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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (March 30, 1998)
merica e the Divide I _ i ■ 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. I 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 | I ©wa <3eoe»)i»ie /^yoocoouxwuTN (R6AU2£ ttou) SP&3AL } /S^GSisiio3T\ I PtttftfMi wee I coMSoweoftM'we , 1 AticMPTIO MAWTftl*) V aotfQfeSPeoAU/ I 9 jWC£ WOOWfc C&ttWjN UMP€*STAMO | SftOAUJSSS^yoU I PttUlSoCfife.0 f AMO OMAPPftiaATtO, /^5&wjtotcSmcTn | / W-&€WOfcU>KA$ j * I «cm<ui6*mpourrH I $ \goag- s^QAuoe^y | f I iwwmWtoC© fu)e«Au*t*iw6 \ \PW W96. AU 6CXt& J VyToae> _Jsr Aou'fcfc Womai&SPKtAiA Skw'tttoCflH.'nc POSSufiE «<*?.»&« CA8€S.Ev€e.'jT«ifJ6S OtfN.WI&PSfiSfiCT JUSTWEldai *X}A8S. / KA v: ijjjjjj HOME OF THE READY-TO-WEAR MEAL K: ■ , ■ ,< • ,V., .. , . ^ :: DOWNTOWN LINCOLN ■ . ■■ ■ .-■ ■ .•--- . • - . 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 the commissioner. 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,” Narboni said. 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 adult life. “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 ly rewarding. “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 said. In addition to rediscovering some arpflt mnsir apttina to know Taillefaire’s life and work has been beneficial from a career perspective, Clinton said. “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. ■ la m ■— . _ ^..