"A forceful debut."
Tagesspiegel, Berlin, Christine Lemke-Matwey, January 28, 2001
Reactions to Daniel Müller-Schott's new recording will depend on the degree of artistic licence one is prepared to accept in this music. This is undoubtedly the playing of a young master cellist who produces the most ravishing sound even when negotiating the technical hurdles of the final pair of suites. His playing is less physically imposing than Heinrich Schiff's, and he finds time to muse poetically on passing ideas in a way that recalls Steven Isserlis in its inspired flights of fancy. His intonation in, for example, the notorious opening Prelude of the D major Suite is earringing in its accuracy, while his control of phrasing from the most deftly articaulated sets of assymetrcal groupings to a seamless legato is redolent of a well-nigh flawless bowing technique. At first I wondered whether I was going to find this recording too interventionist in approach but ended up loving it for its impregnable command, poetic integrity and Müller-Schott's spellbinding ability to to have you hanging on to his every phrase. Everything has been beautifully recorded into the bargain, enhanced by fine notes from Nicholas Anderson and Müller-Schott himself. Something of a revelation.
International Record Review USA, February 2001, Julian Haylock
"Amazing maturity and profunditiy of expression."
Fridemann Leipold, Bayern4 Klassik, November 28, 2000
"I listened to Daniel Mueller-Schott's Bach CD with the greatest pleasure. Daniel is an incredibly talented cellist and musician, with a maturity totally unexpected for someone his age. His understanding and interpretation of the Bach Suites left me totally moved and convinced. He has all my admiration and respect, for his mastery of the instrument and his wonderful musicianship."
Jean-Yves THIBAUDET, January 2001
"ravishing interpretation of sparkling vitality."
Le Monde de la Musique, Paris February 2001