People From Bavaria

"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."

"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."

"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 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."

"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."

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

"Sometimes, I ask one, two, or more people just to sit in the audience and to listen to me with concentration as I play. It’s stimulating for me, and I try to build up a situation like that in a recital with a live audience. This helps me to play in a way that electrifies people."

"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."

"People like to pigeon-hole pianists. There are, we are routinely told, the barnstormers – romantic pianists who throw the entire force of the heart and soul into their playing – and then there is the more analytical school – those who play by intellect, everything meticulously thought out and delicately weighted. By and large it’s piffle, of course; few pianists would admit to excluding head or heart in their playing and great interpretations are forged through a combination of the two, and more besides. But German-born Burkard Schliessmann rejects such divisions more than most."

"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."

"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.”"

"The Goldberg Variations are, as explained in my booklet-text, in short, music that observes neither end nor beginning, music with neither real climax nor real resolution, music that, like Baudelaire’s lovers, “rests lightly on the wings of the unchecked wind.” Gould is referring here to the circular design of the work, a circularity whose development is polarized, inspired, and fed by more and more new energy fields. The result is a universe that in its significance resembles the alpha and omega of music in general, music that evolves out of nothing and disappears back into nothing as if in a state in which time stands still."

"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."

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

"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."

"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."

"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."

"Closing Word Learn to eat of the tree of Knowledge, and of the tree of Life enjoy the fruit. Seek both within yourself, and so you recognize them and know their place, you are come to the highest rung of the 12 step ladder. Through this will the Divine-Love be awoken that does not have a place in the twisted minds of men, but dwells in his heart, from which the salvational current will be born which gives us the vision of the eternal light and annihilates all falsity. "The eternal-feminine draws us up?!""

"Reuss was very uncertain in temper, and in many ways unreliable. In his last years he seems to have completely lost his grip, even accusing The Book of the Law of communistic tendencies, than which no statement could be more absurd. Yet it seems that he must have been to some extent correctly led, on account of his having made the appointments of yourself and Frater Achad (Charles Stansfeld Jones), and designating me in his last letter as his successor."

"Gurnemanz is still not absolutely certain that Parsifal is pure and a fool, as he makes the decision to lead Parsifal to the castle of the Graal, for Gurnemanz sang after they both had walked a while: Now pay attention, and let me see, if you are a fool and if you are pure ...! — The test, if he is a pure fool, shall come to Parsifal first in the Temple of the Graal! This point cannot be worked out further here."

"Now begins the true pilgrimage: Parsifal with the lance in hand! Here begins the symbol of renunciation! The renunciation lies, symbolically expressed, in the words, with the lance in hand! A renunciation is first, then, a renunciation in the true sense of the word, when one does not do something that one has recognized as desirable and has wished to do. The sojourn of Parsifal with the lance in hand corresponds to the 40 days that Christ shall have spent in the wastelands. It corresponds to the trials and tribulations which all candidates of all the old religions, of all mystical secret societies etc. had to undergo, before they could become initiates. This sojourn also corresponds therefore, to the 40 days of the fast and abstention, which yet today the initiates of a mystical society impose on their candidates as a test before they are left to study the mystical secret, salvational — teachings."

"Now it remains only to show what the conception grace of the highest miracle, seeks in the greatest holy heater with last love-meal in sacred vessel flowing as longed for by the Knights. What in short — is the Graal! But Parsifal does not ask in the first act: What is the Graal, Parsifal asks, Who is the Graal? — and why does Wagner not have Parsifal say: What is the Graal? — Here lies hidden a profound mystery! So Parsifal asks (with underlying intent of the author): Who is the Graal? — and Gurnemanz answers quite revealingly: That one does not say!"

"Nothung, Nothung, envious sword — what is the sword Nothung, but that unbreakable legacy which Siegfried, as the only son of the father, re-tempers in the fire of youth. What else, but the symbol of the primal-sword (primal-Phallus!) The primal-father has stuck this primal-sword into the trunk of the primal-tree, and whoever pulls out this sword wins a woman with it — as bride and sister! These are no symbols of sexual-abstinence!"

