In the heart of Berlin, from August 28th to September 2nd, 2023, a remarkable musical endeavour took place at the renowned Teldex Studios. Pianist Burkard Schliessmann, immersed in years of intensive study of Robert Schumann’s oeuvre, embarked on a profound recording project. This venture aimed to delve into the innermost essence of Schumann’s compositions, showcasing a unique approach that distinguishes it from the Schliessmann’s previous ‘Live & Encores’ production.

While ‘Live & Encores’ offered a live and spontaneous representation of a diverse concert program, Fantasies focuses exclusively on Robert Schumann. The objective was to illuminate the inner germ cells of the music, exploring its expressiveness and explosiveness to push it to its limits. Stylistically, Schumann’s piano works, situated in a transitional period, drew inspiration from Bach’s polyphony and reflected the influences of Viennese Classicism and Beethoven. This recording aimed to bring out the originality and greatness of Schumann’s style, characterized by compositional inventiveness and a Romantic interpretation of counterpoint.

To meet the challenge of portraying Schumann’s complexity, Burkard Schliessmann used an outstanding Steinway (D-612236, provided by Daniel Brech – www.piano-solo.org) with two keyboards, each offering a different voicing, sound, and intonation. One keyboard produced a bright, brilliant sound, while the other delivered a dark, warm sound. Recording Producer Julian Schwenkner, alongside Recording Engineer Jupp Wegner, employed cutting-edge technology, utilizing 14 microphones for a Dolby Atmos experience. The technical setup and equipment were crucial in capturing the intricacies of Schumann’s compositions during the recording process.

Engaging in a state of “trance” during the recording process, Schliessmann merged with the Teldex Studio’s acoustics, the unique instrument, and the compositions themselves. The artist, in collaboration with Julian Schwenkner, delved into various editions and originals, elevating Schumann to a special level of interpretation. The resulting 3 SACDs included a distinctive feature: the second SACD presented a further interpretation of Fantasiestücke Op. 12, showcasing the interchange of keyboards to highlight the variety and complexity of interpretation possibilities.

The recording also featured two different interpretations of some works, such as the Arabeske and Des Abends from the Fantasiestücke Op.12, by exchanging the keyboards. This demonstrated the influence of the instrument and acoustics on interpretation. The second SACD includes a unique rendition of Des Abends, creating a transition to the darkness of the Nachtstücke Op. 23, introducing the late pieces by Schumann.

Revisiting the Fantasia in C Op. 17:

Addressing the question of why the Fantasia in C Op. 17 was recorded again, Burkard Schliessmann explained the extraordinary difference in interpretation between the ‘Live & Encores’ performance in March and the ‘Fantasies’ studio recording in August 2023. Schumann’s description of the opening movement as the “most passionate” of all his works laid the groundwork for the artist’s decision. Schliessmann aimed to highlight the structural complexities, drawing parallels to Wagner’s Tristan, and showcase the rhythmic and technical extremes of the second movement.

The third movement, in particular, revealed a significant difference in interpretation based on the Teldex Studio acoustics and the instrument used. The ‘Fantasies’ recording delivers a slower tempo, providing a true listening experience by emphasising inner voices and harmonies with heightened poetry and explosive electricity.

In the exploration of Schumann’s Fantasies, Burkard Schliessmann not only illuminates the inner depths of the compositions but also showcases the multi-layered nature of interpretation. The interplay of musicianship, instrument, acoustics, and technical prowess at the Teldex Studios results in a mesmerising journey through Schumann’s intricate musical world, leaving an indelible mark on the landscape of classical piano recordings.

Pre-order Burkard Schliessmann’s new release ‘Fantasies’ here

More remarkable recordings from Burkard Schliessmann:

Métier Records, the new-music division of the Divine Art group, continues its championing of the work of Edward Cowie with three new albums to be issued in the first half of next year; one is the fourth in Cowie’s celebrated ‘Bird Portraits’ series, inspired by the avian life of Africa; one contains the composer’s three Piano Sonatas, and the third (and first to be released) is a sensational set of improvised pieces for flutes and piano, musical portraits of birds and visual artists, created and realized by Cowie and his collaborator, Australian flautist Laura Chislett. These new recordings which are currently in the process of being made at Ayriel Studios in Whitby are in addition to the release of ‘Rutherford’s Lights’ (an epic piano cycle performed by Richard Casey) and “The Kreutzer Effect” (String Quartet no 7 and works for solo strings) which were announced earlier this year.

Edward Cowie has been described as the greatest living composer inspired by nature, and the recordings of his music issued by Métier over the last couple of years have drawn unstinted praise. Having celebrated his 80^thbirthday this summer, he and his artist wife Heather (whose work adorns numerous Métier album covers) are setting off on a new adventure, moving to Australia in November 2023.

Edward Cowie Discography

There are three major organ works: Suite No. 1 by Florence Price (first commercial recording); Rubrics, A Liturgical Suite for Organ by Dan Locklair, and the Romantic showpiece Suite Gothique by Léon Boëllman. These are joined by some splendid arrangements of English staples such as Elgar’s Chanson de Matin and Pomp and Circumstance. All suitably demonstrates the breadth and sonority of the Harrison and Harrison organ of Cheltenham College, and excitingly there are some surprise appearances of music not usually associated with the organ here too. 

The Florence Price Suite No. 1 is a substantial, virtuosic and visual work, which demonstrates similarity with both the Boëllmann and Locklair Suites. The composer draws from influences including spirituals, hymns and pentatonic themes. There is a nod to the chromatic harmony of Suite Gothique in the opening Fantasy, but the overall harmonic idiom is strongly influenced by jazz harmonies which, along with the Juba dance syncopations in the final Toccato link neatly to the rhythmic drive and themes in Rubrics.

Florence Price’s compositional intention was to convey a heritage though its past… “paralleled or influenced by contacts of the present day.”… and the album’s title Parallels is chosen to present her Suite No.1 with some of its possible influences and parallels. The present day for us now is represented by Alexander’s own arrangement for organ of the hit single Paradise by the contemporary band Coldplay which sits surprisingly well within Price’s rationale.

Album details:

Label:  Divine Art

Title: Parallels

Catalogue number:  DDX 21112

Artists: Alexander Ffinch

Composers: Florence Price, Dan Locklair, Léon Boëllman, Elgar