PROKOFIEV: 2003

   

Barbara was just interviewed by Sugi Sorensen at prokofiev.org.
To read this interview of Barbara's insights into this composer, click here.
 

Misperceptions have marked the life of the Russian composer, Sergei Prokofiev. Musically, politically, and personally, this composer has been much maligned and misunderstood. Even now at the beginning of the twenty-first century, his music still defies categorization. We don't know what to do with him, where to put him. Is he a modernist or a reactionary?           

Barbara Nissman will celebrate the 50^th anniversary of Prokofiev’s death during the 2002-2003 and 2003–2004 seasons with concerts and lectures devoted to an increased understanding of the man and his music. Nissman made history in 1989 by becoming the first pianist to perform the complete Prokofiev piano sonatas in a series of three recitals in both New York and London. Her recordings of this repertoire represented the first complete set of Prokofiev Sonatas made available on compact disc, and were recently this year as a three-CD box by Pierian Records, a label devoted to historical releases.

Known as “the reigning Prokofiev specialist,” Nissman  will also be recording his five piano concertos and performing these with orchestras throughout the US, Europe, Russia and the Far East during the 2003 anniversary year. She is currently at work on her second book, Prokofiev and the Piano: A Performer's View, to be published by Scarecrow Press. All special events will be coordinated with the Prokofiev Archives in London.

LECTURE RECITALS

An Evening with Barbara & her “Friend” Prokofiev

This program provides an informal introduction to a composer whose music can still make the average listener uncomfortable.  Barbara has the gift of making Prokofiev accessible. She brings clarity to his complex pianism.

The Complete Piano Sonatas (3 programs)

These three informal programs encompass all nine piano sonatas and highlight “the bad boy of music” as classicist, lyricist, and virtuoso. A separate program is devoted to a discussion of the “War Sonatas.”  

Prokofiev & Liszt

Nicknamed by Poulenc, the “Russian Liszt,” Prokofiev built upon Liszt’s foundation of pianism. Hearing both these composers side by side makes one realize that Prokofiev provides the continuum for bringing the nineteenth century into the “modern” world.

Prokofiev & Bartók

True to the romantic definition of the individual, these two pianistic giants of the 20^th century had the courage to go their own way to speak with a personal voice. Bartók's studies embraced original folk music while Prokofiev's primary interest rested with his own writing. One a disciple of Beethoven, the other more akin to Liszt, both developed their natural talent at the piano, the instrument of their youth where they were free to be their most adventurous.

Prokofiev & the Russians

This program provides an exploration of Prokofiev and his roots, as well as those of his Russian contemporaries. It is important to remember that Prokofiev was a Russian composer, not a product of the Soviet regime like his colleague, Shostakovich. Along with Prokofiev, this program also features music of Stravinsky, Rachmaninoff, Scriabin and Balikirev.

"Prokofiev Meets Gershwin: Gershwin Meets Prokofiev"

The two pianists/composers initially met in Paris in 1928 and then again in New York in 1930. Barbara brings a performer's viewpoint to the discussion and poses the question: who influenced whom?

The Five Piano Concertos

A stylistic journey with the many faces of Prokofiev as seen through his piano concertos. In No. 1, we meet the “bad boy” of the keyboard; No. 2, the Romantic; No. 3, the melodic virtuoso; No. 4, the “prankster” and No. 5 the trapeze artist, always working without a net!

Read Barbara's article on the Five Prokofiev Piano Concertos in Three Oranges Journal: Click Here