People From Bavaria

"The introduction of a year of compulsory work for every German."

"Nationalisation of the Reichsbank Pub. Ltd. Co., and the central banks."

"Removal of the housing shortage through comprehensive new housing buildings throughout the Reich by means of the new non-profit Construction and Economic Bank to be created according to Art. 21."

"Suppression of all harmful influences in literature and the press, stage, art and cinema."

"Mammonism is the unlimited hypertrophy of the — in itself healthy — human drive for acquisition. Mammonism is the lust for money grown into a madness, which knows no higher goal than to pile money on top of money, which seeks with unequaled brutality to coerce all forces of the world into its service, and must lead to the economic enslavement, to the exploitation of the work-potential of all peoples of the world."

"The only cure, the radical means to heal suffering humanity is the abolition of enslavement to interest on money."

"By Mammonism is to be understood: on the one hand, the overwhelming international money-powers, the supragovernmental financial power enthroned above any right of self-determination of peoples, international big capital, the purely Gold International; on the other hand, a mindset that has taken hold of the broadest circle of peoples; the insatiable lust for gain, the purely worldly-oriented conception of life that has already led to a frightening decline of all moral concepts and can only lead to more."

"The abolition of enslavement to interest signifies the restoration of the free personality, the redemption of man from slavery, from the curse whereby Mammonism has bound his soul."

"National Socialism like Anti-Semitism glimpses in the Jewish-materialistic spirit the primary root of the evil, but it also knows that this most powerful battle of world-history cannot remain standing in purely negative anti-Semitic demands, therefore the entire national- and economic programme of National Socialism rises far above the certainly ground-breaking but negative anti-Semitic battle by positively giving a creative constructive image of how the National Socialist state of work and performance should look. If this main goal is reached, then the National Socialist Party will be dissolved."

"In our Mammonistic blindness we have unlearned how to see clearly that the doctrine of the sanctity of interest is a monstrous self-deception, that the gospel of the loan-interest that alone makes one blessed has entangled our entire thinking in the golden web of international plutocracy."

"Therefore we demand as a fundamental law of the state: ..."

"But the capitalist idea of profitability actually becomes an economic nonsense in the branches of our economy that today rule everything, in the banking and stock-exchange system. The fact of the ruling position of the banks proves most strikingly the economic senselessness of the capitalist idea. With the ‘productions’ of the banks and stock-exchanges never yet has a child been fed, never yet has a freezing person been clothed, in general never has even the smallest requirement that is necessary for life been supplied."

"The abolition of enslavement to interest on money signifies the only possible and conclusive liberation of productive labor from the hidden coercive money-powers."

"Mammonism is the heavy, all-encompassing and overwhelming sickness from which our contemporary cultural sphere, and indeed all mankind, suffers. It is like a devastating illness, like a devouring poison that has gripped the peoples of the world."

"The idea of interest on loans is the diabolical invention of big loan-capital; it alone makes possible the lazy drone's life of a minority of tycoons at the expense of the productive peoples and their work-potential."

"You conductors who are so proud of your power! When a new man faces the orchestra–from the way he walks up the steps to the podium and opens his score–before he even picks up his baton–we know whether he is the master or we."

"In his 60 years of critiquing waste, commercialization, environmental exploitation, and social injustice, he has employed trash, old newspapers, liquid crystals, and industrial materials, and he has even painted with acid. Since Metzger is known for his work’s philosophical dimension, sometimes penning essays related to his art’s themes."

"Facing up to the Nazis and the powers of the Nazi state coloured my life as an artist."

"At the beginning I was confronted with a choice: move into art or revolutionary politics,... I took the path of art at the age of 18.... I could see this possibility of using the ideas of social change within art."

"Atomic physics, was the worst thing that happened in the 20th century."

"What is the significance of viewer participation in your work? It has to do with kinetic art. Kinetic art has very much to do with the interaction between spectator and art. In the second half of the ’50s, this became a big international movement. When I moved from painting to connections within media, this came through in the first work, which was an exhibition of found cardboard pieces. It was a turning point for me. The world itself, the industrial fabricated world, could stand for the man-made world of art."

"I don't want my image to appear in the mass media, since it would detract from the project."

"Auto-destructive art is conceived as a desperate last-minute subversive political weapon used by artists. It is an attack on the Capitalist system and the production of war materials. It is committed to nuclear disarmament and people's struggle."

"So, there lies the brave de Kalb. The generous stranger, who came from a distant land to fight our battles and to water with his blood the tree of liberty. Would to God he had lived to share its fruits!"