"Contemporaneous with the awakening of the interest of the great masses of the German people in Parsifal, a flood of newspaper articles about Parsifal have begun, of which, most have no trace of a hint of the deep deep mystical meaning of the plot and the symbology of the play is lost. The great masses of the Parsifal-critics and Parsifal-commentators, who have not a trace of a hint of the deep mystical meaning of the secret of the graal, are not even the worst enemies of Wagner and the Idea of Parsifal. The real worst, by which I mean here, the dangerous enemies of Wagner's are those people — columnists, critics, interpreters etc. — who surely have no clue of deep mystical meaning of Parsifal — and the idea of the Graal, but go against the recognized meaning, or purposely change the true and only really deep meaning of the Parsifal idea into its exact opposite meaning. The worst of the last category are the sexual-ascetics. For they understand the meaning of the Parsifal-Symbology very well, but they reverse Wagners idea into its exact opposite. They are those, who on the basis of the plot of the play Parsifal and on the false understanding of its underlying mystery, proclaim sexual abstinence to the German people, far and wide as the gospel of renunciation, and they knowingly lay the foundation for the decline of the virulent German people. If it has not yet succeeded,it is high time to pull the carpet out from under the feet of these false prophets."

"A Warning to all Close minded, petty, or malicious, great and small spirits! Just as the whole plot of Parsifal of the festal play of Richard Wagner is only an allegory, a symbolical depiction with no real occurrence in the material world, so the above explanation of the Graal-secret is not to be understood as literal, personal, material, earthly, relative to vulgar events. But it is only to be understood as totally impersonal, symbolical, and relative on purely spiritual grounds."

"This first stage of the life of the whole race is savagery, raw nature:… a condition in which man enjoys the most exquisite goods, equality and freedom, in full abundance, and would also enjoy them forever, if he would follow the hint of nature and understand the art of not abusing his powers and preventing the outbreak of his excessive passions."

"In this time, when the games and abuses of secret societies were without end, I wanted to make use of this human weakness for a real and worthy goal, the welfare of mankind.… I wanted what the heads of the ecclesiastical and secular powers should do and want by virtue of their offices."

"Wishaupt seems to be an enthusiastic Philanthropist. He is among those (as you know the excellent [Richard] Price and Priestley also are) who believe in the indefinite perfectibility of man. He thinks he may in time be rendered so perfect that he will be able to govern himself in every circumstance so as to injure none, to do all the good he can, to leave government no occasion to exercise their powers over him, & of course to render political government useless."

"In the stage of manhood alone does the human race first appear in his dignity; only there are his principles fixed, his connections appropriate, he sees the full circumference of his sphere; there alone — after we have already learned through many detours, through long, repeated, sad experiences, what a calamity it is to arrogate the rights of others, to raise oneself over others through mere external advantages, to use his size to the detriment of others — there alone one recognizes, believes, feels what an honor, what a joy it is to be a human being."

"As Wishaupt lived under the tyranny of a despot & priests, he knew that caution was necessary even in spreading information, & the principles of pure morality.… He proposed to initiate new members into his body by gradations proportioned to his fears of the thunderbolts of tyranny. This has given an air of mystery to his views, was the foundation of his banishment, the subversion of the masonic order, & is the colour for the ravings against him of Robinson, Barruel & Morse, whose real fears are that the craft would be endangered by the spreading of information, reason, & natural morality among men."

"Should you seek might, power, false honor, excess — seek that we would work for you to provide your temporal advantages — we will bring you as close to the throne as you wish, and then turn you over to the consequences of your folly, but our inner sanctuary remains closed to such. But should you want to learn wisdom — want to learn to make mankind more clever, better, free and happy — then be thrice welcomed by us."

"It has been claimed that Dr. Weishaupt was an atheist, a Cabalistic magician, a rationalist, a mystic; a democrat, a socialist, an anarchist, a fascist; a Machiavellian amoralist, an alchemist, a totalitarian and an "enthusiastic philanthropist." (The last was the verdict of Thomas Jefferson, by the way.)"

"Since the number of men is large but the earthly realm is not inexhaustible, one man can no longer profit from the labour of twenty. Moderation, contentment, and frugality must become the general morals of mankind. […] The whole earth becomes a garden, and nature has at last completed her day’s work here below, bringing permanent enlightenment, peace, and felicity together with the greatest possible number of men : she has anointed every man as his own judge, priest, and king; has turned the often-ridiculed tale of the golden age, mankind’s favorite idea of old, into a reality by discreetly removing the eternal inequality of wealth, which has been ineffectively combated by all lawgivers and has always has crept back in, and which is the source of the decay of all nations, and the root of servitude, tyranny, and disunity among men, of venality and moral corruption, making it forever impossible through the excessive growth of the human population."

"The one safe generalization one can make is that Weishaupt's intent to maintain secrecy has worked; no two students of Illuminology have ever agreed totally about what the "inner secret" or purpose of the order actually was (or is …)."

"Do you realize sufficiently what it means to rule—to rule in a secret society? Not only over the lesser or more important of the populace, but over the best of men, over men of all ranks, nations, and religions, to rule without external force, to unite them indissolubly, to breathe one spirit and soul into them, men distributed over all parts of the world?"

