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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (March 30, 1998)
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ce relations in America are at a crossroads. At this critical moment
in America’s history, the will to work towards race unity with firm resolve
is more important than ever before. That work is urgent.
Action motivated by spiritual values such as justice and brother
hood is the essence of each and every religion. Humanity cannot
continue to harbor racial prejudice. The only race is the human race.
The Baha’i Faith attracts people from every race and nationality
who believe that the oneness of humanity is a reality. Baha'is are build
ing communities based on love for all people.
The power to make the vision of race unity a reality is within
our grasp. Join the conversation.
To learn more about the Baha'i Faith and its commitment s
to racial unity, watch for The Power of Race Uni
appearing on television in your area:
Video Showing & Discussion
March 31, 7:00 PM
Main TV Lounge
Nebraska Union 14th & R
CALL: 1-800-22 UNITE OR VISIT OUR WEBSITE AT: W W W.US.BAHAI.ORG |
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Piano duo capitalizes
on works of composer
DUO from page 9
French composers of her generation.
This means Taillefaire was not
just the first important “woman com
poser.” She was an important compos
er (regardless of sex) in her own right.
Yet, because many of her manuscripts
were out of print or never published,
Taillefaire has been relegated to the
stature of a secondary composer.
This angers Narboni, because she
thinks Taillefaire stands up well with
the other (all-male) members of “Les
Six.” Many important performers
played her works. And there were
many works to play, as Taillefaire’s
compositional output was consider
able - more than 300 compositions
for piano, chamber music, orchestra,
ballet, opera, film and voice.
; Yet, Taillefaire has been almost
totally forgotten because many of her
pieces appear to have been played
only onpe, if at all.
Taillefaire’s career started out
extremely well. She was noticed by
influential 19th century French com
poser Erik Satie after her “Jeux
d’dain air.” Satie calledTaillefaire his
“musical daughter,” Narboni said.
However, there were several set
backs to Taillefaire becoming well
• known outside of France. Two bitter
\ divorces caused Taillefaire to become
| poverty-stricken. In addition, at least
l one commissioned composition was
l never played because of the death of
Also, when Taillefaire could have
possibly restarted her career in her
late 40s (at least as a concert pianist, if
not as a first-rank composer) she
became legal guardian for her grand
daughter. To Taillefaire’s credit,
Narboni said, she refused to “pawn
off” her granddaughter on anyone
else to raise.
Taillefaire eventually took a job as
a music teacher, which is quite a
come-down for a major composer.
The granddaughter eventually
became a musicologist and “guardian
of Taillefaire’s musical legacy,”
Another factor that added to
Taillefaire’s overall vanishing from
<j die classical music firmament of first
\ rank composers appears to have been
l her lack of business sense, Clinton
| said. Taillefaire simply wasn’t inter
ested in promoting her music. She just
wanted to compose.
And what Taillefaire composed
“is original. She was influenced by
contemporary composers, but her
harmonies and how she resolved them
are very, very colorful and fun to
play,” Narboni said.
Clinton agreed, adding that “her
musical colorations you’d normally
attribute to Ravel, and her rhythms to
Stravinsky. She is not a boring com
poser to play.”
Taillefaire is one of the few com
posers to remain fresh throughout her
“We play a sonata of hers on this
program that she composed at age
82,” Narboni said.
Both Clinton and Narboni agreed
that bringing Taillefaire’s music to life
has been personally and professional
“We knew nothing about her, but
now we both feel very close to her by
playing her music. We almost feel like
we know her personally,” Clinton
In addition to rediscovering some
arpflt mnsir apttina to know
Taillefaire’s life and work has been
beneficial from a career perspective,
“Who wants another Bach or
Brahms? For recognition, you aren’t
going to get a review for your CD if
you are unknown,” Clinton said.
“Besides, this is great music. We
enjoy playing it”
This recital highlights some of *
Taillefaire’s compositional work from
many different mediums. Taillefaire
composed more than 50 film scores.
Clinton and Narboni will play the
“Larghetto” movement from die film
“Coincidences” and the “Intermezzo”
movement from die film ‘Torrents.”
Clinton/Narboni also will play the
composition that brought Taillefaire
to the notice of Erik Satie: “Jeux de
plain air.” In addition, they will play
Taillefaire’s “Suite Burlesque,”
“Fandango,” Toccata,” “Image,”
“Deux Vaises,” the unpublished ballet
suite “La Nouvelle-Cythere” and the
extremely short and perhaps inappro
priately named “Sonate.”
The Clinton/Narboni Duo recital
starts tonight at 8 in Kimball Recital
Hall. Admission is free.
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