Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?

I was inspired from music and art from my first life and birth. My Grandmother, Katharina, bought a Steinway on the occasion of my birth, and I still have the original receipt from this purchase. During my birth, music by Chopin had been played. I began to play at the early age of 3. Still  From a young age, I played pieces from memory. To study music and piano was self-evident.

The most important influences in my career are first, as already pointed out, my grandmother; later my teachers Bruno Leonardo Gelber, Poldi Mildner, Shura Cherkassky and Herbert Seidel. Through them I’m a representative and guardian of the great Romantic Tradition – a tradition, which I preserve for myself, but also pass on to my students.

Today, being a recipient of the renowned ‘Goethe-Prize of Frankfurt/Main, presented to me in the Paulskirche in Frankfurt in January 2020, was another decisive challenge and turning point in my career.

What have been the greatest challenges of your career so far?

My latest project, ‘Chronological Chopin’ (Divine Art label ddc 25752), and my current project ‘Fantasies’ with major works by Robert Schumann (also with Divine Art)

Which performances/recordings are you most proud of?

‘Chronological Chopin’ and the Goldberg-Variations (Bayer), but also the Chopin – Schumann Anniversary Edition 2010 (MSR-Classics), Schumann: Kreisleriana Op. 16 and the Symphonic Etudes Op. 13, including the Variations posthumes (Bayer), Schumann – Liszt: Fantasie in C major Op. 17 and Sonata in B minor (Bayer), Scriabin: Piano Works, Opp. 2 – 74 (Bayer), and the DVD with Liszt: Piano Transcriptions of Schubert Songs and Godowsky Symphonic Metamorphoses on Waltzes and Themes of Johann Strauss (Arthaus), produced by WDR-Television. These productions have been broadcast on all major tv-channels since 1997, and today they are available on Fidelio, a new tv-channel from ORF and UNITEL.

But I’m also proud of and happy that the highlights of my ‘Chronological Chopin’ enjoyed a re-release in 2018 on a luxury 2-vinyl-edition from‘Divine Art.

Which particular works do you think you perform best?

Bach: Partita in C minor, BWV 826, Chromatic Fantasia and Fugue, BWV 903, Italian Concerto, BWV 971

Weber: Rondo brilliant, Op. 62

Franck: Prelude, Choral and Fugue

Chopin: Prélude in C sharp minor, Op. 45, Ballade No. 3 in A flat major, Op. 47, Fantaisie in F minor, Op. 49, Ballade No. 4 in F minor, Op. 52, Scherzo No. 4 in E major, Op. 54, Berceuse in D flat major, Op. 57, Barcarolle in F sharp major, Op. 60, Polonaise-Fantaisie in A flat major, Op. 61

Mendelssohn: Variations sérieueses, Op. 54

Schumann: Kreisleriana Op. 16, Fantasy C-major, Op. 17, Arabeske Op. 18, Fantasies Op. 12

What do you do off stage that provides inspiration on stage?

Hugo Shirley in ‘International Piano’ (February 2020) described me as a “multifaceted pianist”, who “unites intellectual clarity with an intuitive sense of colour, influenced by his artistic upbringing and his parallel life as a scuba diver”. Yes, I’m inspired in my parallel life by the experiences from the underwater world. As a ‘PADI Master Instructor’ I can refer to more than 8500 logged dives on the oceans all over the world and have visited countries even in out-of-the-way areas. I’m also certified to teach classes for Underwater-Photography and Videography, and I’m the official Ambassador of the PADI Project Aware Foundation for the “Protecting of Our Ocean Planet.” (If interested, one can visit my site under: www.diving-adventure.org

The inspiration of the variety of colours of the underwater world I convert into differentiated sounds in my artistic interpretations, a phenomenon called synesthesia.

How do you make your repertoire choices from season to season?

I try to be at home in all epochs and styles of music, to cover the whole literature. But mainly I like to focus on Bach, Chopin and the German Romantics

Do you have a favourite concert venue to perform in and why?

Yes, indeed I have: Carnegie Hall, New York. The acoustics are unique and outstanding. And of course also the Elbphilharmonie in Hamburg. Besides the acoustics, the hall there has a singular mood and atmosphere.

What do you feel needs to be done to grow classical music audiences/listeners?

I fear losing the tradition; this has already begun in school for children with a false “system of learning”. Back to the roots of learning, that the experience and realization of values is a way to the future …

What is your most memorable concert experience?

Japan, Tokyo: Bunka Kaikan and Suntory Hall

USA, New York: Here I once played a sensational ‘American STEINWAY D’ number ‘207’; I had the chance to selected this piano for a recital in New York City in the concert basement of Steinway Hall on 57th street, assisted by my longtime friend Peter Goodrich, who was chief of the concert and artists department of Steinway NY. In my career, I have played and performed on countless excellent and singular instruments, but I never will forget the number, and the unique and warm sound of this instrument, the ‘207’… Now I’m sure I made a major mistake not to have purchased this gem….it was “love at first sight”.

