Duffy’s Tavern, 1412 O St
Tuesday: Charlie Chesterman
Wednesday: American Mars and
Eric the Red
Thursday: live karaoke with
Shithook
Duggan’s Pub, 440 S. 11th St
Monday: open stage with
Dangerous Dan
Tuesday: Terri Jo Dahlquist
Wednesday: Paul Anderson Quartet
Thursday: Dixon Jane
Friday: Rockin’ Fossils
Kimball Recital Hall, 11th and R
streets
Saturday: Scarlet and Cream
Singers
Knickerbockers, 9010 St
Wednesday: Leon Russell with
Soup
Lied Center for Performing Arts,
301N. 12th St
Saturday: St Petersburg Quartet
The Zoo Bar, 136 N. 14th St
Monday: Slobberbone
Tuesday: China Digs and 8 Miles
Down
Wednesday: The Honey dogs
Thursday: Blue Tango
Friday: Radio King
Lincoln Community Playhouse,
2500 S. 56th St
Thursday-Sunday: “Wait Until
Dark” continues its run
Muaio i neatre, temple Building,
12th and R streets
Thursday-Saturday: Theatrix pre
sents “The Zoo Story.”
Union College, 3800 S. 48th St.
Saturday-Sunday: “You Can’t Take
it With You” continues its run.
Gallery 9,124 S. Ninth St.
An exhibition of paintings by Leora
Platte opens Wednesday.
Haydon Gallery, 335 N. Eighth St
An exhibition of paintings by Dan
Boylan opens Friday.
Noyes Art Gallery, 119 S. Ninth
St
A collection of works by several
artists, including Janna Harsch,
Lonna Keller, Keith Lowry, Ray
Schultze, Jo Brown and Sheila
Downey, opens Wednesday.
The Week in Preview runs Mondays
in the Daily Nebraskan and is com
piled by members of the arts and
entertainment staff Send all listings
to The Week in Preview c/o Daily
Nebraskan, Nebraska Union 34,
1400R St. Lincoln, NE 68588-0448
Piano duo
increases
awareness
of composer
By Barb Churchill
Assignment Reporter
Sometimes, rediscovering a little-known com
poser is the best way to get noticed.
At least, it worked for Mark Clinton and Nicole
Narboni.
Clinton and Narboni are both assistant piano
professors at the University of Nebraska-Lincoln,
constituting half of the piano department at UNL. A
married couple, they perform regularly as the
Clinton/Narboni Piano Duo, and they have forged a
career by promoting the work of 20th-century
French composer Germaine Taillefaire.
The Clinton/Narboni Duo’s latest recital is
' tonight
in Kimball
Recital Hall, and is devoted to the
works of Taillefaire. In addition, the three com
pact discs the Clinton/Narboni Duo have recorded
(two are forthcoming) have featured Taillefaire
prominently.
The emphasis on Taillefaire was not planned,
Clinton said.
“We were very fortunate to stumble across this
music,” she said. “Through our acquaintances in
Paris, we were hooked up with her estate. Most of
her music was in manuscript and had never been
published.”
This was strange, Narboni said, because
Taillefaire was friends with most of the leading
composers of her generation. Taillefaire was among
the influential group of French composers “Les
Six,” meaning she was considered one of the best
Please see DUO on 10
bach s music
made visual
by Yo-Yo Ma
NEW YORK (AP) - Yo-Yo Ma,
one of the world’s most celebrated
cellists, is known for taking creative
risks. With a PBS series, he takes yet
another. He tackles Bach’s six unac
companied cello suites for TV Now,
he makes Bach visual as well as
musical.
Under Ma’s risk taking, each
suite mixes with a different art form,
from modern dance to modern (and
virtual) reality - just the right collab
oration for an audience that Ma iden
tifies as curious TV viewers who like
to make connections.
In “Six Gestures,” the series’
opener, two prominent figure skaters
dance on ice to Bach’s Sixth Suite,
which Ma lauds as doubly enjoyable
- of music, of graceful movement.
And yet Ma’s still aware of the
risk.
“You think it may be laughed out
of town,” he concedes. “But I really
don’t regret one minute of this. I
think it was worth it.”
beginning luesaay, rub win
broadcast the first two of the cellist’s
six performances in “Yo-Yo Ma:
Inspired by Bach.” The two-hour seg
ments, which include Ma’s record
ings for Sony, begin at 8 p.m.
Wednesday and on April 8 and 15.
Also in the first program, actor
Tom McCamus relays Bach’s back
ground, bits of biography about the
18th century German composer who
made much-admired music for
organ, other instruments and singers
of church cantatas.
Ma obviously likes to extend
himself beyond recitals in concert
halls. About seven years ago, in what
he calls his scariest memory, he
headed to the Kalahari Desert to doc
ument Bushmen music and trance
dances. Now he wants to research
Asia’s Silk Road of2,000 years ago -
the overland route for trade, with
movements of people as well as reli
gions.
Why?
“I like to do things almost a little
impossible.”
Ani DiFranco
“Little Plastic Castle”
Righteous Babe Records
Grade: B
Ani DiFranco is known throughout
the music industry as one of the pre
mier female performers in the busi
ness, something the folk singer has no
problem living up to on her latest
release, “Little Plastic Castle.”
“Castle,” DiFranco’s 10th solo
album and 12th overall on her indepen
dently run Righteous Babe label, fea
tures outstanding backup musicians
who help bring life to DiFranco’s oth
erwise soul-baring songs.
Case in point: the title track that
kicks off the album. It begins with only
DiFranco’s soft vocals and acoustic gui
tar, and then halfway through a horn
section, bass and drums appear out of
nowhere, as the song does an unexpect
ed 180-degree turn. This same assem
bly ofhom players comes back again on
the bluesy “Deep Dish,” but this time it
uuvoii i wcut aiuuiiu iu vuuuiuuiv.
DiFranco’s self-indulgent lyrics on
“Castle” are nothing new for her and
they are something that almost can be
guaranteed from a singer-songwriter
who also produces her own albums.
DiFranco said that “Castle” was the
most “light-hearted” record that she
has made in a long time, and thoJiuman
relationships that dominate everyday
life are die album’s main concern, even
though DiFranco thinks the subject
matter on “Castle” is much more
diverse than on her previous releases.
The spoken-word tracks that sur
face on “Castle” are interesting at best,
but are not as grasping as the other
tracks.
“Pulse,” the album’s final track, is a
Courtesy Photo
AMI DiFRANCO remains one of America’s most successful DIY musicians,
having released all of her music independently on her Righteous Bahe
label. “Little Plastic Castle” is her tenth solo album.
poem in which DiFranco decided to
blend music along with her spoken
word. The instruments take up a major
ity of the song, which drags on and on
until finally finishing at more than 14
minutes.
The other song that features spo
ken wonl, “Fuel,” includes DiFranco
complaining about what she thinks are
some of the problems with American
society. “Except all the radios agree
with all the TVs, and the magazines
agree with all the radios, and I keep
hearing that same damn song every
where I go,” she exclaims with a laugh
on “Fuel.”
The anger that DiFranco’s lyrics
contain make an exclamation point
during “Gravel,” arguably the album’s
best song. It is about a former lover
who comes back for forgiveness, and
DiFranco’s seductive voice emerges on
die track as she plays her acoustic gui
tar and sings, “You came crawling back
to say, that you want to make good in
the end, oh let me count die ways that I
abhor you, you were never a good lay,
and you were never a good friend, but
oh, what can I say, I adore you.”
“Castle” leaves a good impression
for first-time listeners of DiFranco’s
music, as she shows why her small
community of followers is ever-present
and ever-growing.
-JimZavodny