“Chopin absolutely was influenced by Bach. We know that before Chopin himself performed in concert, he didn’t play anything other than Bach. His own Preludes are a reference to the Well-Tempered Clavier of Bach, and all Chopin’s students had to play Bach. In whole, Chopin admired Bach most of all composers, and it was nothing less than the Well-Tempered Clavier itself that was his musical diary. I also have said that 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. Whether the Goldbergs may relate to this question? Absolutely! I again want to mention a certain and special term: jeu perlé.”

— Burkard Schliessmann

Without this you can’t play Chopin, you can’t play Mozart, and lastly absolutely not the Goldbergs.
Talkings on Bach

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Burkard Schliessmann 33

classical pianist

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“Herz, Thalberg, Heller, Felicien David and others were great virtuosos of their time, more famous than Chopin himself. They had their own personal styles, but the essence of their music was time-bound, nothing that could occupy generations after them. Chopin, in contrast, was someone special, someone who was completely different from all other artists, composers, and pianists. So too with his style. As a result, the aesthetic in approaching Chopin is distinctive: interpreting his music is the most difficult of all. For me personally, it’s the crowning of playing piano. Bach, Mozart, Chopin: these are the three who definitely created musical art in an all-embracing and overwhelming way.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

“Only once in Chopin's music is there a direct reference to Bach, and that is, appropriately, at the beginning of his only educational work, the two sets of Etudes, Op. 10 and 25, and the three Nouvelles Etudes for Moscheles. In the first Etude, Op. 10, in C major, we find a modernized version of the Prelude no. 1 of the Well-Tempered Keyboard…”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

“Above all, Chopin was the greatest master of counterpoint since Mozart. This will appear paradoxical only if we equate counterpoint with strict fugue, and Chopin wrote no formal fugues except as an academic exercise. His chief training, in both composition and keyboard playing, however, came from a study of Bach, and it was a study that engaged him all his life and which he always recommended to his pupils.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 5 : Chopin: Counterpoint and the Narrative Forms

“To approach Chopin, you have to separate him completely from Schumann. Schumann admired Chopin very much and saw him as friend, but - what only few people know - Chopin himself had much less interest in and esteem for Schumann. In detail: Schumann’s works follow on from a transitional period determined by the successors of Viennese Classicism, particularly Beethoven. Just as the sons of Bach espoused the ‘galant,’ ornamented style of their generation, so the pupils of Mozart and Beethoven - Hummel, Ries, Czerny, Moscheles - took pains to compensate for a thinner musical substance with increased instrumental brilliance and thus prepared the ground for the golden age of the piano and the era of the Romantic virtuoso. Among the multitude of composers writing for the piano at that time, only two - Weber and Schubert - stand out as original creative forces.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

“The extraordinary significance that music holds for Delacroix, and which contributes most to his admiration for Chopin, is a symptom of the new hierarchy of the arts and the prominent position which music occupies in it. It is the romantic art par excellence and Chopin the most romantic of all the romantics. In his relation to Chopin, Delacroix’s intimate connection with romanticism is brought most clearly to light.”

Arnold Hauser (1892–1978) Hungarian art historian

Source: The Social History of Art, Volume III. Rococo, Classicism and Romanticism, 1999, Chapter 6. German and Western Romanticism

“Already at the age of 21 I played the complete organ works of Bach - and this by memory. 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. If you understand the free organ works (preludes, toccatas, fugues), the chorales, and especially the trio sonatas, you have an insight into Bach that others don’t have. Especially the soloistic and independent leadings of the three voices of the trio sonatas is artistically the major aim of an organist; and already the Orgelbüchlein, the part 5 of the Peters Edition, shows Bach in all his structural and emotional effects. Albert Schweitzer described the Orgelbüchlein as something where the tonal speech of Bach is unbeatable. The comprehension of the organ-Bach is an understanding of the counterpoint and the polyphonic structures, and the coherence of Bach himself.”

Burkard Schliessmann classical pianist

Talkings on Bach

“It is fitting that a discourse on Romantic music should commence with a meditation on the art of Bach. The Bach revival is still sometimes considered an early nineteenth-century phenomenon, although this is hardly tenable: in the 1780s Mozart was deeply affected by Bach, and at the same time Beethoven was being brought up on the Well-Tempered Keyboard. Bach was well known to European musicians as a composer of keyboard music through manuscript copies of this work long before systematic publication began in 1800. The "revival" of Bach in the Romantic period was basically a rediscovery of his choral works and a new evaluation of his technique: his art was no longer simply a model for the fugue, as it had been in the eyes of Mozart, but for the art of music as a whole. The new approach to Bach and to Baroque music in general, however, did not extend to the sound of that music on the original instruments. Few musicians in the 1820s and '30s 'had the slightest interest in the sonority of old harpsichords or Baroque organs (Ignaz Moscheles was an engaging exception). What they saw, and needed to see, in Bach was the achievement of an ideal.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 1 : Music and Sound

“Artistic responsibility? (Schliessmann answers using Bach performance as his example): After the rediscovery of Bach by Mendelssohn, Bach was interpreted in a very romantic style. This had nothing to do with Bach. Leopold Stokowski made arrangements for orchestra. O. K., the public had a chance to know the works, but it also had nothing to do with Bach. So Tureck and Gould - despite their substantial differences - came and made something completely radical. Only in this way was there a chance to ‘correct’ the ‘picture’ of interpretation and move in the right direction.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

“I love Bach, I listened to him for 25 years, all my life, so I never get tired of Bach. And to learn Bach and play it is such a joy, even if no one ever hears it, just to play it sitting alone at home it makes you feel good, it's like a form of meditation. You can play it over and over and never get tired of it, it's a miracle. Bach I think is the greatest of all western musicians. Probably most people come to that conclusion.”

Shawn Lane (1963–2003) American musician

laughs
Richard Hallebeek's interview with Shawn Lane (2001)

“You play Bach your way and I'll play him his way.”

Wanda Landowska (1879–1959) Polish-French classical harpsichordist

The Wordsworth Dictionary of Musical Quotations (1994), p. 110 ISBN 1-85326-327-3

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