“Schliessmann arrives at his own unique interpretations, with reverence for the past (Cortot, Michelangeli, Rubinstein, and Horszowski especially). While each phrase is impeccably shaped, there is an overall thrust to each work that holds everything together. He uses rubato sparingly, and while he embraces the virtuosity in the music, it never overrides other musical content. After a half century of listening to a number of these works, I must say that Schliessmann shed new light on most of them.”

— Burkard Schliessmann

James Harrington in American Record Guide ARG, USA, issue November/December 2010, Volume 73, Number 6, p. 107

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Burkard Schliessmann 33

classical pianist

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“I’m very interested in the ‘Culture of Interpretation.’ I’m convinced that each great artist has his own personal style, but it is his artistic responsibility in developing this style to respond other interpretations, either prior or at the same time. I’m convinced that Rubinstein would have presented us another Chopin if Cortot had not existed. Cortot presented very romantic Chopin interpretations - really masterly, outstanding, but confused. Rubinstein’s immediate answer was a very classical Chopin. He was really the first to point out the classical line and structure in his oeuvre.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

“Most people have music in the center of their lives. I believe my work sheds light on how music affects us and why it is so influential.”

Susan McClary (1946) American musicologist

from http://web.archive.org/20030225083736/www.ucla.edu/spotlight/archive/html_2001_2002/fac0502_mcclalry.html

“Burkard Schliessmann is a fiercely intellectual pianist. He’s intellectual in two senses. First, he approaches this music with a tremendous store of background knowledge - knowledge about the composers and their works, about their early receptions, about their critical writings, about their literary inspirations, and about the cultural milieu in which they found themselves. Second, he performs the music with a rigorous sense of the ways its details contribute to its form, both in terms of its overall architecture and in terms of its vertical structure.”

Burkard Schliessmann classical pianist

Peter J. Rabinowitz in Fanfare - The Magazin for Serious Record Collectors, USA, January/February 2011, Chopin-Schumann Anniversary Edition 2010 in the interpretation of Burkard Schliessmann, Volume 34, Number 3, p. 255

“It's mad isn’t it. I guess I just wanted to make something that people would cherish and hope to hold on to for a while. The goal is to make each book a unique work of art, with an intrinsic quality all their own.”

Lorin Morgan-Richards (1975) American poet, cartoonist, and children's writer

Regarding choosing to bookbind each of his books by hand rather than choosing to have them mass produced; as quoted in "The Caffiene Induced World of Brian A Kenny" https://thecaffieneinducedworldofbrianakenny.wordpress.com/2012/12/06/the-raven-speaks-insight-with-lorin-morgan-richards/ The Raven Speaks: Insight with Lorin Morgan-Richards by Brian A. Kenny (6 December 2012).

“We must walk together, preserving our culture and identifying but paying respect to difference, to the other person. We can work in a way pleasing to God only while respecting, appreciating and helping each other. Let us walk together!”

Gergely Kovács (1968) archbishop of Alba Iulia

Gergely Kovács, the new Archbishop of Transylvanian Catholics https://transylvanianow.com/this-is-my-diocese-i-am-coming-home-says-new-leader-of-transylvanian-catholics-archbishop-gergely-kovacs/ (February 23, 2020)

“Daja: "He and Rosethorn work together? They hate each other."
Lark: "I didn't say they liked it.
- Daja and Lark referring to Rosethorn and Crane's cooperation on finding the cures for new diseases”

Tamora Pierce Briar's Book

Source: Briar's Book

“Nowadays, all students have access to and indeed most own computers and are comfortable with the software used to compose music. There are probably too many musical options for them now and the trick is to limit the number of musical ideas so as to develop structure and continuity in their work.”

Jon Appleton (1939) American composer

"The Decline of Academic Freedom at Dartmouth College", 20 October 2005.
Letter published in "Appleton Leaves Dartmouth", 2005

“The voice so filled with nostalgia that you could almost see the memories floating through the blue smoke, memories not only of music and joy and youth, but perhaps, of dreams. They listened to the music, each hearing it in his own way, feeling relaxed and a part of the music, a part of each other, and almost a part of the world.”

Hubert Selby Jr. Requiem for a Dream

Source: Requiem for a Dream

“Nature herself, indeed, seems to have given music to us as a benefit, to enable us to endure labors with greater facility, for musical sounds cheer even the rower; and it is not only in those works in which the efforts of many, while some pleasing voice leads them, conspire together that music is of avail, but the toil even of people at work by themselves finds itself soothed by song, however rude.”

Quintilian (35–96) ancient Roman rhetor

H. E. Butler's translation:
Indeed nature itself seems to have given music as a boon to men to lighten the strain of labour: even the rower in the galleys is cheered to effort by song. Nor is this function of music confined to cases where the efforts of a number are given union by the sound of some sweet voice that sets the tune, but even solitary workers find solace at their toil in artless song.
Book I, Chapter X, 16
De Institutione Oratoria (c. 95 AD)
Original: (la) Atque eam natura ipsa videtur ad tolerandos facilius labores velut muneri nobis dedisse, si quidem et remigem cantus hortatur; nec solum in iis operibus in quibus plurium conatus praeeunte aliqua iucunda voce conspirat, sed etiam singulorum fatigatio quamlibet se rudi modulatione solatur.

“A novelist's lack of awareness of and critical distance to his own body of work is due to a phenomenon that I have noticed in myself and many others: as soon as it is written, every new book erases the last one, leaving me with the impression that I have forgotten it. I thought I was writing books one after the other in a disjointed way, in successive bouts of oblivion, but often the same faces, the same names, the same places, the same phrases keep coming back in book after book, like patterns on a tapestry woven while half asleep. While half asleep or while daydreaming. A novelist is often a sleepwalker, so steeped is he in what he must write, and it is natural to worry when he crosses the road in case he is run over. Do not forget, though, the extreme precision of sleepwalkers who walk over roofs without ever falling off.”

Patrick Modiano (1945) French writer

From Nobel Lecture (2014)

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Burkard Schliessmann 33

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