trained as a high school teacher and works in Kirchehrenbach (Germany). Singing, listening to music and, of course, going to concerts is a MUST to her. When she became involved with different choirs some years ago, she was startled to discover that lots of people appear to have problems reading music. So she began typing out the music and producing practice and rehearsal CDs for her students and the less talented choir members. What started off as a hobby soon became an obsession and has now turned into a passionate desire to help unearth more apparently-forgotten music. She feels that editing the Graupner cantatas is just as satisfactory as working on an archaeological dig: It's a bit like digging in the dirt, expecting to discover some rusty coins, and then – suddenly! – you strike gold. Johanna claims that she gets 50% of her creative energy from music-related activities, the other 50% from roaming the forests and searching for (preferably collecting) wild edible mushrooms. Marco Schneider
was born and grew up in Frankfurt / Main where he received his first musical education at a very early age. He studied at Dr. Hoch’s conservatory, his main subject at first being the oboe (Nora-Gudrun Spitz). Later, however, he focussed on counterpoint and composition (Gerhard Schedl). Furthermore he took private conducting lessons with Judith Somogi and studied conducting techniques by attending rehearsals with Michael Gielen and Eliahu Inbal. He also went to Sergiu Celibidache’s master courses. Even while he was still at Frankfurt, he began taking an interest in the theory and practice of historical music, attending courses by Michael Levitt and Michael Schneider. In 1989, he founded the chamber choir CoroCantiamo, and, in 2004, the orchestra Capella Regnensis (an ensemble using historical instruments only). His main focus is on music from the 16th to the 18th century. For many years now, Marco Schneider has taken a deep interest in the musical culture of the free Reichsstadt Nürnberg, especially in its tradition of performing music composed for more than one choirs. As for composers, Praetorius, Bach, and – above all – the Darmstadt baroque composer Christoph Graupner (1683 – 1760) form the centre of his attention. More than 30 of Graupner’s compositions have been edited and performed by his vocal and instrumental ensembles. Many of these cantatas will eventually be published by Prima La Musica!, starting with the first cantatas in 2010.