(...) The oeuvre did not require to be characterised by any typology because it was strong enough to speak for itself. It is a music, which is as intimate with alienised sounds as it is with traditional sounds (...) This takes off the historical and moral weight from the question about sound – the ear is freed to perceive without prejudice and gets the occasion to discover a different world.
For example the very special unfolding of the music, the great variety of the sound and the consequence with which its great spectrum of colours is handled. (...) Schneider though does not deprive the oeuvre from the exciting irritations of the creative process. He plunges in the vividly teeming tones, nearly risks to drown, but manages to leave the shambles without being harmed. (...)

Peter Uehling
(BERLINER ZEITUNG, 18 August 2003)


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