Category Archives: Music

BottleRock Music Festival 2023

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Napa Valley’s Three-Day Event Sets the Stage Ablaze with Great Music

To paraphrase Smashing Pumpkins’ frontman Billy Corrigan, BottleRock is most definitely a top-shelf music festival. Yes, the crowds at this annual Memorial Day weekend extravaganza are massive — more than 40,000 people per day invaded the Napa Valley Expo May 26-28 (that’s close to half the population of Santa Barbara to give you some scale) — but the talent on stage is equally massive.

Here’s a recap.

Lizzo | Photo: Nicolita Bradley for BottleRock Napa Valley

Day 1

The first day’s headliners included the aforementioned Corrigan and the Smashing Pumpkins, who gave a full throttle, pedal-to-the-metal, balls-to-the-wall, pulse-quickening performance that most 50-somethings can only dream of pulling off, featuring a playlist of mostly old favorites like “1979,” “Bullet with Butterfly Wings,” and “Silverfuck,” as well as newer songs like “Empires,” from the 2022 album ATUM-Act I & II. One of many highlights: an amusing cover of the Talking Heads’ “Once in a Lifetime” that sounded nothing like David Byrne.  

Also on the bill that same night (and unfortunately at the same time) was Post Malone, who my friend Misty (and many others) ranked as one of the top shows of the weekend. Sadly I missed out on Posty, but the Pumpkins were worth it in my book.

Smashing Pumpkins | Quinn Tucker for BottleRock Napa Valley

Another highlight from day one was Bastille, an indie British band whose strong lead vocalist Dan Smith added the beautiful voice of backing vocalist Bim Amoako to the mix for extra oomph. They made an excellent pair, and she even took on lead vocal duties on a cheeky cover of TLC’s “No Scrubs” — quite a departure from Bastille’s sad/happy songs like “Good Grief,” Pompeii,” and “Things We Lost in the Fire.”

BottleRock 2016 | Credit: Wikipedia Commons

I also really enjoyed a set by Jean Dawson, who brought a super random juxtaposition of sweetness and scary to the stage. He looked like a full gangsta-rapper-style dude with a grill, bandana, etc., and then played in front of videos of Teletubbies. He even pulled a little girl (maybe 12 years old) up on stage with him to sing along and play the maracas for a while. This is the kind of thing you (or at I) only get at festivals, and it’s so much fun to see what surprises are in store from stage to stage.

There were 22 bands in all that day, including S.B. Bowl favorite Billy Strings, Thievery Corporation, Peter Cat Recording Co., The Airborne Toxic Event, Phantogram, Mike Campbell & The Dirty Knobs, War, and The Stone Foxes, among others.

Day 2

As I wrote earlier, they had me at Lizzo. She’s an incredible performer and her show was the absolute highlight of BottleRock for me. She owned that crowd from the moment she strutted on stage in her black leather catsuit with the curve-emphasizing green lace-up accents — joined by a fabulous five-piece, all-female band, three backup vocalists, and nine backup dancers she calls the Big Grrrls — she performed her long list of hits, including “About Damn Time,” “Juice,” and “Truth Hurts,” along with a terrific cover of Chaka Khan’s “I’m Every Woman.” I heard she played Tina Turner’s “Proud Mary” a couple days before in Phoenix, so I was hoping she would do a repeat of the song in honor of the late performer, but sadly she didn’t, which was probably my only disappointment in a truly stellar evening.

Lizzo | Michael Drummond for BottleRock Napa Valley

Lizzo is such a natural born superstar — she oozes so much charisma and talent, but is also so authentically herself — not to mention her unapologetic self love and sex positivity, that her joyful performance was something that truly transcended her show into a completely different realm than a typical concert. I got a little teary watching a trans teenager and their two moms dancing it out to Lizzo’s show together. She’s just that kind of an amazing performer, and it was just that kind of a night.

That day wasn’t too shabby either. While we missed Duran Duran playing on a competing stage (there were 27 bands playing that day), I was able to catch Leon Bridges, Lupe Fiasco, and Carly Rae Jepson on Saturday. I also saw Dogstar, Keanu Reeves and his band of buddies who were adorable and sounded like, well, Keanu Reeves and his band of buddies.