"Oh, no! It is impossible. War is a kind of game, and has its fixed rules, whereby, when we are well acquainted with them, we can pretty correctly tell how the trial will go. Tomorrow it seems, the die is to be cast, and, in my judgement, without the least chance on our side. The militia will, I suppose as usual, play the back game. That is, get out of battle as fast as their legs will carry them. But that, you know, won't do for me. I am an old soldier, and cannot run, and I believe I have some brave fellows that will stand by me to the last. So, when you hear of our battle, you will probably hear that your old friend, De Kalb, is at rest."

"No! No! Gentlemen, no emotion for me. But, those of congratulation. I am happy. To die is the irreversible decree of him who made us. Then what joy to be able to meet death without dismay. This, thank God, is my case. The happiness of man is my wish, that happiness I deem inconsistent with slavery, and to avert so great an evil from an innocent people, I will gladly meet the British tomorrow, at any odds whatever."

"Kalb was thus attacked on all sides, but remained during the whole encounter, fighting bravely to the last. Bareheaded and dismounted, with sword in hand, he engaged in one personal encounter after another, encouraging his men with his voice as well as his example, till he had received eleven wounds."

"It is with equal regret, my dear sirs, that I part with you. Because I feel a presentiment that we part to meet no more."

"Well, sir. Perhaps a few hours will show who are the brave."

"On the whole, I have annoyances to bear, of which you can hardly form a conception. One of them is the mutual jealousy of almost all the French officers, particularly against those of higher rank than the rest. These people think of nothing but their incessant intrigues and backbitings. They hate each other like the bitterest enemies, and endeavor to injure each other wherever an opportunity offers. I have given up their society, and very seldom see them. La Fayette is the sole exception; I always meet him with the same cordiality and the same pleasure. He is an excellent young man, and we are good friends... La Fayette is much liked, he is on the best of terms with Washington."

"I thank you sir for your generous sympathy, but I die the death I always prayed for, the death of a soldier fighting for the rights of man."

"Save the Baron de Kalb! Save the Baron de Kalb!"

"De Kalb died, as he had lived, the unconquered friend of liberty."

"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."

"Chopin’s biography remains obscure. He withheld himself all his life, in diametrical contrast to the openness and accessibility of his contemporary Franz Liszt. Chopin always conveyed the impression of a suffering soul, not to say a martyr, almost as if this was to nourish or even underpin his inspiration. Striving for crystalline perfection, he never ventured outside his own domain. You know, the Danish philosopher Søren Kierkegaard is said to have given, as a child, “martyr” as his chosen career. Chopin must have shared this cult of the ‘Pater dolorosus.’"

"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."

"The trends that produced Schumann’s early piano works started out not so much from Weber’s refined brilliance as from Schubert’s more intimate and deeply soul-searching idiom. His creative imagination took him well beyond the harmonic sequences known until his time. He looked at the fugues and canons of earlier composers and discovered in them a Romantic principle. In the interweaving of the voices, the essence of counterpoint found its parallel in the mysterious relationships between the human psyche and exterior phenomena, which Schumann felt impelled to express. Schubert’s broad melodic lyricism has often been contrasted with Schumann’s terse, often quickly repeated motifs, and by comparison Schumann is often erroneously seen as short-winded. Yet it is precisely with these short melodic formulae that he shone his searchlight into the previously unplumbed depths of the human psyche. With them, in a complex canonic web, he wove a dense tissue of sound capable of taking in and reflecting back all the poetical character present. His actual melodies rarely have an arioso form; his harmonic system combines subtle chromatic progressions, suspensions, a rapid alternation of minor and major, and point d’orgue. The shape of Schumann’s scores is characterized by contrapuntal lines, and can at first seem opaque or confused. His music is frequently marked by martial dotted rhythms or dance-like triple time signatures. He loves to veil accented beats of the bar by teasingly intertwining two simultaneous voices in independent motion. This highly inde-pendent instrumental style is perfectly attuned to his own particular compositional idiom. After a period in which the piano had indulged in sensuous beauty of sound and brilliant coloration, in Schumann it again became a tool for conveying poetic monologues in musical terms."

"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."

"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."

"Schliessmann is the best pianist I know at entering the world and expressing the awareness of the German romantics."

"I myself represent the style of a Bach who was a human being with all his heights and depths, who knew life very well. My Bach is the experience of my playing the whole literature; and filling the different voices with their own life, vitality, vividness; it’s the independent speaking-until-singing of the different voices; and lastly it’s a balance between pianistic virtuosity and something chamber-music-like."

"As so often I have pointed out, intuition is a level of the highest range. In details, I don’t have to think or to worry about the realization of my interpretation; no, it’s something that spreads out of my artistic all-compassion. Probably I have to be sorry for it, but this is my deepest artistic conviction for the rightness of an interpretation - interpretation as a summary of something unique and whole, not of a combining of details. Intuition is a level that includes all levels of emotion, intelligence, structure, and architecture. And I’m also confronted with the question of poetry and poesy, something that is so often neglected - especially in Bach."

