Join Prokofiev expert Barbara Nissman for a lesson on the tautly structured first movement of Prokofiev’s Sixth Sonata.<br><br>Nissman begins with an introduction to Prokofiev and his multifaceted musical personality. Far from being merely harsh and brittle, Prokofiev’s music encompasses lyricism, heart, and impeccable craftsmanship. She also explores Prokofiev’s reputation as a virtuoso pianist and his considerable output for the instrument, culminating the in three so-called “War Sonatas.” <br><br>Bringing her attention to the Sixth Sonata, Nissman walks you through the first movement, giving special attention to how each section functions in the overall form. She shows how Prokofiev’s apparent complexity is more in the piano writing rather than the underlying structure, which is very clear and derived from Classical models — especially Beethoven. By explaining the structural role of each section and motive, Nissman gives you a clear road map to the piece: where the tension is, which details should be emphasized.<br><br>In tandem with this close look at how all the sections relate to one another, Nissman provides practical pianistic advice for how best to bring out the distinctive character of each passage. To sustain certain bass notes, she makes use of the middle (sostenuto) pedal as well as pedal vibrato (partial changes of the right pedal). To tackle Prokofiev’s acrobatic piano writing, Nissman often throws the hand without the typical “touch-then-play” approach. She also offers two tips that are particularly helpful for pianists with smaller hands and short arms: specific redistributions of notes between the hands, as well as places where you can lean forward to reach the extremes of the keyboard. The main goal is to constantly maintain your focus on melodic material despite the keyboard acrobatics all around.<br><br>Throughout, it’s often necessary to create a dialogue between different voices, as well as to bring out Prokofiev’s biting and sarcastic sense of humor with the jabbing, obstinate dissonances that eventually start to seem familiar. Nissman closes the lesson by once again stressing the importance of understanding the structure and making it the basis for your interpretive decisions.

In this lesson, American pianist Barbara Nissman guides you through Bartók's Allegro Barbaro, one of his most popular and influential work for piano.<br><br>Nissman, who literally wrote the book on playing Bartók's piano music, reveals the historical context in which the work was first conceived and interpreted (or, misinterpreted). Bartók's own recording is a great reference point for anyone approaching this work for the first time.<br><br>Diving into the opening material, Nissman shows you the importance of keeping a consistent pulse, and using accents to help punctuate the ostinato rhythm and capture the relentless, driving character of the music. The piece is filled with "vamp" material, and Nissman shows how not to lose track of how many repetitions you've played.<br><br>In the many rapid octave passages, make sure you stay loose and experiment with throwing the hand. It is also important to use gravtity to your advantage, and allow the hand to fall freely.<br><br>While the piece is almost always moving forward, there is a structurally significant improvisatory section with a flexible tempo. Nissman shows how to feel this elusive passage, and how to reveal the many layers of the texture as the music returns to tempo.

A pulsating, neo-Scarlattian mini-sonata with a Lisztian cadenza and characteristic Argentinian twang and flair, Alberto Ginastera's Sonata No. 3 is an unknown masterpiece of the 20th-century piano repertoire. Ginastera composed the work on his deathbed for Barbara Nissman, who takes you on a tour of the work's motives, interjections, and magical departures, while deconstructing its patent virtuosity to make it playable in your hands.

Join Barbara Nissman for a lively lesson on Alberto Ginastera’s folk-inspired Danzas Argentinas, written when the composer was just 19. Nissman is the perfect guide for these popular, zesty pieces: she knew Ginastera, and his last-ever composition was written expressly for her.<br><br>Nissman walks you through the characterful narrative of each piece, ranging from quirky ambling and prodding in the “Dance of Old Cowherd,” to melancholy and passionate singing in the “Dance of the Beautiful Maiden, to fire and exuberance in the “Dance of the Outlaw Cowboy.”<br><br>Ginastera’s style features a number of vivid ideas borrowed from Argentinian folk music: imitations of open strings and the strummed flamenco guitar, and the driving rhythm of the malambo (a competitive dance). With practical advice on interpreting Ginastera’s notation, where to place accents that keep the rhythm stable, use of your hands, arms, and even legs, Nissmann shows that Ginastera’s music is actually less difficult than it sounds!