Paris Jackson | Mila Birtcher for BottleRock Napa Valley

Among my other highlights of Saturday was an opportunity to hang out at the JaMPad, a special club-like venue from JaM Cellars, the winery who is the main sponsor of the event. I sat about six feet away from singer Paris Jackson (daughter of Michael Jackson), who did a short, angsty, coffeehouse-girl-and-her-guitar set, and then was completely blown away by Mac Saturn, a Detroit-based band with some 70s Rolling Stones meets Greta Van Fleet vibes. They are currently opening on tour for the Struts (who had a fun mainstage set on Sunday) but I wouldn’t be surprised if we start hearing about Mac Saturn headlining shows on their own soon. I was tempted to text Moss Jacobs myself, but I figured they’re probably already on his radar.

Day 3

Keanu Reeves in Dogstar | Photo: Priscilla Rodriguez for BottleRock Napa Valley

Another embarrassment of riches. In terms of the headliners, I recently saw Los Lobos at the Lobero, so although I love the wolves, I decided to check out the Red Hot Chili Peppers, and damned if they aren’t still smoking! I’m always a little worried they won’t live up to their past glory when I see my old favorite bands from my younger days, but the Chili Peppers are still one of the most exciting live bands that I’ve ever seen, running and bouncing all over the stage like guys half their age.

Anthony Kiedis looked a little like Spock with short black hair and a day-glow green tunic top, but his voice, enthusiasm and pure star quality were just as sexy and appealing as ever. And Flea, on bass, is still an acrobatic wildman up there, backed by Chad Smith on drums and John Frusciante as fabulous as ever on the guitar. They did an awesome set that included “Around the World,” “Snow (Hey Oh),” “Black Summer,” “Californication,” “Give it Away,” and my personal favorite, “Under the Bridge.”

Welcome to BottleRock | Photo: Zak Klobucher

Because of the time conflict with the Chili Peppers, I was only able to catch a few Lil’ Nas X songs, but boy does he make a sassy, spicy, show-stopping first impression. Between the sexy, scantily clad costumes and dancers, and the fun meshing of hip-hop, pop, and country music, he’s definitely a performer I want to see again.

Other day three highlights for me were Sheryl Crow, whose well-earned Wonder Woman t-shirt got a workout as the tiny dynamo with the big pipes sang and strummed her way through almost all of her classics, including “Strong Enough,” “All I Wanna Do,” “My Favorite Mistake,” and “Soak Up the Sun.”

With 74 bands in total to choose from over the three-day weekend, I could have easily created a completely different and still enjoyable playlist, as I’m sure many others did. There were so many aura delights to be found that despite listening to music from noon until after 10 p.m. each day, I still barely scratched the surface.

The Spa at BottleRock | Photo: Zak Klobucher

The Rest of the Fest

That being said, I would be remiss in not reporting at least a little about the bounty of food and drink at BottleRock. We were in Napa Valley after all, and the many fabulous wineries pouring included title sponsor JaM Cellars, as well as Caymus Vineyards, The Duckhorn Portfolio, Miner Family Winery, Emmolo Wines, Schramsberg Vineyards, Silverado Vineyards, Mumm Napa, Robledo Family Winery, ACUMEN, Anarchist Wine Co., Oberon Wines and Art House Wines. There were also more than 40 different beers on tap, and loads of artisanal cocktails made with top-shelf spirits including Ketel One Vodka, Don Julio Tequila, Hendrick’s Gin, Aperol, Monkey Shoulder Scotch Whisky, Bulleit Bourbon, Captain Morgan, and Baileys Irish Cream — all of whom had cleverly themed and sometimes quite elaborate booths to visit. On the non-alcoholic side, Liquid Death (a hip canned water brand) had its own club, complete with a D.J. and dance floor, Tarot Card readings, tattoos, and other fun accouterments.

Soaking up the sun with Sheryl Crow at BottleRock Napa | Photo: Zak Klobucher

The food itself was also really good, with big name restaurants like Morimoto Asia, La Toque, Goose & Gander, Nash & Proper, and about 40 more serving up incredible fare.

Another highlight for me was the Williams Sonoma Culinary stage, which brought out celebrity chefs and celebrities together to cook on the spot. Cooking bigwigs like José Andrés, Giada De Laurentiis, Aarón Sánchez, and the Voltaggio Brothers  were joined by musicians Lil Nas X, John Taylor & Roger Taylor of Duran Duran, Wu-Tang Clan, Sammy Hagar, Bastille, Tré Cool of Green Day, Dogstar featuring Bret Domrose, Robert Mailhouse & Keanu Reeves, and Dancer Derek Hough, among others. If the music itself wasn’t so tasty, I definitely would have spent a lot more time at the culinary stage.

