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. 
   

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.
There are no prescribed formulas to follow in a public lesson because every student is unique.  Each arrives with their personal gifts, various levels of talent for the instrument, and an individual set of technical and musical problems to overcome.  The master class teacher must quickly assess the personality and level of the student and determine the most direct way to proceed so these talents can be encouraged.

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

 

 

 











 

 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. 
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.
 

Master class-Duquesne University-9/26/05

                                                       Barbara Nissman  
                                                     

 
Usually arranged in combination with recital and orchestral appearances, pianist Barbara Nissman has toured and given master classes throughout the United States, Europe, the Far East, New Zealand, Russia and South America.

In April '98, Ms. Nissman was invited by the Moscow Conservatory for concerts and master classes on Prokofiev; she also presented master classes at the St. Petersburg Conservatory. She is a frequent guest artist at many American and European universities (most recently at the Royal Academy of Music in London and at Canterbury University, New Zealand). She has also presented two-week master courses for pianists and teachers at the Federal University in Salvador, Brazil.
 

Master Class: Steinway Society, West Valley College, California

Barbara Nissman's Master Class

The Master Piano class on Friday night, led by internationally acclaimed pianist Barbara Nissman, was an engaging lesson for all who attended. It was a lesson in the traditional class sense, but for those who never could hope to play, it was an exercise in listening, examining and responding to the miracles of creative masterpieces.

There are children as young as six, and also college age, who have sacrificed much time effort and patience to become both technically and emotionally prepared for the art of performing. Future audiences will hail their accomplishments - and those who came Friday night, can say they were there to hear the young masters when they were still finding their own way.

The educational opportunity of a master class with Barbara Nissman, is a privilege because it ties one’s own current musical training into the tapestry of music history. The event poster for Barbara’s performances quotes a New York critic describing her as, "One of the last pianists in the grand Romantic tradition of Liszt, Rachmaninoff, and Rubinstein." A review of her background from the web reveals an extensive star studded history - almost intimidating. But her presence as an artist as well as a teacher dispels any doubts about her approachability.

Barbara is not the kind of master teacher who points the direction outward, with a form to follow from musical composition alone. She teaches students with an intuitive understanding of their individual strengths and weaknesses. The talents she is herself endowed with, are not the only talents she sees or encourages in her students. She models a lesson according to students’ current needs, rather than from her own ego. This approach is also shared generously with the audience, and it’s refreshing. Barbara attracts us to understand what can be learned by listening by looking at the bigger picture, and to make clear decisions about each note based on that perspective.

Smiling radiantly while asking tough questions, Barbara wants to know from both the player and the listener; where our attention is. Is it on the keys, the historically based composition, the future, or the form? Is it on perfecting the technical or searching within to meld our own experience of playing and listening with some external reality. She engages us to examine all the details, but play and listen to the whole that is ever so much more than the sum of their parts.

More insight into her methods can be found in her book entitled, "Bartok and the Piano" which looks as if it should be required reading for serious pianists. Its mind blowing detail can also be a model for anyone interested in finding the center of their own artistic appreciation.

From our small town of Saratoga to Barbara Nissman, we salute your accomplishments, and thank you for visiting West Valley College!

                        West Valley Norseman  2/2005.
 

Among the places Barbara Nissman has presented master classes are:

Moscow State P.I. Tschaikovsky Conservatory
St. Petersburg State N.A. Rimski-Korsakov Conservatory
Universidade Federal da Bahia, Brazil
University of Canterbury, Christchurch, New Zealand
University of Groningen, Netherlands
Singapore Conservatory of Music
Royal Academy of Music, London
Juilliard School, New York
Chicago Musical College/Roosevelt University
Northwestern University
University of Michigan
Boston Conservatory of Music
The University of the Arts, Philadelphia
Settlement Music School, Philadelphia
North Texas State University
Indiana University of Pa.
Ohio State University
University of Chicago
University of Wisconsin/Madison
Wisconsin Conservatory of Music
Duquesne University
University of California/Santa Cruz

University of California/Davis
Stanford University
Steinway Society, Bay Area, California
Sherman Clay Steinway
James Madison University/Virginia
Carthage College
New England College
Interlochen  Arts Academy
Augustana College
College of St. Benedict/ St. John’s University
Salem College, North Carolina
University of Kentucky School of Music
St. Ambrose University
University of Northern Iowa
Northern Arizona University
Arizona State University
Mercyhurst College
Oberlin College
Brigham Young University

Cabrillo College
West Virginia University

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