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    Daniel Müller-Schott


    „He plays wide, beautifully, without
    drowning the winding outlines of
    these monologues.” Diapason

    Britten - The Cello Suites
    diapaso D'OR
    the Strad

    “Müller-Schott has all the technical resources at his deposal, and opens the First Suite with just the right weight and poise...what Schott brings to all the Suites is a sharpness and power reminiscent of Rostropovich himself...this is an impressive set.”

    BBC Music Magazine, October 2011 ****

    „Dramatically etched performances of Britten's three solo cello masterpieces.“

    The Strad, October 2011

    “Müller-Schott lays with honeyed and burnished tone through the three works. The gorgeous, mourning long notes of the First Suite's Lamento show his blemishless technique...The beauty of his sound makes the Britten Suite No. 2 heroic, the Declamato like a RADA-trained town-crier and the Ciaconna a smooth, mesmerising snake.”

    Classic FM Magazine, October 2011 ****

    “For their consistently high technical standards and imagination, Müller-Schott's performances are as recommendable as any among recent recordings.”

    Gramophone Magazine, October 2011

    „Daniel Müller-Schott has made this music his own in the best sense; namely, as the result of a painstaking analysis of the score and of the definitive interpretation of Rostropovich for whom the music was written to perfection. Without imitating the master’s example, but without ignoring the latter’s basic standpoints, Daniel Müller-Schott has achieved a highly concentrated reading that is borne technically by a mastery worthy of admiration. Musically it is fired by a rich tonal imagination, finely contoured figures and, above all, by the power that resides in tranquillity.“

    Bernhard Neuhoff, BR Klassik Leporello 08.06.2011

    „Anyone who plays these suites has to find his bearings in the cosmos of Britten’s states of tension. Daniel Müller-Schott studied with Rostropovich, to whom the three suites are dedicated – and he has acclimatised himself to their tonal world. He conquers the cliffs with technical brilliance – in the craggy fugues, for example. He has the staying power for the simple melodic lines, in the Introduzione of the last suite in C minor. And injects flitting restlessness into the Marcia-Allegro of the same suite. The bouncing bow passages are awkward – but not for Daniel Müller-Schott. His intonation is always sound, his tone round. On occasion, he even subordinates the score’s rhythmic impulsive force to tonal beauty. In his new recording of all three suites, Daniel Müller-Schott has achieved a gripping rendition – entirely in accord with his teacher Rostropovich’s motto that the interpreter “is not just the composer’s ambassador, but must attempt above all to live the music at every moment of its making.“

    Sabine Weber, WDR 3 TonArt, 07.06.2011

    Daniel Müller-Schott: Benjamin Britten The Cello Suites

    Press report

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