As a musician, what is your definition of success?

True success is connected and bounded to the truth of interpretation. There begins and starts a long lasting experience: the chance that the artistry of a true artist will live on for generations, and will influence other epochs. This is the meaning of artistic integrity – and the definition of success.

Related to this, one could ask “what  is talent?”, to which I would immediately answer: “To have the strength, power, endurance, courage and stamina to start new after each setback.”

These characters blend into one: Virtue

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

I would like to rephrase the question: What I would not impart to aspiring musicians? If they are not authentic and true to themselves, if they do not express the music in a proper and thoughtful way.

Where would you like to be in 10 years’ time?

To be even more successful and to achieve “musical heaven”, which would mean artistic truth

What is your idea of perfect happiness?

Being on stage and to feel at one with the (art)work and the audience

What is your most treasured possession?

My two very special Steinway D-274 pianos, which I use for all my recordings and important recitals/concerts.

Also my intelligence, the alertness of my mind and my indefensible intuition, which provides me a special view of life and art, and my visual memory

To lose both, or even only one of this indispensable unit, would mean the end of my life; it really would kill me

What is your present state of mind?

Inspired, vigilant, alert and ambitious for more artistic ideas and inspiration, eagerly looking forward to my upcoming projects.


Burkard Schliessmann, recipient of the renowned Goethe-Prize of Frankfurt/Main 2019/20, Germany, is one of the most compelling pianists and artists of the modern era.

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Who or what inspired you to pursue a career in music?

It might sound weird, but music itself guided me to become a professional musician. As a child and teenager, I lived in my own world and spending time playing and listening to music was my favourite activity. It was much later – around my 15th or 16th birthday – when I realized pursuing a different career would equal spending less time with music and that was no option for me. You could say I was naÏve enough to think you could just choose a life. With time I learned that you have to make your way first.

Who or what have been the most important influences on your musical life and career?

Without doubt the people I love – my parents, my sister and my wife. They supported me from early on and without them I would not have had the luxury of mainly focusing on music. As a musician, I’m convinced it’s impossible to fully seperate the professional from the private parts of life. It’s interwoven and therefore I don’t like to call a vocation a career.

What have been the greatest challenges of your career so far?

I’ve always believed in doing what I love and avoiding the things I don’t like as much as possible. Music has become such a big part of myself; therefore certain elements such as competitions never fit with my perspective on it.

The greatest challenge is, consequently, to stay true to yourself and to keep in touch with your instinct, especially in our noisy, stressful and competitive world. 

Which performances/recordings are you most proud of?

This is impossible to define, because my assessment constantly changes. When I record I have the exact version in mind and I want to believe it is set in stone and made for eternity. However I have learned that even after a few months my concept has evolved and the recording is not up to date any more. The same applies to live recordings or performances. At first it frightened me, but thinking about it now, isn’t change the only true certainty we know?

Which particular works do you think you perform best?

That I can’t decide. All I know is that my interest and passion are generated by the works I play or record. It’s hard to choose favourites, because music is too diverse and too dependent on mood and many other parameters.

I feel a strong affinity for Alexander Scriabin and also Franz Liszt, but that doesn’t mean I don’t equally enjoy Scarlatti, Ravel, Yun or Brahms. 

How do you make your repertoire choices from season to season?

I love compiling recital programmes, creating  a proper ‘menu for the ears’. Proportion, variation, dimension and relations in between the works chosen make such a big difference. Sometimes promoters engage me for certain works desired and some other times they like my suggestions. It’s very much a fluctuating thing.

Do you have a favourite concert venue to perform in and why?

I love the Wigmore Hall, like so many other musicians do. Venues with a rich history usually fascinate me, but there is a few, partly modern concert halls I enjoy very much, such as the Philharmonie Luxembourg, the Maison Symphonique in Montréal or the wonderful Concertgebouw Amsterdam.

A great venue is more than just good acoustics – it’s atmosphere, surroundings, spirit and architecture.

What is your most memorable concert experience?

There are many memorable experiences on stage. Alongside the highlights, such as sharing the stage with close friends or living legends such as Yannick Nézet-Séguin there is a series of exceptional incidents I encountered so far: Medical emergencies on or off stage, pets smuggled into concert halls or drunk promoters involuntarily popping up live on stage…

As a musician, what is your definition of success?

Success is when you achieve separating your self-worth as a person from the satisfaction with your performance. I strongly believe you can only remain independent and free if you don’t allow your personal approach on music to be commercialized.

It’s a lot harder to achieve than it sounds.


Joseph Moog’s ability to combine exquisite technical skill with a mature and intelligent musicality set him apart as a pianist of exceptional diversity. A champion of the well-known masterworks as well as a true advocate of rare and forgotten repertoire paired with his quality to compose and arrange, Joseph was awarded the accolade of Gramophone Young Artist of the Year 2015 and was also nominated for the GRAMMY in 2016.

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(artist photo: Askonas Holt)