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Recital Favorites By Nissman, Vol. 8

Prokofiev / Schumann / Chopin / Nissman
Release Date: 02/28/2012 
Label:  Pierian   Catalog #: 46   Spars Code: n/a 
Composer:  Sergei ProkofievRobert SchumannFrédéric ChopinBenjamin Lees,   ... 
Performer:  Barbara Nissman
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 18 Mins. 

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Notes and Editorial Reviews



RECITAL FAVORITES BY NISSMAN, Vol. 8 Barbara Nissman (pn) PIERIAN RECORDING SOCIETY 46 (78:03)


PROKOFIEV Piano Sonata No. 1 in f. SCHUMANN Piano Sonata No. 1 in f?. CHOPIN Ballade No. 4. LEES Visage. ALBÉNIZ Navarra. Read more GINASTERA Piano Sonata No. 1. GERSHWIN Prelude No. 2


We seem to be living in an era where great pianists (as well as cellists, and occasionally violinists) are popping out of the woodwork. Having discovered one such for this issue in Vladimir Nielsen, I’ve run across another in Barbara Nissman, born in Philadelphia in 1944. Her teachers included György Sándor. According to the notes, she is both a “pianist of a bygone era” in the tradition of romantic playing as well as a champion of certain modern music. She has given complete recitals of the sonatas of Prokofiev, and has long been associated with the music of Ginastera, whose last work, the Sonata No. 3, was dedicated to her.


Thus it is with some chagrin that I admit my prior lack of knowledge of her. If this CD is any indication, and I believe it is, Nissman is a pianist of formidable talents. She combines the bravura approach of a pianist like Argerich with the warmth and sensitivity of artists such as Schiff or Perahia. She has a bold, rich, deep-in-the-keys approach that makes the Prokofiev First Sonata—a brief, one-movement work—sound like an entire universe of sound, and she can change and adapt her approach to music depending on era and style. Her performances of the Schumann sonata and Chopin ballade contain many touches of rubato that are well suited to the music, yet she never loses track of the structure of each piece. Everything is built around a long view of the music, knowing where she is going and knowing how each piece of the score fits in.


Nissman takes the Gershwin Prelude No. 2 at a faster clip than most modern pianists, but this is exactly the tempo that Oscar Levant played it at. Albéniz’s Navarra breathes the sighs of Spanish breezes while Ginastera’s early Sonata No. 1 (1952) is given an outstanding reading, the repeated left-hand rhythms played not only with the proper feel but also with smoldering intensity. In the second movement, the unusual rhythmic motion, combined with Nissman’s musical approach, almost makes it sound in the beginning as if a tape were running backward—an interesting effect. The Adagio has not only the proper quietude, but a deep, mysterious quality that the music strongly suggests, while the final Ruvido ed ostinato moves with an almost impatient, restless energy. Benjamin Lees’s almost stark Visage , which was also written for Nissman, is given its first recording here, played with appropriate feeling. The opening sounds Russian-romantic (the liner notes suggest Rachmaninoff), but the music soon moves into darker territory, skimming the outer edges of tonality, working its way through busy 16ths to loud, staccato passages that suggest great inner angst. Clipped chords, first loud but then soft, centered on D Minor, end the piece.


Looking over other available recordings by Nissman, I would be very curious to hear the complete Prokofiev sonatas (Pierian 007-009), the complete Ginastera music for solo piano (005-006), and possibly Recital Favorites Vol. 2, which contains music of Bach-Busoni, Barber, Franck, Granados, Debussy, and also Beethoven’s “Waldstein” Sonata. One final note: On the back of the CD it says, “No compression has been used in this recording. Therefore, to capture the full frequency range one must listen at a higher than normal dynamic level,” but I find that I don’t have to turn up the volume very high. In fact, the engineers seem to have accomplished a small miracle in that they managed to record the piano in such a way that, if you listen through headphones, you can actually hear the upper end of the keyboard through the right channel while the bass is in the left, with the middle of the keyboard spread through the center. Any way you approach it, this is one remarkable recording.


FANFARE: Lynn René Bayley
Read less

Works on This Recording

1.
Sonata for Piano no 1 in F minor, Op. 1 by Sergei Prokofiev
Performer:  Barbara Nissman (Piano)
Period: 20th Century 
Written: 1907/1909; Russia 
Venue:  Mary Pappert School of Music, PNC Bank R 
Length: 7 Minutes 7 Secs. 
2.
Sonata for Piano no 1 in F sharp minor, Op. 11 by Robert Schumann
Performer:  Barbara Nissman (Piano)
Period: Romantic 
Written: 1832-1835; Germany 
Venue:  Mary Pappert School of Music, PNC Bank R 
Length: 30 Minutes 42 Secs. 
3.
Ballade for Piano no 4 in F minor, B 146/Op. 52 by Frédéric Chopin
Performer:  Barbara Nissman (Piano)
Period: Romantic 
Written: 1842; Paris, France 
Venue:  Mary Pappert School of Music, PNC Bank R 
Length: 10 Minutes 31 Secs. 
4.
Visage, for piano by Benjamin Lees
Performer:  Barbara Nissman (Piano)
Written: 2009 
Venue:  Mary Pappert School of Music, PNC Bank R 
Length: 5 Minutes 3 Secs. 
5.
Sonata for Piano no 1, Op. 22 by Alberto Ginastera
Performer:  Barbara Nissman (Piano)
Period: 20th Century 
Written: 1952; Argentina 
Venue:  Mary Pappert School of Music, PNC Bank R 
Length: 14 Minutes 3 Secs. 
6.
Preludes (3) for Piano: no 2 in C sharp minor, Andante con moto e poco rubato by George Gershwin
Performer:  Barbara Nissman (Piano)
Period: 20th Century 
Written: 1926; USA 
Venue:  Mary Pappert School of Music, PNC Bank R 
Length: 3 Minutes 15 Secs. 
7.
Suite Iberia: no 13, Navarra [unfinished] by Isaac Albeniz
Performer:  Barbara Nissman (Piano)
Period: Romantic 
Written: 1906-1908; France 
Venue:  Mary Pappert School of Music, PNC Bank R 
Length: 5 Minutes 56 Secs. 

Sound Samples

Piano Sonata No. 1 in F minor, Op. 1
Piano Sonata No. 1 in F sharp minor, Op. 11: I. Introduzione: Un poco adagio - Allegro vivace
Piano Sonata No. 1 in F sharp minor, Op. 11: II. Aria
Piano Sonata No. 1 in F sharp minor, Op. 11: III. Scherzo - Intermezzo
Piano Sonata No. 1 in F sharp minor, Op. 11: IV. Finale: Allegro un poco maestoso
Ballade No. 4 in F minor, Op. 52
Visage
Navarra (fragment, completed by D. de Severac)
Piano Sonata No. 1, Op. 22: I. Allegro marcato
Piano Sonata No. 1, Op. 22: II. Presto misterioso
Piano Sonata No. 1, Op. 22: III. Adagio molto appassionato
Piano Sonata No. 1, Op. 22: IV. Ruvido ed ostinato
3 Preludes: No. 2. Andante con moto e poco rubato

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