FRED LONBERG-HOLM + William Winant
KATHRYN SCHULMEISTER + NICK SANDERS

FRED LONBERG-HOLM is trying to make sense of this world while making sounds on the cello and just about anything else he can get his hands on. He performs a duo of improvised music with Grammy-nominated percussionist William Winant, internationally regarded as a leading performer of avant-garde music.

Bassist KATHRYN SCHULMEISTER—praised for her “expressive and captivating performance” and a faculty member at the University of the Pacific—and jazz pianist NICK SANDERS—a Sunnyside Records recording artist celebrated for his inventive, acrobatic style—draw on their eclectic musical backgrounds to perform original compositions and improvisations, including previews from Schulmeister’s upcoming debut solo album Imagining Hands.
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VEN VOISEY
THREE TRAPPED TIGERS

VEN VOISEY is a sculptor, composer, and designer who currently splits his time between Oakland, CA and Wonder Valley (Twentynine Palms), CA. His work is informed by an attention to surroundings; he creates rituals, tools and circumstances as a means of exploring the relationship between internal and external space; between the spiritual and physical.

THREE TRAPPED TIGERS Recorder Duo (David Barnett and Tom Bickley) present Pilgrim songs from the 14th c. Llibre Vermell de Montserrat, selections from “Music for Every Occasion” by Alvin Curran, a ballade by 14th c. Italian Francesco Landini, a 13th c. aubade, Bickley’s Hibernian Cities/Hebridean Islands for alto recorder and electronics, and Medieval Nights for solo tenor recorder by Pete Rose. As the styles and periods juxtapose, with improvisation as a through line, the duo invites you to explore pre modern music for post modern ears and vice versa.
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SFSOUNDGROUP presents a concert honoring recently departed composers. The first half features works by the Russian composer SOFIA GUBAIDULINA (1931 – 2025), known for her spiritual and dramatic works. The second half includes a circular breathing wind duo by the pioneering minimalist composer TOM JOHNSON (1939–2024), and a work for improvisers and tape by the celebrated composer and conductor PETER EÖTVÖS (1944–2024).

The evening also includes "Instruments II" by MORTON FELDMAN, a prime example of his evolving -- and often overlooked -- output from the 1970's.

Rounding out the program with a living composer, sfSound's own MONICA SCOTT presents a recent composition for cello and piano.


PROGRAM
Morton Feldman - "Instruments II" 1975
chamber ensemble

Tom Johnson - "Kientzy Loops" 2000
circular breathing wind duo

Peter Eötvös - "Music For New York" 1971
tape playback with improvisers

Monica Scott - "more than nine minutes" 2016
cello and piano

Sofia Gubaidulina - "Dots, Lines and Zigzag" 1976
bass clarinet and piano

Sofia Gubaidulina - "Sounds of the Forest" 1978
flute and piano

Sofia Gubaidulina - "Piano Sonata: III. Allegretto" 1965
piano

Sofia Gubaidulina - "In croce" 1979
cello and organ


MUSICIANS
Diane Grubbe, flute
Kyle Bruckmann, oboe
Matt Ingalls, clarinet
John Ingle, saxophone/conductor
Brendan Lai-Tong, trombone
Hadley McCarroll, piano/organ
Kjell Nordeson, percussion
Monica Scott, cello
Lisa Mezzacappa, bass
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EUDIMORPHODON (Dan Plonsey + Matthew Welch)
PHIL STONE (Davis)
MELTYKISS (NYC)


MELTYKISS is a Brooklyn-based duo project of drummer Max Goldstein and vocalist Ariel Vera. Meltykiss focuses on guided improvisation based off a conceptual form created collaboratively. The sound of Meltykiss is influenced by the likes of Sun Ra, Chris Corsano, Marcela Lucatelli, Zach Hill, and more blending stylistic ideas based on free jazz and heavy idioms to create charged, scribbly, loop-based noise.


PHIL STONE presents "Another Day at the Entropy Mine" for solo improviser in a one-node network. Using software processes and instruments (mostly) of his own design*, Stone initiates and nudges cascades of probabilistic responses to the notes he plays on electric bass. In his work with the network band “The Hub”, Stone often employed self-connected network processes during development and testing, to simulate the group dynamic. He found interesting results from this ‘one-node network’ and began to think of it as a musical instrument in its own right, worthy of its own body of technique and practice.
(*) In addition to his own software voicing, Stone employs the Free Open Source “Surge XT” software synthesizer, to which he has contributed an OSC interface.


EUDIMORPHODON, is an early pterosaur AND a new duo with Dan Plonsey (saxophones) and Matthew Welch (bagpipes). Featuring compositions and improvisations by both for this unique combination of reeds, Plonsey and Welch dig deep into their love for odd creaturesand characters to summon forth wild sonic beasts of imagination.

"The EUDIMORPHODON “studies” are pieces that bring compositional form to a system of dimorphic harmony, a term I use that bridges bitonality and hexachordal harmony, designed to mold pitch structure that facilitates the old, modal bagpipes (principal line) into a new, chromatic instrumental world. Their titles pull from early pterosaurs (and their skeletal musical ideas). Think of them as extinct fossils to reanimate. Performing with Dan, one of my creative music heroes, has been a dream come true! Sharing two mentors, Martin Bresnick and Anthony Braxton, no wonder our music came together so well!" - Matthew Welch

"The pterosaurs were not, in fact, ancestors of modern birds -- dinosaurs were: in particular, the T. Rex and velociraptor. But that is neither here nor there. The role of birds and birdsong in the development of modern music cannot be overstated. Obviously the song: the irregular, jagged rhythms; the microtonal variations in pitch; the composite melodies of flocks e.g., of blackbirds at sunset. The music that Matt and I make is -- out of the four elements -- of the air. In "Naturally, the Egg" we play a modal melody twice, first in canon, and later, after improvisation, in a loose heterophonic unison, like a flock of two. The song of the soaring, swooping Eudimorphodon could not have been more eery and thrilling than that of bagpipes and saxophone together." - Dan Plonsey

"as thrillingly primordial as the extinct pterosaur that gives the project its name" — The Wire

"Eudimorphodon is pretty magical…It’s spiritual, scientific, metaphorical, old, and new, and it cleans out your pipes. Five stars" — The Free Jazz Collective
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