The Wrap

BottleRock music festival was a sensory feast of sights and sounds, fun and festivities. It’s truly an adrenaline-fueled rush of entertainment of the highest order. The crowds were friendly and mostly very well behaved — there was grass all over the place rather than the dusty fields of many festivals — and the food and the wine were top notch. It really is a first class festival experience. That being said, the whole event was still tempered by the unavoidable inconveniences of being surrounded by so much humanity.

Keanu Reeves in Dogstar | Photo: Nicolita Bradley for BottleRock Napa Valley

Am I too old for this stuff was a question I asked both before, during, and after the festival. My conclusion: not quite. Being able to watch so many incredible artists in one place in just a few days is worth all of the inconveniences — but I definitely had to hang up my tiara in order to really enjoy it all to the fullest!

Tickets are now on pre-sale for next year’s BottleRock, which takes place May 24-26, 2024. Click here to access the information.

This story originally appeared in the Santa Barbara Independent on June 3, 2023.

The Short List: The Beat Goes On (UC Santa Barbara Magazine)

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DJ Darla Bea, photo by Paul Wellman.

“Like any of your senses — the act of listening to a song can conjure up feelings and, in this case, a love of your college days,” says Darla Bea ‘03 . As Stevie Wonder once said, “Music, at its essence, is what gives us memories. And the longer a song has existed in our lives, the more memories we have of it.” 

Sporting slews of rave reviews from national wedding websites and voted Santa Barbara’s favorite DJ for six years in a row, Bea has made a career out of homing in on the visceral, emotional connection that tunes play in our lives. “Rock it Properly,” her weekly radio show that’s been running on KCSB since 2007, is a meticulously researched round-up of fun facts and musical magic. 

When last year’s All Gaucho Reunion had to go virtual, Bea helped to make it memorable by creating seven different GauchoBeats playlists, curated by decade, from 1939 to the present. From Bill Haley & His Comets’ “(We’re Gonna) Rock Around the Clock” and The Beach Boys’ “Good Vibrations,” to Chumbawamba’s “Tubthumping” and Walk the Moon’s “Shut Up and Dance,” these Spotify playlists of feel-good tunes (alumni.ucsb.edu/events/all-gaucho-reunion#gauchobeats) brought some much-needed positivity during some rather grim days. 

Of her time at UC Santa Barbara, Bea says, “The magic and music were always a thing that drew me out to hear bands play in Isla Vista and at UCSB, and of course I knew I was going to get an excellent education. I just wanted to be part of that.” 

A Santa Barbara native who lived at home during college, she says, “I did not have a car, had a bus pass. I spent a lot of time on campus in the library and the bookstore. I loved looking at all the media out there; it was a really good bookstore. And every once in a while I’d have to call my dad to get me because I missed the last bus.” 

Known for her colorful wigs, kicky costumes and eclectic mixes, Bea still comes to campus every Sunday to host her radio show, and says one of her goals is to, “expand your narrow way of thinking about music. The world is a lot smaller when you can grasp a culture, or an era, through their music.” 

UC Santa Barbara Magazine, Winter 2021

UC Santa Barbara Magazine, Winter 2021

Originally published in the Fall/Winter 2021 issue of UC Santa Barbara Magazine. Cover illustration by Yumiko Glover. To see the story as it originally appeared click  here.

The (Drum Circle) Beat Goes On at Vista Del Monte

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People of all ages benefit from music therapy, with especially positive changes for people with autism; visual, motor, emotional, hearing, or cognitive disabilities; or high stress levels. With these benefits in mind, the residents and staff at Summer House —which is the memory-care unit at Vista del Monte retirement care community (vistadelmonte.org)
— regularly participate in drum circles.

“The sound waves and the sound of the drums and the feel of the drums are very
powerful for those who have cognitive issues,” said Helene Hellstern, the life
enrichment director for Vista del Monte, where residents gather in a common area called The Alcove every Tuesday and Thursday. “When we tell people we are doing a drum circle, they are very willing to come to that activity, and we typically have at least a dozen
people if not more.”

