MOSSWOOD SOUND SERIES
a weekly experimental sound series presented by sfSound every Sunday


mosswood chapel :: 3630 telegraph oakland ca :: 2 blocks from macarthur bart :: enter 2nd door on 37th st
masks required :: performers will be unmasked
$10-$25 sliding scale (cash & venmo accepted at door)
click here to purchase advance tickets ($20) online


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sunday december 11, 2022 (2pm) quinteto latino / bruno ruviaro
sunday december 18, 2022 (7pm) sharkiface / eric glick rieman
sunday january 8, 2022 sfsound: toshi ichiyanagi & wendy reid / heglin+louchard+perkis
sunday january 13-15, 2022 san francisco tape music festival 2023 @ victoria theatre sf
sunday january 22, 2022 chris brown piano recital / mosswood improv group: r murray schafer
sunday january 29, 2022 frances-marie uitti & luciano chessa

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 SUNDAY DECEMBER 11 2022  2pm  $10-$25

QUINTETO LATINO
BRUNO RUVIARO




QUINTETO LATINO presents three works: Gabriela Ortiz’ Puzzle-Tocas, Orlando Jacinto Garcia’s multiple winds in the distance, and a QL commission, C U Z A – four nocturnes for wind quintet, by Felipe Nieto-Sáchica.

Happy to share this concert with long-time colleagues from Quinteto Latino, BRUNO RUVIARO will play a set of live coding electronic improvisations based on reworked samples of Brazilian music.


Since 2004 QUINTETO LATINO has grown from a classical wind ensemble exclusively performing music from Latin America to a regionally and nationally recognized music education and advocacy organization with a mission to disrupt racial and economic disparities within the classical music field by championing past, present, and future contributions by Latino composers and musicians. The quintet has commissioned numerous works, expanding the body of woodwind quintet repertoire. Quinteto Latino is flutist Diane Grubbe, oboist Kyle Bruckmann, clarinetist Leslie Tagorda, bassoonist Shawn Jones and Armando Castellano, founder and French hornist. (Season guest artist Jamael Smith replaces bassoonist Shawn Jones for this performance.)

BRUNO RUVIARO is an Oakland-based Brazilian electronic musician and composer. He teaches music at Santa Clara University, where he founded SCLOrk (the Santa Clara Laptop Orchestra). Much of his music utilizes other musical sources as raw material -- from Brazilian popular music to Classical sources, directly or indirectly through sampling, quotations, allusions, or collage.






 SUNDAY DECEMBER 18 2022  7pm  $10-$25

SHARKIFACE/ANGELA EDWARDS
ERIC GLICK RIEMAN




ANGELA EDWARDS presents Invoke: Parte 2, an aleatory score in the form of a card game. The deck consists of 30 text and 10 visual cards. In this case, the conductor chooses cards for the players and determines the length of time each card is played. The specifics of the card and the order is left to fate. Players include: ALEXANDRA BUSCHMAN-ROMAN, voice; MATT INGALLS, clarinets; KANOKO NISHI, koto; BRAN(..)POS, electronics; and MITCH STAHALMANN, flute. Edwards also performs her electro-acoustic solo project, SHARKIFACE.

ERIC GLICK RIEMAN offers a piece for ensemble that includes improvisation with friends from the SOUTH BERKELEY CHAMBER ENSEMBLE (Masha Albrecht, violin; Tracy Randolph, English horn; Laurence Lewis, viola). Reiman also performs his explorative solo work for prepared and augmented Rhodes electric piano -- an instrument designed to show off the mechanical sounds of the Rhodes piano that are usually unheard.

Digging out after Covid, I have this feeling like I did when it had just snowed when I lived in the Midwest. The ground is new, the landscape is changed, and I can choose what to do. There is a new space here.

In this case, I have put together an ensemble to play my piece, "Broken Ice Slides Down The Frozen Sea” (2016), which seemed relevant. Inspired by a sound (my kids throwing slabs of ice as large as they can pick up down an icy hill of frozen water in Maine’s Frenchman’s Bay), but not referential in a physical sense, this piece is about memory, loss, and a hint of forboding. The sense that the ice is about to break, and this is a harbinger of the next situation.
-- EGR


SHARKIFACE / ANGELA EDWARDS is a sampling siren and static-witch from Texas, who has been weaving incantations through experimental sound since 1999. Relocated from Austin, she's played in many Bay Area noise, experimental and electro-acoustic musical projects over the last 20+ years and founded LCM, Life Changing Ministry, a former noise venue housed in an old church in West Oakland. Sharkiface has toured the US, Europe and Japan and played festivals in many countries.

ERIC GLICK RIEMAN Performing on a variety of instruments, including the prepared/extended Rhodes electric piano, as well as piano, melodica, celeste, organ, Waterphone, and toy piano, SF Bay Area composer/improviser Eric Glick Rieman performs improvised and previously structured music in several settings, both solo and in groups, He has performed with the Mills College Contemporary Performance Ensemble in Oakland, CA, USA since 1999, and received an MFA from Mills in Electronic Music and the Recording Media in 2001. Rieman writes for piano, Rhodes electric piano, and ensembles.

Rieman has recorded with Fred Frith, Lesli Dalaba, Carla Kihlstedt, Stuart Dempster, Zoe Keating, and Tom Heasley. He has performed with Ikue Mori, Fred Anderson, Daniel Godston, David Boykin, Marcos Fernandes, Amy Denio, Matt Ingalls, David Slusser, Kristin Miltner, and John Ingle, and he has performed the work of Roscoe Mitchell, Eliane Radigue, Meredith Monk, Fred Frith, Cecil Taylor, Alvin Curran, Pauline Oliveros, Terry Riley, James Tenney, George Lewis, and Alvin Lucier under the composers' supervision.








BOOKING


Our focus is on the bay area experimental and new music community, hopefully encouraging crossover among sub-scenes (composition and improvisation; established and emerging; institutional and underground; etc.) We strongly suggest local musicians attend concerts before requesting to perform on the series. Visting artists aritsts are also welcome, ideally splitting a concert with local musicians.

There is a "hall-like" reverberation in the space, so until we have a better feel for the limits of the space, we are only programming mostly acoustic performances, but we will also consider lightly amplified electronics.

50% of ticket sales is given to the performers.

If you are interested in performing on the series, please send an email to series@sfsound.org.





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