Bartok's Allegro Barbaro with Barbara Nissman
ฝัง
- เผยแพร่เมื่อ 17 ม.ค. 2021
- In this lesson, American pianist Barbara Nissman guides you through one of Bartók's most popular and influential piano works, the 'Allegro Barbaro.' 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).
In this segment, Nissman shows you how capture the relentless, driving character of the music while staying loose and using gravity to your advantage.
To view the full lesson and more: app.tonebase.co/piano/artists...
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I could listen to Barbara Nissman talk about music performance for ever. Wonderfully inspiring and fun lady! Thank you:)
The piano teacher we all wish we had❤
The greatness of a character and a power of story telling!
This woman is AMAZING
Instantly fell in love with this lady 😻😻😻
Really Wonderful to see this insightful , short look into the Allegro Barbaro from a great performer and important teacher ! You are well known for your Ginastera ;would be also wonderful to hear you talking about your investigations,experiences of that literature too ! So much common sense and smart looking really reading a score ! So wonderful to hear analysis of what this music is saying and why . Bartok played Ravel and studied his music : really fascinating to hear this . We so often think because pianists get known for playing certain types of music that composers are limited in this way (who would think Serkin played Strauss' Burleske but yes he understood where the new German music was coming from ) but composers study craft . Brahms knew Couperin and edited so many composers : a true scholar .
Lovely.Thank you very much.
So inspiring! And entertaining too -- you are a great teacher/performer!!!
Agreed, adding that she is very engaging and captivating also.
Great class..!! Wonderful teacher!
Thats genius in music and story telling, passion real pasion...marvellous musician!!
A great masterclass! Studying with her must have been a wonderful!
Thank you, this was a great class. I've played that piece when I made my final exame, but my teachers never explained that to me. I'm going for it again, you are great, I wish you were my teacher 💗
Wonderful Bartók, wonderful inside to his music
Fantastic! Thank you
Very, very enjoyable! Terrific playing to boot!
what a fantastic and catchy teacher Barbara is! makes me wanna study this piece again soon!
Many thanks for sharing.
Thank you, Barbaro Nissman!
loved it, can't wait for more videos!
Fantastic insights.
Sublime
Fabulous
I want you as my teacher ❤
Maestro Nissman,
That was a brilliant performance and explanation!!
I would like to pose a question to you:
In terms of technique, is this piece as hard as Prokofiev's Suggestion Diabolique??
Thanks so much.
Not at all, sugestion is far more dificcult
Can you guys recommend a percussive piece that would be suitable for intermediate students (I have a picky 15-year old in mind.)
What’s your take on the version by Emerson Lake & Palmer from their debut album.
Brilliantly barbaric! I think it's outstanding.
This chick rules!
Interesting where Barbara Nisman sits, her elbows are relatively low in relation to the keyboard height.
Bravo Barbaro oops Barbara!! 🤣
Very, very nice lecture! I‘m a little baffled though: Is it „la la la sol la (2 3 4) la la la si la“ etc., or „la la la sol la (2 3 4 5) la la la si la“ etc.? That long note sounds odd to me with 5 beats!
I noticed it too, she played a beat too much
@@MartynaKulakowska No she did not play a beat too much. She just put an accent (as Bartok himself indicated!) on the fourth note. When you look at the score you will understand- Bartok wants that accent on the G and and then on the B# (C) following. There are no extra beats here - just a highlight of the accents- the melodic/harmonic variation. Bartok did not want metronomic playing!!
@@barbaranissman5878 there is extra beat - the long note should last 4 in the score sheet, and she plays as 5. 1 beat of left hand too much. check here: th-cam.com/video/Q3NQvDTpbqw/w-d-xo.html
@@MartynaKulakowska I suggest that you look up the definition of agogic accents and perhaps then you will understand what I have written.
@@barbaranissman5878 I understand what you're saying but still in 3:46 she plays 2 quavers in left hand ( octave f sharp and third a c sharp) too much
Cun to kisten to this teacher.
😂😂😂
If I may say, the playing needs more power and rhythm. More weight, but without banging.
I tried to add some weight to my Revolutionary Étude only to get tinnitus. There will be nothing over a mf for the remaining days of my playing.
How do you do more rhythm?? It’s either correct or it isn’t. I’ve noticed people use the word rhythm (incorrectly) when they mean something else. 🤔
@@jtt306 Rhythm is part of the expression. It's a combination of tempo, articulation, and accentuation. It's that feeling of people dancing, or the "grove" if you will.
@@jtt306 So i guess yeah it would involve closer attention to articulation and accents. She mentions them, but they don't have that brawn behind them that this piece requires.
I guess it’s a matter of semantics, but the actual rhythm in this piece is very monotonous. It’s the articulation and shifting sfz accents that make this piece interesting, not the rhythm. I agree you can make greater contrast of those along with fluctuations in tempo. Stronger pulse is probably what you meant. The rhythm is the value of the notes in the meter and that’s it. In some pieces the rhythm is very complex and requires exact precision along with a bunch of other elements, but this isn’t one of them.