First are exercises to warm up their hands and get energized. Then Hellstern uses a 70-inch computer screen to broadcast images of nature or from a particular country or culture that’s especially stimulating. “Then we start the drumming,” she said, explaining that groups are typically led by Karen Rojas. “We’ll just do different rhythms, and we’ll have the residents repeat those. And we always incorporate having the residents do their own little rhythm, and so it’s just one person doing their rhythm, and we all repeat it.”

The music, the exposure to community, and the physical activity are all beneficial. “A lot of our residents have mobility issues or are non-ambulatory, so we tend to just use hand movements — although if people want to tap their feet, that’s definitely encouraged,” said Hellstern. “The movement of the arms or the drumming itself is a really good movement. It energizes the whole body and the sound waves, because the drum is on their body—they really feel it as well as hear it.”

And there’s science as to how this helps people with memory issues. “They have
determined that music in particular sets off most areas of the brain,” she said. “And not just drumming, but other music often triggers their long-term memory.”

The drums have become a therapy tool beyond the circles as well. “Sometimes, we will just get the drums out if whatever we have planned isn’t quite working — everyone responds really well to that,” she said. “A truly holistic healing approach, group drumming breaks down social barriers, promotes freedom of expression, nonverbal communication,
unity, and cooperation.”

See vistadelmonte.org.

Originally published in The Santa Barbara Independent on August 12, 2021. Cover photo by Erick Madrid. To read this special section as it originally appeared in print, click here.

UCSB Arts & Lectures Patron Spotlight: Audrey & Timothy O. Fisher

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Event sponsors and A&L Council member Tim & Audrey Fisher with Joe Biden. Photo: UCSB Arts & Lectures.

For a town of its size, the cultural life of Santa Barbara is impressively full, say patrons Tim and Audrey Fisher. The couple have been involved with UCSB Arts & Lectures (A&L) since they bought a home in Montecito in 2000, and attended their first performance at Campbell Hall shortly afterward.

Miller McCune Executive Director Celesta Billeci and her team introduced themselves at intermission and the rest, as they say, is history. “We’ve been great friends ever since – we just love them,” says Audrey, a fashion designer and the retired president of a custom couture clothing business.

Tim was part of the creation of the Arts & Lectures Council in 2013. “We raised 25 million over three years and that really financially created a much better environment for A&L,” said the longtime businessman and philanthropist, who recently retired after more than 45 years of leadership in The Hillman Company. As a Council member, Tim guided the establishment of A&L’s legacy giving program and advocated enthusiastically for planned giving.

Audrey is a big fan of A&L’s expansive dance programs, as well as “the variety and the fact that they bring in just about every student, all ages. I like the educational aspect of it and exposing these kids to absolutely world-renowned performers and having it be a part of their everyday lives. … The cultural life is so enriched here.”

As for Tim’s favorite A&L memories, he says, “There have been so many over the years, but I would say most recently Joe Biden was really outstanding. He was very generous with his time and he did a Q&A and interacted with the students. I think it was really special.”

The Fishers recently made a generous donation to the endowment fund, which is important for arts funding, as Tim explains. “The reason nonprofits are called nonprofits is they don’t make money. What an endowment does is it creates a strong capital base. For instance, during this shutdown period A&L would really be struggling financially without the resources of the endowment. Endowments provide financial stability and they are also important because you don’t want the executive directors of nonprofits spending all their time raising money.”

Adds Audrey, “One reason that my foundation decided to support the endowment is because it’s the least appealing gift option for many contributors. It’s the hardest money to raise because people traditionally want to see what they are paying for. While we enjoy sponsoring performances, which we do every year, I think the endowments are kind of a lonely lost child in the family (laughs) and they really need support. I think when people become educated about their merits they do support endowments because there is a security factor.”

Supporting A&L is a family affair for the Fishers. As chair and a trustee of the Audrey Hillman Fisher Foundation, Audrey has given generously to A&L. Their son Matthew has sponsored musical performances and Tim and Audrey have supported a variety of events over the years, ranging from Joe Biden to the Vienna Philharmonic.

The Fisher family also sponsored the Forces of Nature environmental series in 2019-2020, in memory of their son Brooks, who was very good friends with filmmaker and environmentalist James Balog. “They used to go on these incredible exploits together,” says Audrey. Tim adds, “He was a friend of our son, who was an ardent conservationist. I think that for A&L cleaning up the environment is such a strong theme as it is in this country and globally. It’s a very worthy cause to support.”

