Burkard Schliessmann

In 2008, Schliessmann said that he played Bach more than any other composer and that he had played the complete organ works at the age of 21 – and this by memory.[9]

As a child and youngster I had been taught by one of the last master-students of the legendary Helmut Walcha, and I completely had been affected by this style of insight into Bach and the internal structures. This method of regarding the independent coherence of all the voices gave me a special comprehension of Bach and his philosophy. Lastly one can say that I have been growing up with Bach, even to this day.

— Burkard Schliessmann, Fanfare[9]

Goldberg Variations, BWV 988, Aria Autograph

In a segment of an interview with James Reel in Fanfare entitled "Burkard Schliessmann Articulates His Approach to Bach", Schliessmann speaks about the surreal and metaphysical experience of playing the Bach Goldberg Variations. According to Schliessmann, "Bach really cannot be seen, understood, and interpreted from an isolated point. Bach has to be explored as part of something complete, unique, of a universe – an aspect of human realism."[9] This Schliessmann also stated in broadcastings on SWR, WDR and HR.[13][14][15][16]

According to Schliessmann, "Chopin is the crowning and climax of piano-playing. It's something so unique, all-affecting in emotionalism, musical architecture, and structure, that all past giants are present in it: Bach and Mozart. Chopin's elegance is so singular, that again you need much experience to convey his music in the real and original style. The question of rubato is very sensitive: It's nothing arbitrary, but much more something well calculated and well proportioned, something that is integrated in the classical strength of form, which is constructed on the profound knowledge of the polyphonic and contrapuntal structures of Bach and Mozart."[9]

In another interview with Peter J. Rabinowitz in Fanfare entitled "Cannons Camouflaged by Flowers: Burkard Schliessmann Talks about Chopin", Schliessmann stated, "To approach Chopin, you have to separate him stylistically completely from Schumann. Schumann admired Chopin very much and saw him as friend, but Chopin himself had much less interest in and esteem for Schumann. Whereas the young Schumann's creative path led in the opposite direction, from classical forms – however deeply revered, to the freedom of subjective self-expression – this is an absolute deep contrast to Chopin, who found himself favoring a classical form of musical essence. He needs to bring nothing in from outside, the music is nearly absolute."[17]

In a segment of an interview in Fanfare entitled "A Philosophy, Not a Profession: The Art of Burkard Schliessmann", Peter J. Rabinowitz wrote that Schliessmann is a connoisseur of the mechanics of the piano and he insists that his concert instruments be in perfect condition. He described that according to Schliessmann the quality of the sound has its source, as well, in the quality of his piano technician, Georges Ammann.[6]

"I don't want to be conceited," Schliessmann said, "absolutely not, but it's a fact that piano and player have to blend into one."[6]

Peter J. Rabinowitz added that for Schliessmann "the interaction between piano and concert hall is also extremely important. He often travels with his own favored instruments (especially if there is a recording or broadcast involved), and he carefully adjusts to any hall in which he plays."[6]

Schliessmann stated: "I need a day to hear the hall and to place the piano at the right position. This maximizes the impact on the audience."[6]

James Inverne wrote in Steinway International Pianos Magazine that "Schliessmann owns two treasured Steinways. They were carefully selected after years of searching."[18] One, Schliessmann said, is a "very orchestral" instrument and is used for large scale works. The other "is very sensitive and sensible, great for chamber music." He added: "The search for the ideal instruments was entirely worth it: My pianos are alive to me and a mirror of me. It was vital to get it right."[18]

According to Peter J. Rabinowitz, the artistic fulfilment of Schliessmann's performances is the communication with his audience.[6] Phil Muse commented: "There is a strong personality behind his performances, one that always has a decided opinion about the music" and the FAZ described his concert appearances as a "mystic fusion".[10][19]

It's quite an obsession to me to communicate at this moment, at this time, with my audience. I don't only play for them, it's something I want to give back to them. I feel how each listener in the audience is listening to me, and I feel its warmness, for example, and I give it back to the complete audience. I feel the intensity of hearing, of listening. This is like electricity, and this I give back to the audience. It's very stimulating.

— Burkard Schliessmann, Fanfare[6]

Peter J. Rabinowitz explained, "this give and take is so important that, when recording in a studio, he likes to bring a few friends along to serve as an audience."[6]

Schliessmann himself said: "Sometimes, I ask one, two, or more people just to sit in the audience and to listen to me with concentration as I play. It's stimulating for me, and I try to build up a situation like that in a recital with a live audience. This helps me to play in a way that electrifies people."[6]

The interview in Fanfare entitled "Cannons Camouflaged by Flowers: Burkard Schliessmann Talks about Chopin" concluded with a statement of Schliessmann:

The things that are most important to me [...] are perfectionism and truth. Truth of interpretation, truth of sound, truth of the instrument, truth of the hall, truth lastly of all. This means Artistic Integrity to me. Coming back to my artistic aims in my Chopin: It's a special combination of lyricism, poetry, virtuosity, noblesse, classical strength but also romantic enthusiasm and passion, in bringing out this obscure man Chopin ...

