Christian Schneider

Michael Schneider ist mit der vorliegenden Produktion des Magnificat von Carl Philipp Emanuel Bach vor allem eine sehr geschmeidige Einspielung gelungen. Der Brückenschlag von der barocken Kontrapunkt-Strenge der Chorfugen zur frühklassischen Kantabilität der Arien gelingt stilsicher - auch die Solisten agieren mit viel Fortune.

This unique anthology of Baroque flute concertos on six CDs contains not only sensational collections featuring virtuoso recorder concertos of the German, Italian, and English Baroque but also the complete solo recorder concertos of Scarlatti, Vivaldi, and Georg Philipp Telemann. Telemanns two very different Concertos in F major and C major, for example, number among the most outstanding Baroque compositions of all for the recorder in a concerto role. Michael Schneider currently has no real rivals worldwide on his instrument. In his hands the recorder loses what so often limits its expressive capacity and gains a voice articulating all the musical facets. The complete eighteenth-century repertoire of recorder concertos or most of it is now available in performances by Schneider.

Michael Schneider is one of the top recorder players in the field of early music and he is the ideal interpreter of these Concertos of the German Baroque. Amongst concertos by Graupner, Schickhardt, Schultze, and Scheibe, Schneider performs the World Première Recordings of recorder concertos by Johann Friedrich Fasch and Mattheus Nikolaus Stulick.

Charles Burney, the great English music traveller of the 18th century, was extremely positive about "Herr Kapellmeister Benda". His compositions his "new, masterly, and learned." Mozart, too, never made a secret of his high regard for Georg Anton Benda; he was well aware of how much he was indebted to the creator of the German Singspiel - right up to the "Magic Flute".

Mozart’s Motet Exsultate, Jubilate was originally written in Milan in 1773 for the castrato Venanzio Rauzzini but is now frequently used as a showpiece work for the soprano voice. The motet is considered to be an excellent example of sacred music that is Baroque in structure and mood. Ruth Ziesak’s melting soprano voice sounds impressive throughout this exultant music especially in the brilliant concluding section which is spun elaborately around the single word Alleluia.

Helen Schneider has spread herself out during her career, studying classical piano in her youth; singing blues, rock, and pop; performing in various musicals; and finally turning to standards a few years prior to the making of this CD. There's little doubt that she is a trained singer, as she always hits her notes and enunciates clearly, yet this album leaves little lasting impression, compared to many singers who have covered these well-known works.

Helen Schneider has spread herself out during her career, studying classical piano in her youth; singing blues, rock, and pop; performing in various musicals; and finally turning to standards a few years prior to the making of this CD. There's little doubt that she is a trained singer, as she always hits her notes and enunciates clearly, yet this album leaves little lasting impression, compared to many singers who have covered these well-known works.