The Fishers split their time between Santa Barbara and their hometown of Pittsburgh, and the cultural offerings of A&L make it easier for them to go from a bigger place to a smaller place. “In the early ’70s Jack Heinz created the Pittsburgh Cultural Trust which is a really big arts organization. Their budget is over 50 million and they have five theaters and they own a lot of downtown real estate. It’s a big operation, but I would say that we probably attend more events per year in Santa Barbara,” says Tim. “The cultural life here is every bit as full, in large part thanks to A&L.”

This story was originally published by UCSB Arts & Lectures. To see it as it originally appeared, please click here.

Streaming Culture

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Originally published in the November 2020 issue of 805 Living Magazine.

Necessity is certainly the mother of invention these days, and performing arts organizations are pivoting in creative ways to bring entertainment directly to home audiences.

“Music is the common denominator that brings humans together, no matter the time or the place in history,” says New West Symphony (newwestsymphony.org/2020-
21-virtual-season) CEO Natalia Staneva.

With that in mind, Staneva and the symphony’s artistic and music director, Michael Christie, have developed Global Sounds, eight mini music concerts and festivals inspired by cultures from around the world and presented virtually through June 2021.

“We discovered that our community contains a variety of cultures with vibrant musical traditions that have inspired and influenced classical music composers for generations,” says Christie. “And thus was born the concept of turning each concert experience into a mini cultural festival.”

Along with the orchestra performing symphonic works, each concert week will feature in-depth interviews with cultural experts and solo and ensemble performances of orchestra members and guest artists. Visit the website for tickets and more details.

UCSB Arts & Lectures (artsandlectures.ucsb.edu) brings cultural events home with House Calls, an interactive, online series of concerts, conversations, and question-and-answer sessions with musicians like Danish String Quartet and Rhiannon Giddens and authors such as Anne Lamott and Cheryl Strayed.

“House Calls is one way that Arts & Lectures is serving our community during a time when people are craving connection,” says Celesta M. Billeci, UCSB Arts & Lectures Miller McCune executive director, “to each other as well as to the major issues our nation and our world is facing right now.” For more information about individual events or to purchase tickets, visit the website or call 805-893-3535.

Cover of 805 Living Magazine, November 2020. This story originally appeared in 805 Living Magazine, November 2020. Click here to see the section as it originally appeared in print.

2020 Best of Santa Barbara

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From Santa Barbara Independent, Best Of Issue cover, October 15, 2020.

From Santa Barbara Independent, Best Of Issue cover, October 15, 2020.

I had the honor of writing the Santa Barbara Independent‘s Best of Santa Barbara winners once again this year. It was a huge, fun project, and a little easier the second time around.  Even (or maybe especially) in this weird year, people were so happy to hear from me and so excited to have won! You can read the whole thing by clicking here, or on the PDFs below.

Introduction + Eating 770 10-15-20_Part1

Eating 770 10-15-20_Part2

Eating, Drink, Out & About + Romance 770 10-15-20_Part3

Romance 770 10-15-20_Part4

Romance, Looking Good, Living Well, Sporting Life, Little Creatures, Housing + Driving 770 10-15-20_Part5

Driving + Media 770 10-15-20_Part6

Faces in the Crowd: Michael Christie

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Faces In the Crowd: Michael Christie, photo by Gary Moss. This story appeared in 805 Living, December 2019.

Faces In the Crowd: Michael Christie, photo by Gary Moss. This story appeared in 805 Living, December 2019.

THE NEW MUSIC DIRECTOR OF NEW WEST SYMPHONY BRINGS HIS GRAMMY AWARD–WINNING TALENT TO THE VENTURA COUNTY ENSEMBLE’S 25TH SEASON.

After winning the 2019 Best Opera Recording Grammy Award for The (R)evolution of Steve Jobs, New West Symphony’s (newwestsymphony.org) new music director Michael Christie is bringing his own kind of (r)evolution to the West Coast.

“We threw a lot at the audience,” Christie says of his first concerts in his new role with the Thousand Oaks–based symphony this past October. “Our concert format is slightly tweaked,” he says, “and we had our new venue [Rancho Campana Performing Arts Center in Camarillo], so people had a fair amount to take in.”

