Daniel Müller-Schott
NDR Sinfonieorchester
Christoph Eschenbach
CD Recording
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Convincing and impassioned Müller-Schott’s interpretation, showing an intent balance between technical neatness and expressiveness …

Very heartfelt and almost touching Müller-Schott’s interpretation who lets sing the cello with inspiration and sensitivity ….The beautiful brightness of his timbre, the shine and the personality enchanting the lucky listeners in the hall.

Milano Cultura, September 2010

Exceptional CD of the Month

“Without much ado, Daniel Müller-Schott is in the process of acquiring the status of an essential cellist of our time. CDs like the one with the two Cello Concertos by Dimitri Shostakovich, also released by Orfeo, reveal an interpreter who abhors ostentation and has a clearly defined personality. A warm tonality, precise phrasing and a supernatural feel for the subtleties of shading endow his performances with an unmistakable chamber-musical poetic ring. They display neither the slightest overindulgence nor the necessity to disfigure or betray the pentagrams in order to generate more emotion or brilliance – something that we can be grateful for in such a clearly romantic repertoire as this. Nor is it lacking.

It is sufficient to hear the Schumann Concerto to understand that restraint need not conflict with expression. The use of the cello is simply memorable, with a Müller-Schott who, building on his rich articulation, allows his instrument to sing naturally and with feeling. The music breathes, and the same can be said of the rest of the programme. The rarely played Concerto by Robert Volkmann (1815 – 1883) follows the Schumann pattern almost verbatim, merely stressing its virtuosity. Though not a masterpiece, played in this way it is still capable of bewitching, and the same can be said of Richard Strauss’s youthful Romance.

The final piece, Kol Nidrei by Max Bruch, is one that the cellist is very fond of and who therefore gives us a concentrated rendition, very personal and full of hope. Müller-Schott may be the leading light on this CD, but it would be unfair not to fittingly commend Christoph Eschenbach’s contribution, a conductor with the reputation of being cold and analytical who here does a clear job of work with clearly defined textures expressed in complete accord with the cellist.”

Scherzo 04, 2010

Classical CD of the week
This is a disc for connoisseurs of the most polished cello playing

Daniel Müller-Schott's mellow cello timbre and emotional sensibility are key factors in this warm-hearted disc of four Romantic works. Two of them - the Schumann Concerto and Max Bruch's Kol Nidrei - are regular repertoire items, Richard Strauss's Romanze and the Concerto by Robert Volkmann rather less so.

But even in the familiar pieces, Müller-Schott opens up fresh vistas of tonal shading and sincere expression. He has a naturally singing line that suits the Schumann perfectly. His phrasing is long-breathed, the paragraphs of music articulated with elegance and a restrained passion shared by the way in which the orchestra voices its textures with tenderness.

Strauss's Romanze of 1883 is an early work, but one with pronounced lyrical and dramatic streaks that were to find a place in his later music. There are many pre-echoes here of scintillating orchestral devices that were to recur in works such as Der Rosenkavalier, and of melodic turns of phrase that were to become characteristic.

Volkmann's Concerto, completed in 1855, for the most part, matches the discretion and refined taste of Schumann's and in some respects seems to recall certain ideas and states of mind that the Schumann also embodies. If not as consistently rewarding (or memorable) to listen to, the Volkmann nevertheless receives an affectionate and spirited performance from Müller-Schott, and the gently reflective final section, after some quicker outbursts, is a thing of genuine beauty, with a strange ruminative passage that dissolves away near the end before the affirmative cadential chords. What a pity Volkmann put those in. The quiet, questing ending would have been far more effective.

In the Bruch, Müller-Schott brings to mind the great Pierre Fournier in his poise and rapt concentration, confirming that this is a disc for connoisseurs of the most polished cello playing.

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Geoffrey Norris, The Daily Telegraph,
November 14, 2009

Daniel Müller-Schott managed a wonderfully songlike, brilliantly thoughtful and virtuoso implemented interpretation of this romantic cello works together with the NDR Symphony Orchestra.

Assessment: Tremendous

Angelika Lucchesi, kulturradio 16.10.2009
Daniel Müller-Schott live on Radio, Germany: Friday, 16.10.09, from 3:05 pm WDR3 TonArt. Marcus Stäbler about the new Schumann-CD.
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NDR KulturNDR-Kultur introduces Daniel Müller-Schott’s new CD with Schumann and Volkmann Cello concertos Friday September 18th 09 within a special program “CD-News XXL” > more

Fono Forum

Daniel Müller-Schott and Philipp Lahm featured in the next issue of the German music magazin Fono Forum: the two stars from divergent fields of activity not only appear on the cover of the magazine but also present themselves in a 6-page interview with Björn Woll - “Daniel Müller-Schott and Philipp Lahm - Playing in the top league”.

Read the complete story: click here

The September issue comes out: August 12, 2009

"...Robert Schumanns heikles Cellokonzert, das Daniel Müller Schott mit wunderbar sensibler Tongebung und Gespür für seine introvertierte Tragik zum Glück dieses Abends macht. Eine Musik – zerbrechlich, ungeschützt und für keine Herrschaftsgeste tauglich."

Der Tagesspiegel Berlin, Isabel Herzfeld
11. August 2009
"Nicht nur die Virtuosität macht den großen Interpreten aus. ... Zuvor hat Daniel Müller-Schott Schumanns Cellokonzert mit bemerkenswerter Nachdenklichkeit und sinnlicher Ausdruckskraft nachgespürt und das Publikum zum Jubeln gebracht. Der Mann, der bereits im zarten Alter von 15 Jahren den ersten Preis beim Tschaikowsky-Wettbewerb gewann, wurde von Anne-Sophie Mutter gefördert. Er vermeidet die große Show, setzt ganz auf musikalische Sinnsuche und ist deshalb für das spröd-vergeistigte Schumann Konzert genau der Richtige."

Hannoversche Allgemeine, André Mumot
10. August 2009
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