Pictorial expressiveness and direct emotionality – these are not only the requirements for good film music but also the fundamental characteristics of my works for the stage and concert hall. Telling a story in images and music has always fascinated me from my early youth up to the present day. (Enjott Schneider)

Enjott Schneider was born in Weil am Rhein on 25 May 1950. He learned a variety of musical instruments at an early age, including violin, piano, accordion, trumpet and organ. He was appointed as organist in Huningue in France at the age of 19 and held a similar post from 1975 in Hinterzarten. He was also active as a conductor and as singer and keyboard player with the pop group "Kaktus". In 1969, Schneider began studies in music theory, music education, organ and trumpet at the Musikhochschule in Freiburg and also studied Musicology, German and linguistics at the University in Freiburg where he completed a doctorate under Hans-Heinrich Eggebrecht. During the following years, he taught harmony and musicology at the University of Freiburg before being appointed as professor for music theory at the Hochschule für Musik in Munich. Schneider has produced numerous publications including the book “Pop Music”, monographs on individual works, articles for reference books and contributions to the Hindemith yearbooks. The spectrum of these publications ranges from musicological studies ("Die Kunst des Teilens. Zeit – Rhythmus – Zahl", 1991) to monographs on individual composers, music educational topics, aspects of music sociology and film music. Schneider set up the recording studio Augenklang in 1988 which was superseded by the Greenhouse Studio in 1997. He lectured at the State Film Institute in Pune (India) in 1993 and was appointed as professor for composition for film and television at the Hochschule für Musik in Munich in 1996. He has been a member of GEMA since 2003.

During the 1980s, Schneider advanced to become one of the major German composers of film music. The musical scores for German television series such as Weißblaue Geschichten (since 1991), Marienhof (1992) and Vater wider Willen (1998) enjoy an equal degree of popularity to his music for television and cinema films including Herbstmilch (1988), Stalingrad (1992), Schlafes Bruder (1995), Stauffenberg (2004) and Die Flucht (2007).

Schneider’s compositional output is characterised by its virtuoso interweaving of a wide variety of styles – ranging from serial techniques to rock music – and encompasses works for orchestra and organ, chamber music and vocal and music theatre compositions. Schneider created a “Gesamtkunstwerk” concept incorporating traditional music theatre techniques with sound design, lighting and audiovisual collages with his operas Albert warum? (first performance in Regensburg in1999) and Das Salome-Prinzip (1983; staged in Gelsenkirchen in 2002) and the musical Diana – Cry for Love (premiered in Görlitz in 2002). These works were followed in 2004 by the first performances of the opera Bahnwärter Thiel based on Gerhard Hauptmann and the official musical for the centenary of the German football club FC Schalke 04 entitled nullvier – Keiner kommt an Gott vorbei. In 2006, his opera Fürst Pückler – Ich bin ein Kind der Phantasie received its first performance in the theatre in Görlitz. The vocal composition Orbe rotundo with settings of Latin and mediaeval texts in analogy to Orff’s Carmina Burana was premiered in the Residenz in Munich in 2010.

Schneider received the Bavarian Film Prize for Film Music and the Bundesfilmband in Gold in 1991, the Golden Score in 1996, the Fipa d’or in 2001 and the German Television Prize for the best film music in 2007.