Patrons were treated to a Gershwin concerto, Corigliano’s “Salute” with kazoos, and a “Scheherazade” performance that Los Angeles Times critic Mark Swed praised as, “supplying far and away the most spectacular playing from what should no longer be considered a regional symphony.”

“The biggest difference,” says Christie, “is that we are using intermission as an opportunity for people to experience some new things if they choose.” This includes a question-and-answer session with the guest artist and an entr’acte. Up next is the global celebration of Beethoven’s 250th birthday on January 25 and 26, featuring the Eroica Trio, whom Christie calls, “three very vibrant, genius women who are just amazing [with] the energy that they bring.”

Christie has led top orchestras all over the world and served as music director for Minnesota Opera, The Phoenix Symphony, and the Brooklyn Philharmonic (now defunct). He now lives part-time in Ventura County, while his wife, Alexis, who is a physician, and their two children are in Minneapolis.

Much of the life of a musician-conductor is spent on the road, says Christie, a trumpeter, who first conducted when his middle school band director let him give it a try back in Buffalo, New York. “I was never sure how one became a conductor,” he says. “I just knew I wanted to know more about it. People were very generous with their time and always willing to answer questions.”

In February he’ll pay it forward with a one-month teaching and conducting stint at Indiana University. Christie is eager to communicate with students about the duties of an American music director, which he says, “are very specific to our particular situation of creating artistic vision and raising lots of money. It’s very particular to our country. I feel a great sense of responsibility for helping to convey that information, having lived it for the last 25 years. It’s fun to be asked to help the next generation start to figure that out.

“We [music directors] are the face of the organization in many ways,” Christie says. “We should be viewed by our audience as open, friendly, fun, and adventurous but also sensible, engaging, and concerned for our community, what it’s going through, and what it’s aspiring to be. And none of those words really say Mozart or Gershwin,” he says, laughing. “It’s all kind of wrapped together.”

— Leslie Dinaberg

805 Living cover Dec. 2019Click here to read this story as it appeared in 805 Living magazine, December 2019 805 Living Faces in the Crowd Dec 2019

Bells Will Be Ringing

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Performance by university carillonist Wesley Arai celebrates the 50th anniversary of Storke Tower

By Leslie Dinaberg

Tuesday, August 20, 2019 – 12:00, Santa Barbara, CA

University Carillonist Wesley Arai, courtesy photo.

University Carillonist Wesley Arai, courtesy photo.

From a small space atop Storke Tower, the music Wesley Arai creates on a 61-bell carillon rings out across the UC Santa Barbara campus.

Audiences will be treated to a special program Sunday, Aug. 25, when Arai, the university carillonist, gives a recital as part of series celebrating the 50th anniversary of Storke Tower. Free and open to the public, the concert begins at 2 p.m. Listeners are encouraged to bring blankets or lawn chairs to sit on the grass beneath the tower.

“I realize that most people aren’t familiar with the carillon, so I try to make my recitals accessible and varied,” said Arai, who also oversees the maintenance of the instrument and organizes guest carillon recitals as part of his duties. The summer concert will include well-known classical music, popular songs and some music written specifically for the carillon. As a tribute to the 50th anniversary, Arai said, “I’ve been trying to also include music that is significant to the university and its carillon. Going with that theme, the concert will likely include some music written for the campus carillon, music written by past university carillonists and school songs.”

Arai, also a lecturer in the Department of Music, has performed extensively across the United States and abroad. He has recently performed in Australia, at the Eighth Berkeley Carillon Festival, at the Springfield International Carillon Festival and at the Congress of the Guild of Carillonneurs in North America, which this year took place in Lake Wales, Florida. In addition, he gave the dedicatory recital for the carillon at the University of Washington. Arai also performs annually at the Cathedral of St. John the Evangelist in Spokane, Washington.

In addition to the carillon, Arai has studied piano, trombone and voice, and has performed in a variety of concert bands, marching bands, jazz bands, orchestras and choral groups. He also enjoys arranging music and occasionally performs some of his own arrangements on the carillon.

An alumnus of UC Berkeley, where he received bachelor’s degrees in mathematics and in statistics, Arai discovered the carillon as an undergraduate student. “I would hear the bells all the time while walking to class,” he said, “and I heard there was a class to learn how to play — so I signed up and have been playing ever since.”

