Robert Schumann: Fantasies (Burkard Schliessmann)
Divine Art proudly introduces Burkard Schliessmann’s distinctive interpretation of Robert Schumann’s inner world through the groundbreaking recording project, “Fantasies.” At Berlin’s Teldex Studios, Schliessmann, having immersed himself in Schumann’s oeuvre, sought to reveal the inner qualities of the music, pushing expressive and explosive boundaries. Collaborating with producer Julian Schwenkner and engineer Jupp Wegner, he employed 14 microphones for a Dolby Atmos experience, capturing the intricacies of Schumann’s compositions on 3 SACDs, including an alternative interpretation of Fantasiestücke Op. 12.
Revisiting the Fantasie in C Op. 17, Schliessmann accentuates structural complexities, drawing parallels to Wagner’s Tristan, and presents rhythmic and technical extremes in the second movement. The ‘Fantasies’ recording unfolds a slower tempo in the third movement, providing a genuine listening experience with heightened poetry and explosive electricity. As Burkard Schliessmann navigates Schumann’s intricate musical world in “Fantasies,” this release stands as a landmark in classical piano recordings, complementing his previous album, “Live & Encores.” A must-have for true collectors of excellent piano recordings, “Fantasies” continues Schliessmann’s legacy of delivering extraordinary interpretations that resonate with the discerning classical music enthusiast.
Track Listing
- I.Äußerst bewegt 3:16
- II.Sehr innig und nicht zu rasch – Intermezzo I (Sehr lebhaft) – Erstes Tempo – Intermezzo II (Etwas bewegter) – Langsamer – Adagio – Erstes Tempo 9:48
- III.Sehr aufgeregt – Etwas langsamer – Erstes Tempo – Noch schneller 5:04
- IV.Sehr langsam – Bewegter – Erstes Tempo – Adagio 3:49
- V.Sehr lebhaft 3:22
- VI.Sehr langsam – Etwas bewegter – Erstes Tempo 4:47
- VII.Sehr rasch – Noch schneller – Etwas langsamer 2:11
- VIII.Schnell und spielend 4:47
- I.Durchaus fantastisch und leidenschaftlich vorzutragen 12:50
- II.Mäßig . Durchaus energisch 8:11
- III.Langsam getragen. Durchweg leise zu halten 9:03
- Leicht und zart – Minore I (Etwas langsamer) – - Tempo I - Minore II (Etwas langsamer) – Tempo I – Zum Schluß (Langsam) 7:14
Vol.I
Kreisleriana, Op. 16
Fantasie in C major, Op. 17
Arabeske, Op. 18
Total playing time 73:13
- I.Des Abends (Sehr innig zu spielen) 3:59
- II.Aufschwung (Sehr rasch) 3:22
- III.Warum ? (Langsam und zart) 2:53
- IVGrillen (Mit Humor) 3:38
- V.In der Nacht (Mit Leidenschaft – Etwas langsamer – Tempo I) 4:24
- VI.Fabel (Langsam – Schnell – Langsam – Schnell – Tempo I – Langsam) 3:04
- VII.Traumes Wirren (Äußerst lebhaft) 2:58
- VIII.Ende vom Lied (Mit gutem Humor – Etwas lebhafter – Tempo I – Coda) 5:36
- Leicht und zart – Minore I (Etwas langsamer) – - Tempo I - Minore II (Etwas langsamer) – Tempo I – Zum Schluß (Langsam) 7:01
- I.Des Abends (Sehr innig zu spielen) 3:47
Vol. II
Fantasiestücke, Op. 12 Heft I | Book I | Livre I
Heft II Book II | Livre II
Arabeske, Op. 18
Fantasiestücke, Op. 12
Heft I
- I.Mehr langsam, oft zurückhaltend 4:17
- II.Markiert und lebhaft 4:27
- III.Mit großer Lebhaftigkeit 3:38
- IVAd libitum – Einfach 3:32
- I.Sehr rasch, mit leidenschaftlichem Vortrag 2:18
- II.Ziemlich langsam – Etwas bewegter – Erstes Tempo 5:08
- III.Kräftig und sehr markiert 3:27
- I.Im ruhigen Tempo 2:40
- II.Belebt, nicht zu rasch 2:11
- III.Lebhaft 2:22
- IV.Bewegt 2:26
- V.Im Anfang ruhiges, im Verlauf bewegteres Tempo 3:08
Vol. III
Nachtstücke, Op. 23
Drei Fantasiestücke, Op. 111
Gesänge der Frühe, Op. 133
Der hohen Dichterin Bettina gewidmet
Reviews
“Burkard Schliessmann’s invitation to encounter the core of Schumann presents performances that enrich the soul in a recording that is surely unparalleled.
” —Colin Clarke
“Schliessmann’s interpretations open up completely new, surprising and unexpected horizons and lead into fascinating spheres of poetry, tone colours, expression and agogics. All in all, this album is not only highly recommended, but really a MUST!
” —Irmgard Knechtges-Obrecht
“The sound is perfect…one of the most beautiful-sounding recordings I’ve heard recently…this is a fascinating account of Schumann piano works well-known and not, and worth adding to a collection of recordings
” —Rob Haskins
“As with his other recordings, Schliessmann contributes an extensive, thought-provoking essay. Without hesitation I recommend this recording…there are many, many moments all through these pieces that repay careful listenings. This will certainly be my reference recording for all of the works here.
” —James Harrington
“Without invoking the names of poets Coleridge and Poe, nor the contemporary musician Berlioz, Schliessmann raises the deliberate ambiguities, harmonic and structural, in Schumann’s oeuvre that invoke the darker hues of imaginative expression.… Schliessmann’s realizations of the Schumann scores, therefore, bear the agogic and polyphonic textures that invoke menace and uncertainty, even while an otherwise placid surface presents itself, as in the familiar Arabeske in C. The recording from Berlin’s Teldex Studios, utilizing the Dolby Atmos process, has done Schliessmann’s keyboard good service.… Highly recommended, both to read and to audition.
” —Gary Lemco
“With Robert Schumann: Fantasies, Burkard Schliessmann has opened up new horizons for Schumann interpretation. His performances combine the intellect necessary to understand Schumann’s music, the highest level of poetry and just the right instinct for timbres, agogics and tempo.
” —Daniel Höhr
“Captured in superlative sound, his Steinway instrument is caught magnificently…Under Schliessmann’s fingers, the music seems to strive for an unknown other, and yet the search emanates from a heart at peace. Burkard Schliessmann, in his finest offering yet, offers a homage to Schumann for the ages.
” —Colin Clarke
“Burkard’s pianism is, as always, a thing of beauty to behold, at once limpid and limned, while always equally as constant in attention to the demands and details of the score as to the emotions and expressive gestures the written notes imply. In my experience, Burkard Schliessmann’s Schumann may be equaled by two or three pianists past—Richter, Horowitz, and especially Arrau—but he is not surpassed by any of them.
” —Jerry Dubbins
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