Opus is a Schiller album whose shades and textures are inspired by classical music. It owes its freedom and melodic concentration to Christopher von Deylen s defined sense of being at home in the electronic world. His imaginative thinking does not lead to disorientation, but rather to an expanded, clear and panoramic view of the emotionalizing world of accentuated sounds, and rhythmic passions. Crossover is a term often used to refer to musicians and artists who diversify, and work in alternative genres. Christopher von Deylen clearly knows only too well that labels, and tags, only tell some of the story, and that the quest for compromise can lead to a dangerously seductive over-simplification. With Schiller, he has defied categorisation for some 15 years…

Wagner’s medieval romance of the Swan Knight comes to life in a lavish production by August Everding, filmed live at the Metropolitan Opera in 1986. James Levine conducts a stellar cast led by Eva Marton, Leonie Rysanek and Peter Hofmann in the title role.

The album series "Die Einlassmusik" from Schiller started in 2004. The music is exclusively composed for the regular live tours from Schiller and is played there as pre-show introduction to make the waiting time for the audience more pleasant. All albums are (officially) only sold at the merchandising area of each concert and the online Schiller Shop.

Live Erleben is the first live album from German electronical musician, composer and producer Christopher von Deylen under his Schiller alias. As with Sehnsucht Live, the performances on Live Erleben often add a little dramatic flair to their studio-album counterparts, thought the mood remains relaxing. The highlights here tend to feature vocal collaborations, as heard on “Delicately Yours” and “Distance” (both with Kim Sanders), “The Smile” (with Sarah Brightman), and “I’ve Seen It All” (with Maya Saban), and plenty of in-rhythm handclaps from the audience. The album achieved gold status in Germany in 2016.

With his very own “mysterious seductive power and legendary elegance” (Le Monde), Claudio Abbado opened for the last time the LUCERNE FESTIVAL in the summer of 2013. Only a few months later, the world had to bid farewell to a monumental artist, humanist, great conductor and orchestra founder. Even in the concert itself, documented here, lived a moment of farewell, as the three great works performed tell of the transience of life. The centerpiece of the Eroica is the funeral march revealing “abysses of shattering dimension” - an “intense experience” (Neue Zürcher Zeitung). This record, the last audio-visual documentation of his work, captures once again the extraordinary atmosphere of “vibrant emotionality” that always emerged when Abbado created music with his “orchestra of friends”.

Symphonia is a live album of the music project Schiller, created by the German electronic musician Christopher von Deylen. The album was released on October 17, 2014. The album is a live recording of the "Schiller meets Classic" open air concert with the Berlin Symphonic Pop Orchestra at the Classic Open Air 2014 event on the Gendarmenmarkt in Berlin. The orchestra consisted of 60 musicians. On this album Schiller has collaborated with the singers Midge Ure, Jaël Malli, Eva Mali and Der Graf from Unheilig. The album reached in its first week number 4 of the German albums chart.

Composed in feverish bouts interrupted by long periods of inaction, Hugo Wolf’s Italienisches Liederbuch was brought to completion in 1896. The 46 songs are settings of poems in German by Paul Heyse, after Italian folk songs – miniatures with a duration of less than 2 minutes in most cases. Heyse’s collection numbered more than 350 poems, but Wolf ignored the ballads and laments, and concentrated almost exclusively on the rispetti. These are short love poems which chart, against a Tuscan landscape, the everyday jealousies, flirtations, joys and despairs of men and women in love. Heyse’s translations often intensify the simple Italian of the original poems, and in their turn, Wolf’s settings represent a further heightening of emotion. Miniatures they may be, but many of the songs strike unforgettably at the heart.

Part of a series of discs devoted to forgotten composers associated with the Bavarian capital of Munich, this release exemplifies the city's still-palpable conservatism. Franz Lachner, who grew up so poor that he and his five siblings had to study music by drumming their fingers on an imaginary keyboard, made his living as composers had for centuries before, but as few did in his own time: as an employee of court and church. The Germans have a word for the style exemplified here, which is not well known outside of a few atypical examples by : they call it the "Palestrina Renaissance." Heard here are a Mass in F major, Op. 130; a Stabat Mater, Op. 154; and a setting of Psalm 15.

Gäa from the German state of Saarland have become quite known in collectors’ circles thanks to their LP "Auf der Bahn zum Uranus" from 1974. It is a mature and well-balanced album, the artistic value of which long remained undiscovered. The tasteful cover was designed by Eduard Bell, the brother of Gäa bassist Peter Bell. There were several re-issues of the album - LPs as well as CDs -, but unfortunately not all of them legitimate releases. The CD on Garden of Delights was released in co-operation with the artists and has the original cover artwork.
In early 1975 they recorded three tracks for a, however, unfinished second album. They are simply brilliant and show how mature and inventive the band was at that time…

During the mid-'70s, Germany's Kraftwerk established the sonic blueprint followed by an extraordinary number of artists in the decades to come. From the British new romantic movement to hip-hop to techno, the group's self-described "robot pop" – hypnotically minimal, obliquely rhythmic music performed solely via electronic means – resonates in virtually every new development to impact the contemporary pop scene of the late- 20th century, and as pioneers of the electronic music form, their enduring influence cannot be overstated…

Bass-baritone Christian Immler, accompanied by the pianist Andreas Frese, juxtaposes the contemporary composer Jörg Widmann with the Romantic Schumann in three cycles of lieder written between 1849 and 2013. ‘For us, Jörg Widmanns song cycle Das heiße Herz (‘The Burning Heart’) is to be numbered among the very greatest song cycles, and not just among those of this century. During our intensive rehearsals with Jörg Widmann, the many questions we had (and what a joy to be able to ask them!) often had surprisingly simple answers. The combination with Schumann’s late Harper and Lenau song cycles seems absolutely perfect, for similar situations permeate these cycles as well". Das heiße Herz is recorded here for the first time.

"My name is Christopher von Deylen - and I am Schiller." At some point during every Schiller concert, von Deylen speaks these ten words and the crowd goes wild. Schiller’s ethereal “global pop”, as his fans and the press have coined the style, gives the listener a feeling of floating in a dream world. Inspired by electronic classics such as Tangerine Dream, Kraftwerk, and Jean-Michel Jarre, von Deylen is known for creating visionary sounds that are way ahead of their time.
"Timeline: The Very Best of 1998-2011" looks back on Schiller’s accomplishments through the years as it chronicles the best and most important songs of Schiller’s career - compiling noteworthy tracks from prior albums such as Zeitgeist, Voyage, Day and Night, and Desire. Guest artists include Nadia Ali, Colbie Caillat, Chinese pianist Lang Lang, Indonesian-French artist Anggun, and more.