Chopin’s biography remains obscure. He withheld himself all his life, in diametrical contrast to the openness and accessibility of his contemporary F… - Burkard Schliessmann

The Goldberg Variations have always enjoyed a special status, with pianists regarding them as a touchstone of their technical and interpretative powers. At stake are the ability to light up the work from within, a tightrope walk that at the same time describes a vast circle, starting out and returning to a state of apotheotic stillness, the ability to find one’s bearings within a particular concentration of inner and outer complexity, an inner and outer coherence and homogeneity that are all-embracing, the ability, finally, to produce an explosion of inner cells by reduced means and, hence, a particular sensitivity, sinewy tension, and color. The performer must play a game with particular devices, finding solutions to the problems posed by the work not in octave doublings and other playful expedients but in a tightly structured inner rigor and order. What is demanded is a particular form of internalization, of inner and outer lyricism. It is this that makes the Goldberg Variations so unique - and so demanding.

Yet in a relatively short creative life of twenty years or so, Chopin redrew the boundaries of Romantic music, and his self-imposed restriction to the 88 keys of the piano keyboard sublimated nothing less than the aesthetic essence of piano music. It was his total identification with the instrument which, in its radical regeneration of the lyric and the dramatic, fantasy and passion and their unique fusion, shaped a tonal language which united an aristocratic sense of style and formal Classical training and intuition with an ascetic rigor. Chopin’s precisely marshaled trains of thought permitted no experiments, and so he did not ‘wander about’ within his stylistic points of reference as Scriabin was to do. Chopin’s works may seem light and improvisatory, but they are planned in meticulous details, exactly and well calculated.

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.