Let’s take a look at the 25th variation of the second part. Here Bach meets us in his highest and deepest personal and human form: it’s like in the A… - Burkard Schliessmann

I’m very skeptical in approaching Bach as a clean slate. To understand Bach, one has to be at home in the whole literature of art and interpretation; one must have great experience in performing the complete literature, from Bach until the early avantgarde. I’m absolutely convinced that only by this deep knowledge one can feel the all-embracing range of effects that are compressed in Bach and his music - and how later generations have been inspired. Only by this experience you can give the Bach interpretation a new balance and tension. In the case of the Goldberg Variations we are confronted with these all-emotional effects, and I’m also skeptical whether this all-embracing range can be touched by much too young players, on harpsichord as well as on piano. Knowing the true worth of this condensed and nearly welded-in polyphonic structure and singular musical architecture, one ultimately knows that it is impossible to play with the variations, meaning to change voices, or make doublings. Then the music itself would be robbed of its true worth and sense, which can only be revealed by bringing out the embedded simplicity, which however is transformed to an electrified, heated atmosphere. One has to respect the internal strength.

Yes, I’m profoundly a representative of the great hypervirtuosic Romantic epoch. But as already mentioned, my roots also go back to Bach and this special style of interpretation, where I’m also at home. In this special field of tension I also see many of the major composers and works in the Romantic tradition. It was no less than Schumann himself who said that great music finds all its combinations in Bach. Indeed, Schumann also builds up his works in polyphonic style, and even in his orchestral scores and symphonic movements he is a counterpointer. As Romantic and modern his work must have seemed to people of his era and lifetime, in main he was a classicist. That means that - and only to name one typical Romantic composer - Schumann cannot be understood without Bach.

The interpretation reflects my deepest respect for the major composition of the musical literature.