— Burkard Schliessmann, Fanfare[17]

In a segment of an interview in The Cross-Eyed Pianist entitled ″Meet the Artist – Burkard Schliessmann, pianist″ Schliessmann answered the question: As a musician, what is your definition of success?

True success is connected and bounded to the truth of interpretation. There begins and starts a long lasting experience: the chance that the artistry of a true artist will live on for generations, and will influence other epochs. This is the meaning of artistic integrity – and the definition of success.

— Burkard Schliessmann, The Cross-Eyed Pianist[20]

• Joh. Seb. Bach: Goldberg Variations, BWV 988, Divine Art, ddc 25754 (2 SACD; also available on Dolby Atmos)[38]
• Busoni, Schumann, Liszt, Scriabin, Berg: At the Heart of the Piano (Disc 1: Bach/Busoni — Chaconne in D minor, Schumann — Symphonic Etudes, Op. 13; Disc 2: Schumann — Fantasie in C major, Op. 17, Liszt — Piano Sonata in B minor; Disc 3: Scriabin — Sonata in F sharp minor, Op. 23, Études and Preludes Opp. 2 – 74, Berg — Piano Sonata, Op. 1), Divine Art, dda 21373 (3 CD)[39]
• Frédéric Chopin: Chronological Chopin — Ballades – Preludes – Scherzi and other works (Disc A: Scherzo No. 1 in B minor, Op. 20, Ballade No. 1 in G minor, Op. 23, 24 Préludes, Op. 28; Disc B: Scherzo No. 2 in B-flat minor, Op. 31, Ballade No. 2 in F major, Op. 38, Scherzo No. 3 in C-sharp minor, Op. 39, Prélude in C-sharp minor, Op. 45, Ballade No. 3 in A-flat major, Op. 47, Fantaisie in F minor, Op. 49; Disc C: Ballade No. 4 in F minor, Op. 52, Scherzo No. 4 in E major, Op. 54, Berceuse in D-flat major, Op. 57, Barcarolle in F-sharp major, Op. 60, Polonaise-Fantaisie in A-flat major, Op. 61), Divine Art, ddc 25752 (3 SACD)[40]
• Joh. Seb. Bach: Keyboard Works (Partita No. 2 in C minor, BWV 826, Italian Concerto, BWV 971, Fantasia and Fugue in A minor, BWV 904, Fantasia, Adagio (BWV 968) and Fugue in C minor, BWV 906, Chromatic Fantasia and Fugue in D minor, BWV 903), Divine Art, ddc 25751 (SACD)[41]
• Chopin – Schumann Anniversary Edition 2010, MSR-Classics, MS 1361 (2 SACD)[11][17][42][43]
• Bach: Goldberg Variations, BWV 988, Bayer BR 100 326 (2 SACD)[9][44][45][46][47][48]
• Burkard Schliessmann: Chopin (4 Ballades Opp. 23, 38, 47, 52, Fantaisie Op. 49, Barcarolle Op. 60, Polonaise-Fantaisie Op. 61), Bayer BR 100 348 (SACD)[49]
• Schumann: Kreisleriana Op. 16, Symphonic Etudes Op. 13 (incl. Variations posthumes), Bayer BR 100 311[50]
• Schumann – Liszt: Fantasie in C major Op. 17, Sonata in B minor, Bayer BR 100 293[51]
• Scriabin: Piano Works, Opp. 2 – 74, Bayer BR 100 161

• Chopin: piano works — Ballades – Preludes – Scherzi and other works (Vinyl A – Side 1: Ballade No. 1 in G minor, Op. 23, Fantaisie in F minor, Op. 49; Side 2: Scherzo No. 2 in B-flat minor, Op. 31, Scherzo No. 4 in E major, Op. 54; Vinyl B – Side 1: Ballade No. 3 in A-flat major, Op. 47, Prélude in C-sharp minor, Op. 45, Ballade No. 4 in F minor, Op. 52; Side 2: Barcarolle in F-sharp major, Op. 60, Polonaise-Fantaisie in A-flat major, Op. 61), Divine Art, ddl 12401 (2 LP)[52]

• Liszt: Piano Transcriptions of Schubert Songs and Godowsky Symphonic Metamorphoses on Waltzes and Themes of Johann Strauss, Arthaus 100 455[33]
• Arthaus DVD Sampler III (Featuring artists including Roberto Alagna, Angela Gheorghiu, Cecilia Bartoli, Bryn Terfel, Claudio Abbado, Montserrat Caballé, Burkard Schliessmann, Philip Langridge, Vesselina Kasarova, Willard White), Arthaus DVD 100 773[53]