Articles in Press

[Montecito Journal] Coup De Grace: Aglow with Culture

May 08, 2014

We have friends with season symphony tickets, and it's not humanly possible for them to make every singel performance. So every now and then, we're offered their unused tickets.

I'm always ressitant to the idea of getting dressed up and heading downtown on a Saturday night. I'm not sure when going out for the evening began sounding like a chore, but it might've coincided with the popularity of the book, Being an Introvert is the New Black. I ask myself, "Why can't I just stay home with the terriers and listen to YouTube music videos?"

However, my husband loves going to the symphony. And every time I go, I end up loving it, too. So wer'e both very grateful for this nudge toward culture.

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[Casa Magazine] Got Rhythm?

April 18, 2014

One of the freshest Santa Barbara Symphony programs this season filled the Granada Theatre with energy during last weekend's Saturday night performance. The house was nearly full for Darius Milhaud's "The Creation of the World," written for 1920s jazz orchestra, followed by Aaron Copland's Clarinet Concerto, which uses only strings and harp as backup, but is also infused with jazz. After intermission, Beethoven's eternally exciting Symphony No. 7 in A Major, Op. 92 brought the evening to a delightfully rhythmic close.

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[Independent] Clarinets and the Creation at the Granada

April 16, 2014

The French modernist composer Darius Milhaud gave as much to the American musical tradition as he took from it, as he was an important mentor to both Dave Brubeck and Burt Bachrach during the time he spent teaching composition at Mills College. Milhaud came to this country with an intense feeling for melody, and a taste for the polyphonic language of jazz. At Sunday’s concert by the Santa Barbara Symphony, Milhaud’s La Creation du Monde displayed both these qualities of melody and polyphony to great effect, with a relatively small and thoroughly string-free ensemble onstage executing the music, and a short animated film by Santa Barbara native Carolyn Chrisman projected above their heads to illustrate its narrative, which was originally told through ballet.

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[Noozhawk] Santa Barbara Symphony to Swing with an African ‘Genesis’

April 13, 2014

The Santa Barbara Symphony will play its April program twice, at 8 p.m. Saturday and 3 p.m. Sunday, in the Granada Theatre at 1214 State St.

The concerts will be conducted by Music Director Nir Kabaretti, with the participation of guest soloist Donald Foster on clarinet and the animation of Carolyn Chrisman.

We will hear three works: Darius Milhaud's 1923 ballet, La création du monde, Opus 81a (with Chrisman's animation), Aaron Copland's Concerto for Clarinet, Strings and Harp (1949) (with Foster) and Ludwig van Beethoven's Symphony No. 7 in A-Major, Opus 92 (1813).

It's always a good idea to have an organizing principle for a concert program, and the symphony has made much of the relationship between these works and jazz — too much, possibly.

Each of the works is a stand-alone masterpiece, and can be enjoyed by itself without any talking points. Those who listen to jazz on a regular basis will not mistake either the Clarinet Concerto or The Creation of the World for examples of the genre. Still, after a breathtakingly lyrical opening, the Copland does swing, while the Milhaud, whose ambience is decidedly more African than American, works a sea change on our only native idiom and hands it back to us in a steamy exotic disguise.

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[Casa Magazine] Clarinetist Donald Foster Rifts Benny Goodman and Beethoven

April 11, 2014

It's not often Beethoven is compared with Benny Goodman, but Santa Barbara Symphony Principal Clarinetist Donald Foster made a good point during a recent interview. The rhythmic originality of Beethoven's 7th Symphony is as dynamic and exciting as the jazz rhythms found in Aaron Copland's Clarinet Concerto, which was written for Goodman, and Darius Milhaud's The Creation of the World. All three works are on the Santa Barbara Symphony concert pair set for Saturday, April 12th at 8pm, and Sunday, April 13th at 3pm, in the Granada Theatre. Artistic and Music Director Nir Kabaretti will be on the podium. "What makes something jazzy is of course the rhythm." Foster explained. "The Beethoven, with its incessant rhythm was not necessarily a jazz foreshowing, but definitely was a rhythmic experiment."

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[Scene Magazine] When Jazz met Beethoven, Symphonically

April 11, 2014

The Santa Barbara Symphony features the jazz-flavored work of Darius Milhaud and Aaron Copland, with Clarinetist Donald Foster in the Benny Goodman role, performing Beethoven's Seventh Symphony

At first blush, the intriguing program for this weekend's Santa Barbara Symphony concerts might seem an attraction of opposites. In one orchestral showcasing corner, we have Beethoven's Seventh Symphony, and in a separate corner, two ear-friendly early 20th century works with strong jazz connections, Darius Milhaud's "Le Creation du la Monde" and Aaron Copland's Clarinet Concerto.

It could be said, though, that all the music in this symphony evening somehow finds a common ground in the sense of composers drawing on "vernacular" sounds outside of their classical foundations. They all followed their passions, instincts and, in Copland's case, commissioners' tendencies (it was commissioned by the great jazz clarinetist Benny Goodman), in writing music, tilling the soil of "serious" music, as such, and what was in the more popular musical air of their respective eras.

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