The Island for bass trombone and string quintet
Shourouk, Arabian Overture for orchestra
Suite for Bass Trombone and Orchestra
Donne Variations for piano
Around the World for soprano saxophone, bass trombone and piano
subZERO, concerto for bass trombone and orchestra
Schuhmacher-Marsch for soprano saxophone and bass trombone
The Island for bass trombone and piano and arrangements by Daniel Schnyder of movements from Vivaldi’s Il Pastor Fido and of J.S. Bach’s Fughetta in C minor, BWV961

Born in Switzerland and resident in New York, Daniel Schnyder is a melting-pot all on his own. His music displays a dazzling variety of influences – from Cuban dance music and African and Arabic rhythms to jazz and classical music – and has been described in the Los Angeles Times as ‘never less than compelling… an intriguing interface of jazz and classical elements.’ The context in which his music is heard also varies greatly: from jazz clubs to opera houses, prestigious festivals and concert halls such as the Berliner Philharmonie.

The present disc gives a broad picture of Schnyder’s creative range, from duos to orchestral works, and includes subZero, his celebrated concerto for bass trombone, but also adaptations of Bach and Vivaldi. The common thread throughout the programme is, besides Daniel Schnyder himself as composer and saxophonist, the artistry of Stefan Schulz, bass trombonist of the Berlin Philharmonic Orchestra and a close associate of the composer. The two are joined by Tomoko Sawano at the piano, as well as guest soloists Georg Breinschmid on the double bass and Bachar Khalife and Marcio Doctor on percussion. Orchestral support is offered by Rundfunk-Sinfonieorchester Berlin, well acquainted with Schnyder’s idiom after his spell as the orchestra’s artist-in-residence in 2008-2009.

Daniel Schnyder was also represented on Stefan Schulz’ previous disc for BIS, with a chamber version of subZERO. That disc, Berlin Recital (BIS-CD-1824), caused the reviewer in Das Orchester to remark upon Schulz’ ‘hauntingly beautiful sound’ and ‘peerless phrasing’, describing him as ‘a master at work’.