MASTER CLASSES WITH BARBARA NISSMAN
| … her presence as an artist as well as a teacher dispels any doubts about her approachability. She teaches students with an intuitive understanding of their individual strengths and weaknesses. She models a lesson according to students’ current needs, rather than from her own ego. |
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First of all, I enjoy giving
master classes. The exchange of ideas, the give and take that occurs
between students as well as the observing public, and the challenge of
trying to bring out the best that each individual can offer is exciting!
To hear an interpretation develop, ripen, and focus becomes a magical
experience for both the student and the teacher. A fresh outlook,
another point of view, and a new way of solving problems provide learning
tools for everyone, myself included. |
| For me, the key to shaping an
interpretation begins with an intimate knowledge of form. The
student should know how a piece holds together. When I approach a
new work, I am not concerned initially about details. These will
follow once the structure has been clarified and the design mold
established. Once form is understood, the craftsmanship of the
composer can be appreciated and an inner logic defined. Very often,
students fail to see the forest for the trees. They have been
consumed with mastering the technical challenges to the extent that the
overall work makes no sense. Ultimately, they must know how each
part fits into the whole to create a complete picture. The performer's job is to try to realize the journey and the pathway the composer walked. Working within the short time allotted to each student, I try to help them give shape to the structure, identify the dramatic climaxes, and define the musical direction. It is the performer’s responsibility to clarify what is written in the score and make it as |
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| accessible as possible to the listener. We function as middlemen between the composer and his public. However, in order to communicate as directly as possible, we must do our homework. Experimentation always takes place – perhaps a change of tempo, a change of attitude, an emotional insight, and/or a suggestion about color or pedaling. But always, we are listening and hoping to get a little closer to the composer’s intention. |
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Artists always borrow from each
other. Certainly, no two artists approach a composition in exactly
the same way. An idea in one performer’s hands can be transformed
and given new life by another. It can never be said that there is
only one interpretation that is valid. Isn’t that why we go to hear
many performances of the same work, or come back to hear our favorite
artist perform the same composition many times over? A master class
brings in a fresh breeze; it provides an inspiration to go forward and
embrace the joyful challenge of making music. Hopefully, I can share some of the experience I have gained in my many years as a performer and also many years ago as a master class participant. The purpose of my visit as a guest artist/teacher is to focus and sharpen the ears, enhance the insight, and, above all, to give a young student the necessary tools and freedom to clarify their own pathway to the next level. |
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Master class-Duquesne University-9/26/05 |
Barbara Nissman
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