Join Prokofiev expert Barbara Nissman for a lesson on the tautly structured first movement of Prokofiev’s Sixth Sonata.

Nissman begins with an introduction to Prokofiev and his multifaceted musical personality. Far from being merely harsh and brittle, Prokofiev’s music encompasses lyricism, heart, and impeccable craftsmanship. She also explores Prokofiev’s reputation as a virtuoso pianist and his considerable output for the instrument, culminating the in three so-called “War Sonatas.”

Bringing her attention to the Sixth Sonata, Nissman walks you through the first movement, giving special attention to how each section functions in the overall form. She shows how Prokofiev’s apparent complexity is more in the piano writing rather than the underlying structure, which is very clear and derived from Classical models — especially Beethoven. By explaining the structural role of each section and motive, Nissman gives you a clear road map to the piece: where the tension is, which details should be emphasized.

In tandem with this close look at how all the sections relate to one another, Nissman provides practical pianistic advice for how best to bring out the distinctive character of each passage. To sustain certain bass notes, she makes use of the middle (sostenuto) pedal as well as pedal vibrato (partial changes of the right pedal). To tackle Prokofiev’s acrobatic piano writing, Nissman often throws the hand without the typical “touch-then-play” approach. She also offers two tips that are particularly helpful for pianists with smaller hands and short arms: specific redistributions of notes between the hands, as well as places where you can lean forward to reach the extremes of the keyboard. The main goal is to constantly maintain your focus on melodic material despite the keyboard acrobatics all around.

Throughout, it’s often necessary to create a dialogue between different voices, as well as to bring out Prokofiev’s biting and sarcastic sense of humor with the jabbing, obstinate dissonances that eventually start to seem familiar. Nissman closes the lesson by once again stressing the importance of understanding the structure and making it the basis for your interpretive decisions.

Join Prokofiev expert Barbara Nissman for a lively look at the tongue-in-cheek scherzo second movement of Prokofiev’s Sixth Sonata.

Nissman sees both the second and third movements of this sonata as relatively light diversions from the weighty, warlike outer movements. She continues her focus on form, showing how Prokofiev fills out the typical scherzo form by interjecting a lyrical melodic section in between his repeated layering of new accompaniments underneath the main theme. Other elements to watch out for: Prokofiev’s habit of wide-ranging, unprepared modulations, and, at the end, a subtle motivic link with the first movement. To keep the overall form very clear, Nissman shows you how to handle transitions: careful attention to keeping bass notes sustained and knowing how much time to take, if any.

This movement is very vivid in character, showcasing Prokofiev’s straight-faced humor punctuated with musical “jabs in the ribs,” which contrasts with the balletic, lyrical middle section. To bring out these varied characters, Nissman gives remarks on articulation, variety of tone color, musical dialogue, and throwing the hand. Most importantly, she reminds you how to keep your priorities straight by focusing attention on the melody, not just on the tricky passages. Above all, communicate the humor of this movement and have fun with it — then the audience will too!

In this lesson, Prokofiev expert Barbara Nissman walks you through the powerfully expressive third movement of Prokofiev’s Sixth Sonata. This wistful almost-waltz shows a hint of influence from the composer’s acquaintance with George Gershwin, but naturally expressed in Prokofiev’s own voice.

This movement is deeply imbued with nostalgia, and its great emotional scope is matched by its richly expansive form. Nissman shows how Prokofiev expands the usual proportions of three-part slow movement form, adding repetitions in unexpected, mysterious keys, false returns, and surprising interjections.

This slow movement also plays a role in the sonata’s overall structure. Like in the first movement, the first section of this movement ends with a new “motto” theme. In addition, a hammering motive in this movement’s middle section foreshadows the motoric finale.

Nissman emphasizes that by keeping in mind a clear “road map” of structure and harmony, you can avoid accidental detours to the wrong key — a major concern in this intricate, digressive piece!