Enthusiastic to share his passion and skill, Arai invites UC Santa Barbara students interested in learning to play the Storke Tower carillon to email him at warai at gmail dot com to schedule a piano audition. Enrollment is limited to three students per quarter.

Storke Tower and its carillon were a gift from Thomas More Storke, former publisher of the Santa Barbara News-Press. The instrument consists of 61 bells cast by Petit & Fritsen of the Netherlands, with the bells weighing from 18 pounds to 2.5 tons and spanning five octaves. The carillon at UC Santa Barbara is a much larger modern copy of historical instruments that were invented approximately 500 years ago in the Low Countries of Europe. Then, tower bells were used to signal time, much like a clock chime, and as a means of additional notifications (e.g. an enemy is approaching) and directives, such as to close the city gates or go to church.

Eventually, the number of bells was increased and they were connected to a keyboard to facilitate the performance of music. A melody was often played to attract the attention of the townspeople before the hour bell tolled the time throughout the day. A carillon is played with the fists and feet, and the action is completely mechanical. To vary the dynamics of the music, the performer must strike the key harder or use a lighter touch, much like a piano.

Originally published in The Current (UCSB) on August 20, 2019.

New York Polyphony

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New York Polyphony, photo by Chris Owyoung.

New York Polyphony, photo by Chris Owyoung.

The New Yorker calls them, “Singers of superb musicianship and vocal allure.” National Public Radio praises New York Polyphony for a “rich, natural sound that’s larger and more complex than the sum of its parts.”

Hear them for yourself when UCSB Arts & Lectures presents the two-time Grammy Award-nominated vocal chamber ensemble New York Polyphony in its Santa Barbara debut on Wednesday, February 20 at 7 p.m. at Music Academy of the West’s Hahn Hall (1070 Fairway Rd., Santa Barbara).

The provocative program Faith and Reason includes Thomas Tallis’ Mass for Four Voices and Gregory Brown’s Missa Charles Darwin—the inspiration behind his brother Dan Brown’s latest Da Vinci Code novel—which honors the conventions of its musical antecedents but replaces sacred texts with excerpts from Darwin’s writings. Of special note, this performance marks the return of Music Academy of the West alumnus Christopher Dylan Herbert, the group’s baritone, to his alma mater.

For tickets or more information, call UCSB Arts & Lectures at 805/893-3535 or purchase online at ArtsAndLectures.UCSB.edu. 

—Leslie Dinaberg

Originally published in Santa Barbara Seasons on February 19, 2019.

Danish String Quartet

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Danish String Quartet, photo by Caroline Bittencourt.

Danish String Quartet, photo by Caroline Bittencourt.

The Danish String Quartet returns to Santa Barbara this week for two beautiful nights of music presented by UCSB Arts & Lectures.

First up, a salon-style program of Nordic folk on Tuesday, Feb. 12 at 7 p.m. at Rockwood. Then on Wednesday, Feb. 13 at 7 p.m. they will perform a classical program of Haydn, Abrahamsen and Nielsen at UCSB Campbell Hall.

Nominated for a 2019 Grammy Award, the Danish String Quartet—Frederik Øland (Violin); Rune Tonsgaard Sørensen (Violin); Asbjørn Nørgaard (Viola); Fredrik Schøyen Sjölin (Cello)—is an internationally acclaimed chamber music group. As the Boston Globe reports, “Do not lose track of this group. Even by today’s high standards, it offers something very special.” 

Danish String Quartet, photo by Caroline Bittencourt.

Danish String Quartet, photo by Caroline Bittencourt.

“The quartet’s crystalline sound conjures a magical atmosphere and nods to the strident tone of Nordic fiddle playing,” writes The Strad (U.K.).  

These four Nordic lads have played together since childhood and possess “warmth, wit, a beautiful tone and technical prowess second to none” (NPR).

Violinists Frederik Øland and Rune Tonsgaard Sørenson and Viola player Asbjorn Norgaard met as children at a music summer camp where they played soccer and made music together. As teenagers, they began the study of classical chamber music and were mentored by Tim Frederiksen of Copenhagen’s Royal Danish Academy of Music. In 2008, the three Danes were joined by Norwegian cellist Fredrik Schøyen Sjölin.

For tickets or more information, call UCSB Arts & Lectures at 805/893-3535 or purchase online at ArtsAndLectures.UCSB.edu. 

—Leslie Dinaberg

Originally published in Santa Barbara Seasons on February 11, 2019.