"I myself brought Deism no more to Bavaria than to Rome or Italy. I found it there already; and I shall give the reasons below, just why in the most fanatical countries, and more under Catholicism than Protestantism, this sort of person is found in such a measure and multitude."

"Hitler biograpger Ian Kershaw described Faulhaber as "a man of sharp acumen, who had often courageously criticized the Nazi attacks on the Catholic Church". (Ian Kershaw; Hitler a Biography; 2008 Edn; WW Norton & Company; London; p. 373)"

"The Christian, so long as he observes the above conditions, is not forbidden to stand up for his race and for its rights. It is possible, therefore, without divided allegiance, to be an upright German and at the same time an upright Christian. Hence there is no need to turn our backs upon Christianity and to set up a Nordic or Germanic religion, in order to profess our nationality. But we must never forget: we are not redeemed with German blood. We are redeemed with the Precious Blood of our crucified Lord (I Pet. i, 9)."

"The Encyclopedia Britannica says: "Repelled by Nazi totalitarianism, neopaganism, and racism, Faulhaber contributed to the failure of Hitler’s Munich Putsch (1923)... During the Nazi regime he delivered his famous sermons entitled Judaism, Christianity, and Germany... Throughout his sermons until the collapse (1945) of the Third Reich, Faulhaber vigorously criticized Nazism, despite governmental opposition. Attempts on his life were made in 1934 and in 1938. He worked with American occupation forces after the war, and he received the West German Republic’s highest award, the Grand Cross of the Order of Merit.""

"Outside Palestine the ancient East treated women as slaves without rights... in the fourth commandment, Thou shalt honour thy father and thy mother, the mother is set upon the same level as the father in the eyes of the children. Such reverence for women was not revealed by oriental 'flesh and blood.'"

"The times are not far distant when we used to hear the cry in Communistic circles: 'Private property is a theft from the people.' Fortunately these voices are now silenced."

"Notwithstanding all the guidance of divine grace Israel did not know the time of her visitation. [-] The great majority of the people rejected the Messiah with the cry: 'His blood be upon us and upon our children' (Matt. xxvii, 25)."

"These ten commandments come to us as a Divine Revelation, as a document signed by God Himself [-] But these books contain a higher wisdom besides. Not the wisdom of the street corners, nor the wisdom of the learned schools, but the conduct which God requires of us"

"Cardinal Manning once said to the Jews : * I should not understand my own religion, had I no reverence for yours. Let us venerate the Scriptures of the Old Testament! And let us not allow Bible history to be abolished in our schools !"

"Let us venerate the Scriptures of the Old Testament... By accepting these books Christianity does not become a Jewish religion. These books were not composed by Jews; they are inspired by the Holy Ghost, and therefore they are the word of God, they are God's books. [-] Antagonism to the Jews of today must not be extended to the books of pre-Christian Judaism."

"In recent years the fourth commandment has been stigmatized as un-German because it proposes a reward for its observance... on November I3th, 1933, the German Christians passed the following resolution : We expect our national Churches to shake themselves free of all that is un-German, in particular of the Old Testament and its Jewish morality of rewards... But it is not true to say that the fourth commandment teaches children a mercenary attitude with regard to God, that it encourages and consecrates an un-German spirit of self-seeking."

"The German classics honoured the Scriptures of the Old Testament... If we are to repudiate the Old Testament and banish it from our schools and from our national libraries, then we must disown our German classics. We must cancel many phrases from the German language... We must disown the intellectual history of our nation."

"No nation ever insisted more on race and ties of blood than the Israelites of the Old Testament. But in the fullness of time the dogma of race was eclipsed by the dogma of faith. Around the cradle of Bethlehem there were Jews and pagans, shepherds from the land of Juda and wise men from the East. In the kingdom of this Child, according to the words of His Apostle, there is no distinction of the Jew and the Greek, for the same is Lord over all (Rom. x, 12)."

"Cardinal Michael Faulhaber, Archbishop of Munich and temporary vice-rector of the Anima, even referred to his episcopal colleague [ Alois Hudal ] as 'court theologian of the NSDAP', even though he himself had for a long time maintained bridges between fascism and the Church. After 1945, however, he changed his position and distanced himself from Hudal."

"...among no people of the pre-Christian era do we find so great a number of intellectually prominent men who, by their words and by their whole personality, have devoted themselves to the religious guidance of their nation, as among the people of the early Bible... our Germanists would do well to notice... the science of religions is able to make the comparison; and to the people of Israel it will award this certificate: You have excelled them all by the sublimity of your religion..."