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Our long-standing manager had died. Reason enough, after such a long silence between our former fellow musicians, to kick- start an ever-increasing series of phone calls between the band’s flute player, and me. We quickly turned to the subject of music and realised that the matter of the band "NEUSCHWANSTEIN" was very far from over.  - Across hundreds of kilometres? - No matter. - Who else is in? - We’ll see. - Live shows too? - Que sera sera.   I began to compose the first pieces. A long, very long – no, actually a very, very long – phase of Internet rehearsals began. Other musicians were involved. When the production was almost finished we split up again. The reasons were manifold.  I reacted by going on holiday.   Overlooking the deep blue ocean, in flawless weather and showing every sign of the perfect holiday relaxation, I once again enjoyed listening to Paul Gilbert singing "Welcome back, my friends, to the show that never ends". Then everything fell into place. Back to the beginning. With guest musicians, on our own label. No more Internet.                            Neo-Romantic symphonic orchestral sounds meet rock band.                                      United and opposed in harmony and confrontation,                               intermeshed in fugal complexity and utterly, spaciously free.                              Emotional and authentic. Instrumental, like the early years.                                                         Music that tells stories.                                                            Programme music.   10 tracks, including three arrangements. Claude Debussy, Camille Saint-Saens and J.A.P. Schulz. The new album - "NEUSCHWANSTEIN  -  Fine Art". Who has the right feeling? Who has the understanding? Who can play it? Who has the technique? I tracked down my wish list of musicians. The finest musicians and artists of all, musicians with virtuoso technique and a unique feeling for the music, musicians that breathed life into the slumbering music. Gudula Rosa. Her virtuoso mastery of the descant recorder transports the listener into the early Renaissance in the blink of an eye; her deeper-toned instruments cause the primeval ooze to boil and seethe. Rainer Kind and I have a long and exciting musical past in common. I am deeply familiar with his enormous musicality and wealth of ideas. It was mere chance that he had the time to join us for the album. Robby Musenbichler, who remarked, on our first meeting a good thirty years ago, “playing music should be fun!". A profound truth, and my absolute guitarist of choice. Sabine Fröhlich. Her mastery of the violin and viola is as exquisite as her tone and her boundless empathy with the music. Baroque or beatbox - Gary Woolf plays concert flute with incredible power and purity. It turns out that he lives less than 900 metres away from me as the crow flies. Valentin Neuroth, guitar and Karel Szelnik, keyboards. The pieces were rearranged and replayed, then mixed at Principal Studios near Münster.  Jörg Umbreit – whose patience is exceeded only by the subtlety of his ear – and Vincent Sorg run truly wonderfully a truly wonderful studio. Translation of this website - Alison Moffat
LongBow Records    Thomas Neuroth Nachtigallenweg 4 48167 Münster 0251-9619340
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