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Ani:riean music to be showcased
Tpe weekend winds up with a
UNL School Of Music concert Sun
day at 8 p jn.
The free concert will feature so
prano. Margaret Kennedy-Dygas,
associate, professor of voice. Paul
Barnes, assistant professor of piano
will accompany Kennedy-Dygas on
the piano while William McMullen,
associate professor of oboe and
music theory, will play the oboe.
Kennedy-Dygas will sing solo
songs by Daniel Pinkham, an
American composer who lives in
Boston.
The highly regarded composer
serves the New England Conserva
tory of Music us chairman of its de
partment of early music perfor
mance. Pinkham writes accessible,
American music, Kennedy-Dygas
said.
After Kennedy-Dygas collabo
rated with Pinkham last spring, she
made the first full recording of his
songs. She will perform those songs
at Sunday’s recital.
Kennedy-Dygas will add an
educational aspect to the concert by
speaking about Pinkham’s career of
composing choral and organ works
and what provoked him to write, she
said.
“The selections I made tend to
be more tuneful,” she said. “There’s
a lot of jazz influence, particularly
in the more recent things.”
Kennedy-Dygas said she
thought the best work Pinkham
composed is “When Love Was
Gone.” The cycle of five songs uses
James Wright’s work. Wright, a
Pulitzer Prize-winning poet, wrote
about growing up on a farm in Ohio,
looking at memories and all the dif
ferent ways people lose love.
“He’s reflecting back on good
times instead of bitterness,” she
said.
Kennedy-Dygas’ concert is a
good place for students with any
interest in American art songs to
start, she said.
“The songs are short and var
ied,” she said. “The texts are bibli
cal and poetry. Even someone who
has never been to a concert could
connect with this music.”
—Emily Wray
Music society to play at Lied
The Lied Center for Performing
Arts will sponsor the Chamber
Music Society of Lincoln Center of
New York at 8 tonight.
The six-member Chamber Mu
sic Society’s Lied Center debut will
feature music by Franz Schubert,
Johannes Brahms and Erno
Dohnanyi.
Performers at the concert will in
clude violinists Adres Cardenes and
Ani Kavafian, violist Paul
Neubaurer, pianist Anne-Marie
McDermott, cellist Fred Sherry and
homist Robert Routch.
The music was first developed
in the 18th century for musicians in
their own homes, not for an audito
rium.
The intimacy of the players is
likeable, said Joseph Kraus, a UNL
School of Music associate profes
sor and president of the Lincoln
Friends of Chamber Music.
“Everybody wants a piece of the
musical pie and you follow the de
tail of the music from player to
player,” Kraus said in a press re
lease. “It doesn’t hit you over the
head.”
Before the performance, Robert
Emile, professor of strings at the
UNL School of Music, will present
two talks at the Lied Center’s
Steinhart Room. They will be held
at 7:05 and 7:25 pjn.
Tickets are available for $28,
$24 and $20 and are half price with
a student I.D. They may be obtained
by calling 472-4747.
Join Us for our $;
4 Pre-Game Fire Up |
4 before and after the game. £
Stop by bw-3 and pick up some great tasting wings l\
before the game. Wings are the perfect thing to grab for 3^
pre-garne fire up parties. After the game stop in bw-3 ^
and celebrate with some spicy or BBQ Buffalo style <\
chicken wings and some ice cold beer. You can also V5
choose from our other great tasting menu items includ
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Film captures essence of change
By Fred Poyner
Film Critic
As a footnote to a late 20th century
American history textbook, one might
want to enter James Mangold’s debut
film as a writer/director titled “Heavy,”
currently being shown at the Mary
Riepma Ross Film Theatre.
Mangold has taken the dead-end,
hole-in-the-wall tavern of every Ameri
can town and challenged the notion that
such places are only populated with
nameless characters with no beginnings
and no endings. To his credit, this task
has been accomplished in “Heavy”
with a bare minimum of chatter.
Against a picturesque Hudson Val
ley landscape, the film opens with the
lives ofVincent the pizza chef (Pruitt
Taylor Vince), Dolly the tavern owner
(Shelly Winters) and Delores the resi
dent waitress (Deborah Harry), going
about their daily routines almost time
less in their regularity and practice.
Mangold purposely uses a slow
pace and the repetition of certain land
marks and actions — a rusted Mack
truck, Vincent shopping, etc.—to cre
ate a world where the very idea of
change is taboo.
The energy for the film comes in
how one character, Vincent, who deals
with this change when it does inevita
bly show its face.
If there is one criticism to the film,
it is of how Mangold tries to play off
the arrival of a new waitress named
Callie (Liv Tyler) as a “good” change,
against the death of Vincent’s mother,
Shelly (Winters) as a “bad” change.
The two forces eventually meet with
Vincent standing over the grave of his
mother, half apologizing and„half
pleading to Callie that he hasn’t told
anyone about her death because he
didn’t want things to change.
Whether or not it is overly simplis
tic in story structure, the meaning of
“Heavy” is not to be lost on the viewer:
that people come into our lives every
day and leave their mark on us, for
better and for worse.
“Heavy” started its run on Thurs
day and will continue through Sunday
Film: “Heavy”
Stars: Pruitt Taylor Vince, Liv
Tyler, Shelley Winters
Direrton James Mangold
Rating: NR
Grade: A
Five words: Americana Served by
the Pound
at the Mary Riepma Ross Film The
atre. It will continue next Thursday
through Nov 16.
Photo courtesy of the Maky Riepma Ross Film Theatre
LIV TYLER, left, and Pruitt Taylor Vince star in “Heavy,” showing
this weekend at the Mary Riepma Ross Film Theatre.
Amos brings intimate show to Orpheum
AMOS from page 12
of “Talula” was sandwiched between
a cover of the Nirvana teen anthem
“Smells Like Teen Spirit” and Amos’
a capella account of her experience
with rape, “Me and a Gun”
Amos also played a touching ver
sion of “Marianne,” a song about a
friefid of Amos’ who died when both
were 15 years old.
Rousing cuts such as “Precious
Things,” “Silent All TheseYears” and
I
“Caught a Lite Sneeze” were sprinkled
throughout the show, along with songs
not released on the albums, like the
playfully simple “Daisy Dead Petals.”
Playing with only a piano in the
early days of her career, Amos showed
her expanding range during Thursday’s
show by including a harpsichord, an
organ, an on-stage guitarist and a drum
machine. All were used during the 90
minute show.
Amos’ singing and antics, however,
were the most entertaining part of the
show. While her voice was annoyingly
40 percent breath during the first part
of the show, she soon took to giving
her lyrics a fuller sound, singing with
a bravado almost unparalled among
female performers.
While critics may question whether
Amos’ music and live performances
are up to the emotional peak they
reached in her earlier days, the audi- ■
ence didn’t seem to care. The two
handed wave and wink she gave to the
Crowd at the end of her show was proof
enough that she still knows who
brought her to the pinnacle of stardom.
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