɛ∨ƐR!ℵƐ ℬa||0∩'s (cello) work as a performer focuses on regular performance of key works of the cello repertoire and numerous direct collaborations with composers. Her research as improviser has helped her to extend the sonic and technical resources of her instrument. She has worked with such composers as Helmut Lachenmann, Liza Lim, Mauro Lanza and Rebecca Saunders. Her work crosses the centuries from gut strings to electronics, over a wide range of aesthetics from Feldman to Ferneyhough. She is a member of Elision ensemble (Australia) and Multilatérale (Paris).
Andrew C. Smith (piano) is a composer and keyboardist living in Santa Cruz, California. His music often involves just intonation tunings, repetition, and connections with language. He co-organizes the composer-run record label and concert producer Indexical.
Indexical is a composer-run experimental music record label and concert producer organized by David Kant, Beau Sievers, and Andrew C. Smith, and based in Santa Cruz.