"The listener with no preconceptions hears massive waves of sound breaking over him and forms from them the image of a passionate soul seeking and finding the path to faith and peace in God through a life of struggle and a vigorous pursuit of ideals. It is impossible not to hear the confessional tone of this musical language; Liszt’s sonata becomes - perhaps involuntarily on the part of the composer - an autobiographical document and one which reveals an artist in the Faustian mold in the person of its author. As in the Harmonies poétiques et religieuses, the underlying religious concept which dominates and permeates the whole work demands a special kind of approach. Whereas representations of human passions and conflicts force themselves on our understanding with their powerfully suggestive coloring, this concept only becomes manifest to those souls who are prepared to soar to the same heights. The equilibrium of the sonata’s hymnic chordal motif, the transformation of its defiant battle motif (first theme) into a triumphant fanfare, and its appearance in bright, high notes on the harp, together with the devotional atmosphere of the Andante, represent a particular challenge to the listener; he is, after all, also expected to grasp the wide-spanned arcs of sound which, from the first hesitant descending octaves to the radiant final chords, build up a graphic panorama of the various stages of progress of a human spirit filled with faith and hope. As the reflection of a remarkable artistic personality worthy of deep admiration and, by extension, of the whole Romantic period, Liszt’s B minor Sonata deserves lasting recognition."

"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."

"To approach Bach, one has to realize that 100 years after Bach’s death, Bach and his music totally had been forgotten. Even while he was still alive, Bach himself believed in the polyphonic power and the resulting symmetric architectures of well-proportioned music. But this had been an artificial truth - even for him. Other composers, including his sons, already composed in another style, where they found other ideals and brought them to new solutions. The spirit of the time already had changed while Bach was still alive. A hundred years later, it was Mendelssohn who about 1850 discovered Bach anew with the performance of the St. Matthew Passion. Now a new renaissance began, and the world learned to know the greatness of Bach. To become acquainted with Bach, many transcriptions were done. But the endeavors in rediscovering Bach had been - stylistically - in a wrong direction. Among these were the orchestral transcriptions of Leopold Stokowski, and the organ interpretations of the multitalented Albert Schweitzer, who, one has to confess, had a decisive effect on the rediscovery of Bach. All performances had gone in the wrong direction: much too romantic, with a false knowledge of historic style, the wrong sound, the wrong rubato, and so on. The necessity of artists like Rosalyn Tureck and Glenn Gould - again 100 years later - has been understandable: The radicalism of Glenn Gould pointed out the real clarity and the internal explosions of the power-filled polyphony in the best way. This extreme style, called by many of his critics refrigerator interpretations, however really had been necessary to demonstrate the right strength to bring out the architecture in the right manner, which had been lost so much before. I’m convinced that the style Glenn Gould played has been the right answer. But there has been another giant: it was no less than Helmut Walcha who, also beginning in the 1950, started his legendary interpretations for the DG-Archive productions of the complete organ-work cycle on historic organs (Silbermann, Arp Schnitger). Also very classical in strength of speed and architectural proportions, he pointed out the polyphonic structures in an enlightened but moreover especially humanistic way, in a much more smooth and elegant way than Glenn Gould on the piano. Some years later it was Virgil Fox who acquainted the U.S. with tours of the complete Bach cycle, which certainly was effective in its own way, but much more modern than Walcha. The ranges of Bach interpretations had become wide, and there were the defenders of the historical style and those of the much more modern romantic style. Also the performances of the orchestral and cantata Bach had become extreme: on one side, for example, Karl Richter, who used a big and rich-toned orchestra; on the other side Helmut Rilling, whose Bach was much more historically oriented."

"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.”"

"It’s quite an obsession to me to communicate at this moment, at this time, with my audience. I don’t only play for them, it’s something I want to give back to them. I feel how each listener in the audience is listening to me, and I feel its warmness, for example, and I give it back to the complete audience. I feel the intensity of hearing, of listening. This is like electricity, and this I give back to the audience. It’s very stimulating."

"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."

"As we all know, the singularity in the art of Bach is the fusion of both levels and lines, the horizontal and vertical line. It’s a real wonder to see that the creation and forming of the horizontal line, the polyphonic structure, also results in this perfect, beautiful vertical line, the harmonic line. As we also know, Bach already used the full harmonic range and radius as no composer before him. My artistic aim of course is to point out the horizontal line in soloistic manner in a dynamically elastic way, but in the same breath to form the harmonic line in a bright field of color (I would call it “harmonic articulation”), to achieve a particular atmosphere of emotions and moods, drama, velocity, vividness, and so on. As we can imagine, these are high demands ..."

"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."