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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 P… - Burkard Schliessmann
" "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. Without this you can’t play Chopin, you can’t play Mozart, and lastly absolutely not the Goldbergs.
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About Burkard Schliessmann
Burkard Schliessmann is a German classical pianist and concert artist with an active international career.
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Additional quotes by Burkard Schliessmann
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 Art of Fugue in the unfinished fugue No. 20, where Bach confronts us with his personal signature. It was he himself, who, after he had been occupied during his whole life with symbols, with numbers, with the mastering of structural and formal problems and renewals, now he saw himself confronted with a personal view into mirror. He now shows us a human being in his whole conception of life. The composer of “Come, oh sweet death” now is confessing, “Oh sweet death, how bitter is your prickle.”
Schumann’s Kreisleriana: No other cycle among Schumann’s great works so perfectly expresses the sensation of dark nocturnal things, of chaos, lurking in the background. The last piece of this collection shows this particularly well. Like skeletons on horseback, shadowy figures flit before us in a soft, sustained rhythm; in the middle section horn-calls enliven the scene with visions of knightly strength and nobility, but at the end the figures vanish ghost - like into night and mystery. Looking into the first volume of Schumann’s diaries we find ‘Midnight Piece,’ a prose passage which provides moving, indeed alarming evidence of his perilously depressive mental state. It contains elements of a highly personal kind which memorably convey the particular quality of his imagination, mortally cold and never far from visions of death. It could have served perfectly as a model for the final, disturbing piece in the Kreisleriana set.
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