In July 1997 Matthias Spindler first started to work for Deutsche Grammophon Gesellschaft mbH (DGG) as free-lancer for various departments (a.o. Press Relations, Advertising & Production Service, Editorial Department, International Marketing, Art Directors Department, A&R Production); in 1999 he received a full-time contract as an employee working for the newly restructured A&R department.

From 1999 until 2004 Spindler held the position of Production Administrator (later retitled Recording CoOrdinator). As such he planned and organised recording sessions and was responsible for the smooth running of the recording process.

Spindler hugely enjoyed working in a fruitful collaboration with Executive Producers (such as Chris Alder, Christian Gansch, Ewald Markl and – not least – Dr. Marion Thiem) on recordings of internationally acclaimed artists and orchestras.

Due to another departmental reorganization in early 2005 A&R also took over product management. Now Executive Producers were also Product Managers and the Recording Coordinators were renamed Project CoOrdinators, taking on additionally the roles of Product Management Assistants.

In March 2007 Matthias Spindler was made Associate Producer (Executive Producer & Project CoOrdinator). This was a belated advancement, since from 2003/2004, he already managed several projects and artists de facto as Executive Producer and Recording CoOrdinator (Grimaud/Credo, James Galway and Anne-Sophie Mutter's Mozart Project) and had a leading A&R role in projects of Hilary Hahn and Lang Lang.

Spindler also supervised recording projects for Universal Classics Japan and Korea, was also involved in several more projects and has prepared performing editions for CD productions. So Deutsche Grammophon offered him a vast scope of possibilities to apply and further his knowledge and experience.

From 2005, due to an increased workload, Matthias Spindler had to assume for his recording projects all A&R duties as Executive Producer, Recording CoOrdinator, Product Manager and Product Manager Assistant.

In all, Matthias Spindler was Recording CoOrdinator of 153 CD productions, Executive Producer of 48 projects, Product Manager of 75 projects, Project CoOrdinator of 164 projects and in a further 58 projects he was also part of the project teams themselves. In many cases this reflects his manyfaceted functions from 2005.

Highlights as Executive Producer were the productions with the Emerson String Quartet (e.g. »Bach – Fugues« and »Intimate Letters«), James Galway (above all »Wings of Songs«), Hélène Grimaud (»Credo«), Lang Lang (Carnegie Hall Recital), Anne-Sophie Mutter (Mozart project), Mikhail Pletnev (his unrivalled Beethoven project with the complete symphonies and piano concertos), Maurizio Pollini (e.g. Mozart Piano Concertos K. 414 & 491 with the Vienna Philharmonic and »Bach – The Well-tempered Clavier, Part 1«), Thomas Quasthoff (above all »Tell It Like It Is«), and Ulrich Tukur (»Mezzanotte«).

Of special importance as Recording CoOrdinator were the productions with Claudio Abbado, Rafał Blechacz, Pierre Boulez (above all completion of his Bartók- and Mahler cycles), Plácido Domingo (above all »Sacred Songs« and »Italia, ti amo«), Hilary Hahn, Lang Lang, Anne-Sophie Mutter (all recordings fom 2002 until 2011), Anna Netrebko (all recordings from her debut CD to the »Souvenirs« album), Anne Sofie von Otter (e.g. »For The Stars« and »Mots d'amour«), Maria João Pires, Mikhail Pletnev (in particular his sensational Carnegie Hall debut and the recording with Martha Argerich), and Krystian Zimerman (e.g. Brahms’s Piano Concerto No.1 with the Berliner Philharmoniker and Simon Rattle).

Matthias Spindler was particularly pleased that he could collaborate with eminent producers such as Christopher Alder, Christian Gansch, Craig Leon, Rainer Maillard, Sid McLauchlan and Jay Newland as well as oustanding recording engineers such as Jonathan Allen, Stephan Flock, Janne Hansson, Rainer Maillard, Jay Newland, and Ulrich Vette.

Another positive factor were projects with creative and imaginative arrangers like Lutz Krajenski, Craig Leon, Wieland Reissmann, Robert Sadin and Andreas Tarkmann.

Matthias Spindler is especially grateful to the London Symphony Orchestra, the Russian National Orchestra, Staatskapelle Dresden as well as the Wiener Philharmoniker, who were an invaluable help with many of these recording projects. Special thanks go to his (ex-)colleagues and to DGG's Management as well as to the recording engineers and assistant engineers of Emil Berliner Studios who supported him very much.

Due to the notable achievements of the artists some of Matthias Spindler's productions won national and international awards (ECHO Klassik, ECHO Jazz, GRAMMY^©, Choc de Classica, Choc de l'année du Monde de la Musique, Choc du Monde de la Musique, Clef ResMusica, Diamant d'Opéra, Diapason d'or, Gramophone Editor's Choice, Penguin Rosette Award, Pizzicato Supersonic Award, Record Academy Prize), gold record awards or reached top positions in classic charts.