Matt Haney/DN
* •-?
hlack Watch
to play at Lied
rday night
By Bret Schulte
Senior Reporter
The Nebraska flatlands will ring with the sounds of
the Scottish Highlands this weekend.
This Saturday at 8 p.m., the British Army’s oldest
Scottish regiment, The Black Watch, is bringing its cen
turies-old tradition Of honor, pageantry and music to the Lied
Center for Performing Arts, 301 N.12111 St
The Regimental Band of The Scots Guards and the Pipes and
Drums of The Black Watch have toured the United States eight
times since World War n, and offered their haunting musical tradi
tion to the funeral of President Kennedy, r
The 100-member military ensemble includes drummers, bagpipers,
horn players, dancers and a featured vocalist, which will carry the audi
ence through centuries of Scottish military tradition, music and dance.
The 8 p.m. event will be hosted by University of Nebraska-Lincoln associate
vice chancellor for research, Don Helmuth, whose Scottish heritage .prompted
Please see KILTS on 10
Ohio clarinetist visits NU
By Barb Churchill
Assignment Reporter
Rebecca Rischin, professor of clarinet
at Ohio University, has a problem this
weekend: She doesn't have enough time.
Rischin is at the University of
Nebraska-Lincoln to give a presentation,
a master class and a performance all in
one weekend.
The first item on her busy agenda is
today’s presentation on Oliver Messaien’s
“Quartet for the End of Time.” Messaien
(1908-1992) is one of the most important
20th century composers of serious - or
high art - music and was a native of
France.
“Quartet for the End of Time” is a
very unusual composition, because it was
written while Messaien was a prisoner of
Nazi Germany in 1941. Messaien had
been arrested because he was a member
of the French Army. Once the French sur
rendered to the Nazis, all Army members
were thrown in prison. But in this case,
Rischin said, tragedy became high art.
“This is one of die great masterworks
of the 20th century. One of the great
things about it is that Messaien used what
personnel were available to him: a clar
inetist, a violinist, a cellist, and a pianist
(himself), in order to create truly moving
music,” Rischin said.
Rischin's presentation will be held in
Room 105 of Westbrook Music Building
at 2:30 p.m.
The next thing on Rischin’s busy
agenda is a master class, which will be
held tonight from 6-8 in Room 119 of
Westbrook Music Building.
Six clarinet students will perform. The
performers include Erin Hill, Jeni
Gossard, Wendy O’Dell, Andrea Leising,
Erica Corwin and Dallas Nuestel.
All performers are students of Diane
Cawein, UNL assistant professor of clar
inet. Cawein knows Rischin well because
they both did doctoral work at Florida
State University.
Rischin will finish her hectic weekend
with a recital Sunday evening at 8 in
Kimball Recital Hall. Cawein and Ann
Chang-Barnes, assistant professor of
piano, will assist Rischin in her perfor
mance.
Rischin will perform works that range
from the traditional heavy-hitters of the
clarinet repertory - Johannes Brahms’
“Sonata No. 1 in F minor, op. 120,”
Leonard Bernstein’s “Sonata for Clarinet
and Piano” and Felix Mendelssohn’s
“Concertpiece in d minor for two clar
inets, op. 115” - to a Hungarian gypsy
transcription by Leo Weiner and a con
temporary piece written by Mark Phillips.
The contemporary piece is entitled
“One of a Kind.” It blends blues, jazz and
pop influences with more serious music.
Phillips is the professor of composition at
Ohio University, and he wrote this piece
for Rischin’s predecessor at Ohio U.,
David Lewis.
“‘One of a Kind’ blurs the boundaries
of serious music and popular music, uses
Klezmer (Jewish folk music) and exploits
the extreme dynamic range of the clar
inet,” Rischin said.
Rischin said “Peregi Verbunk,”
Weiner’s transcription, is interesting
because it uses Hungarian dance rhythms
and the czardas dance style. It is meant to
be played as expressively as possible mid
uses the gypsy scale and style of orna
mentation.
Brahms’ “Sonata No. 1” is well
known by most clarinetists. Written origi
nally for Richard Muhlfeld, Brahms
meant to show off the clarinet’s virtuosity
and expressive nature. Brahms liked the
«
There is a lot of
great work for the
piano-clarinet
ensemble.”
Rebecca Rischin
OU professor of clarinet
clarinet, writing three other works for it
besides this “Sonata.” According to
Rischin, Brahms was trying to reach the
very height of expression in this work.
The Bernstein sonata, written in 1941,
is “a very nice piece. There is a lot of
great work for the piano-clarinet ensem
ble. I view this as chamber music,”
Rischin said
She also said Bernstein’s “Sonata”
cemented his style by being one of the
first of his pieces to use jazzy rhythms
and tuneful melodies, predating his pop
ular and celebrated “West Side Story”
by more than 15 years.
Rischin said she especially was look
ing forward to playing the “Concertpiece
for Two Clarinets” with Cawein because
they have both played the piece before,
just not together. “Concertpiece” is inter
esting from a clarinet historical perspec
tive, Rischin said, because it was written
for clarinet virtuosi (also father and son)
Heinrich and Karl Baermann.
“It’s a light and gay piece and perfect
ly opposes the intensity of Brahms. It’s a
great way to end the program,” Rischin
said.
Rischin’s recital is Sunday night at 8
in Kimball Recital Hall. Admission is
free. -r"*•
‘Woven Forms’
displays diverse
basket weaving
By Sarah Baker
Senior Reporter
Frequently ridiculed as an aquatic sport, basket
weaving will take a step toward improving its image
this week.
“Woven Forms: Contemporary American
Basketry” opens today at the Haydon Gallery. The
exhibit includes works by 24 of the nation’s top bas
ket makers.
The show opens with a reception tonight at 7 at
the Haydon Gallery, 335 N. 8th St.
Anne Pagel, directed of the Haydon Gallery and
curator of the exhibit, said most of the baskets in the
show probably wouldn’t correspond with the cus
tomary perception of what baskets look like.
“Most of the baskets have very distinctive fea
tures,” Pagel said, “there is a lot of variety within
the show. All 24 artists are very different”
Pagel said she liked the idea of an exhibit featur
ing baskets because it was unique.
“There are not many shows like this around,” she
said. “I began to research the idea of a basket show
aner we uia a weaving snow. v
Pagel said many of die baskets are made of mate
rials other than the traditional wicker, such as waxed
linen, pine needles, shredded money and even bones.
“Ail of the baskets have some sort of content;
they aU say something,” she said.
Many of the baskets lean toward die more sculp
tural side of art, and some don’t h*”"*
she said.
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