When it comes to the way the Maria SchNEIDER orchestra plays music, the orchestra’s new album, The Way We are, is just one example.

This is a collection of music that’s all about how the orchestra was formed, how it came together, and the journey it’s on now.

I spoke to composer and conductor Maria Schnee to find out more about the music.

What were the three key influences you brought to this music?

The three major influences for me were music from the past.

I think there are three different versions of that.

The first version is music that I grew up with, the second version is a very different version of that, and I think the third version is something completely different.

I guess that’s why we have such a wide range of music.

It’s not just a very traditional way of making music, it’s not even a traditional way to make music.

We started out making classical music, and we went to different orchestras and other composers and different styles of music to bring that back into the Maria.

So it’s very much a hybrid, but we think we’ve got something really, really different and original here.

What are some of the songs that you’ve written?

I write mostly in the first person, and that’s the one I’ve really come to love doing.

The Maria plays a lot of classical music from its first century, and in my opinion that is something that is very different from anything I’ve ever written before.

It feels like it’s in its own right, and it feels very fresh and it’s like, “OK, this is the way I want it to be.”

The music I’ve been doing has always been very experimental, very experimental music, but I’ve never felt the need to be in that direction, which is why I wanted to write this music.

I really wanted to take something that I really loved, and do something different with it.

That was one of the reasons I wanted this album to be very different.

What I love about the Maria is that they always have an idea of what they want the music to sound like.

And they really want it for me.

There are so many times where the music we’ve been playing for a long time will get me in a good mood and bring me a sense of accomplishment, but that was one instance where the Maria really made it feel like it was their thing.

What they wanted was the music that was very personal and unique.

What’s great about the way that they work is that their music is very, very personal.

So when we get the chance to record it, it really feels like a real gift from them.

What do you think they think about the kind of music they’re creating?

They love it, but they also want to create something that feels like an extension of what the Maria wants to do.

They know that this is going to be different and different, and they know that it will be very personal, and very different, but it will have something that makes you feel like you’re in a completely different place from the Maria, and this is what they’re trying to do with this music, which I think is very important.

It will really have the effect of making you feel different, which we think is a really beautiful thing for the Maria to be able to achieve.

What did you find most challenging about the record?

I guess the biggest challenge is probably that we’re recording this in New York.

We were really, truly thrilled when we found the perfect location.

We went to New York because we really thought it was a great place to record, because it’s a very creative city.

But it was also, in our opinion, the hardest part of the record.

It was really, very difficult to find a space where we could record without people having to step out of their homes.

The music was just so different from everything else we were playing, and when we were getting started it was so important to be respectful of that because it made it more intimate, and more personal.

When we started recording, we wanted it to feel like something that would be the perfect space to record in.

But we had to record there and play it.

We had to be the first people to play, and if it wasn’t the first to play we weren’t going to play it, and everyone else wasn’t going in either.

And there was this tension.

We wanted it so that it felt like we were part of it, that we were in control, and to not have to step away and be a part of that or even think about it.

And that’s what we had the hardest time with, because that tension was just really hard to bear.

Is there anything else you want to add about this record?

There’s a lot about this music that is really personal and very personal for me, and one of those things is the kind and gentle tone of the music in The