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Press reviews (selection)

Sona Nova presented an excellent array of appealing, catchy compositions. (...)
New York Concert Review, Spring 2007

The duo performed their selections from memory and lovingly shared the music with one another, seducing the audience that much more. (...)
New York Concert Review, Spring 2007

… top notch … stupendous technical dexterity … fantastic differentiation and variety of tone colors.
Marbach Newspaper, April 26th, 2005

… brilliant, virtuoso … absolutely boundless joy of music-making … unbelievable range of styles.
Heilbronn Voice, April 11th, 2005

… first class, spot-on musicians … effervescent temperament … perfect precision.
Ludwigsburg Regional Newspaper, July 30th, 2004

… phenomenal recorder player … delightful range of interpretational styles … stunning.
Marbach Newspaper, November 3rd, 2004

… the ovations just wouldn’t stop.
Obertürkheim Newspaper, June 30th, 2004

… filigree recorder flourishes … put our hearts under a spell … fantastic.
Marbach Newspaper, June 24th, 2003

The biggest treat was listening to the myriad tonal characteristics of the variety of recorders, which Christina Schütz played so masterfully. Michael Schütz’s feather-light touch filled the swiftest and most ingenious runs across the black and white keys with ease, composure and elegance. Listening to this exceptional ensemble was great fun.
Marbach Newspaper, July 28th, 2004

Christina and Michael Schütz. Remember those names!! The unusual combination of instruments - recorders and piano - used by the newly-formed duo Sona Nova, debuting at the Hohenstaufen High School Concert Hall, Bad Wimpfen, Germany, is not the only major attraction. The primary fascination of the pianist from the Stuttgart area and the recorder player from Berlin lies in the virtuosity and verve of the jazz, funk, salsa, samba, rock and pop pieces, interpreted with enthusiasm and deep feeling by the church musicians, who live near Ludwigsburg, Germany.
Michael serves up percussive afro-american piano rhythms in “Get Funky!” with Christina’s exuberant recorder dancing around them - then the gentle chords of the romantic pop ballad “Without You” begin to woo us, the warm tone-colors of the alto recorder wrapped around them like an elegant robe.
The notes explode in “Salsa”: Taking the tempo up, the duo paints a picture of Cuban nights, the sopranino recorder whooping wildly. Pop elements dominate “Fanfare Song”, garnished with classical and fugato passages entwined in the sound of the “Garklein”, the baby of the recorder family. Dissonances evoke the restlessness of daily life in “Crazy People”. The melancholy “Sad Song” segues abruptly into “Christina’s Tune”, feelgood music à la Dave Grusin. Hot rhythms alternate with contemplative moods.
There are church songs, the arrangements only vaguely hinting at the familiar, original versions. A symphonic narrative with playful mice, a little bird and the song of whales. Poetic, sentimental stories, recounted by the solo piano, and the tonal-air sounds created by subtle finger-play on the recorders, which Christina seems to change “invisibly” in mid-melody.
Perfectly complementing each other, the joyous treatment of the musical language coupled with rhythmical and harmonic precision make for a feast for the ears. The freelance musician and lecturer at the College of Church Music, Tübingen, Germany, composed all the pieces himself, also creating new arrangements of the Church songs. A multitude of tone colors, revolving around a broad spectrum of compositional styles. Was anyone really surprised when the audience rewarded the exuberant inventiveness of the two young virtuosos with a standing ovation?
Monika Köhler, Heilbronn Voice, 6th February, 2004

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