As a former pupil of Heinrich Schiff and Steven Isserlis, and regular trio partner with Anne-Sophie Mutter and André Previn, Daniel Müller-Schott is quickly becoming an established name on the musical circuit: on the evidence of this disc, it is certainly merited. The Debussy is a particularly sensitive interpretation, with a pleasing balance between the improvisatory quality in the work coupled with a keen eye for the notational precision. But there is also plenty of electricity, not least in the concluding section of the finale, although as Müller-Schott states in his introductory notes, the prevailing mood is rather melancholy. I have long wondered why the Poulenc Sonata rarely makes an appearance either on disc or in concert, given the attractive melodic passages which pepper the work. Possibly the length and fragmentary nature of the material fail to effect a convincing sense of cogency, but equally the technical trickiness that permeates the score might be a factor in deterring performers. However, Müller-Schott delivers both, an accurate and a stylish rendition, revelling in the lighter balletic-styled melodies and brushing off the technical challenges with élan. In contrast the ubiquitous Franck Sonata positively reels forward in its possionate intensity. Again Müller-Schott steers a steady course through the stormy waters, while eliciting much fervour and expressive colour. Moreover his partner, Robert Kulek, conquers the myriad of notes with ease and mastery. They are both similarly eloquent in Ravels Habanera which concludes the French-inspired programme in this impressive and well-recorded recital disc.
The Strad Magazine, September 2002, JOANNE TALBOT
Daniel Müller-Schott and Robert Kulek make a formidable duo partnership; in addition to an impressive level of accomplishment and technical polish, both players combine to project a distinctive, individual view of the music... Throughout one has the impression of very positive, intelligent music-making, and the recorded sound is excellent - full, clear and very realistic.
The Gramophone, Duncan Druce, September 2002
Following his amazing recording debut with Johan Sebastian Bach's Cello Suites, the second - and no less remarkable - CD by Daniel Müller-Schott, the young cellist from Munich, has just been released. Together with Robert Kulek, his empathetic partner on the piano, Müller-Schott turns his attention to the cello literature of French impressionism. Debussy's Cello Sonata, one of the composer's last works - who was already very ill at the time - combines thought-provoking passages, sensitively played by both musicians, as well as sparkling associations to the Commedia dell'Arte.
The sonata written by Francis Poulenc for the cellist Pierre Fournier is characterised by lively thematic-melodic interplay, by his love for the circus, ballet and cinema. The original version of Franck's sonata is for violin, but the reworking for cello, authorised by the composer, is no less delightful. With its echoes of Brahms and Schumann, it does have its very own, typically French esprit, playing as it does with the colours and light of impressionism.
With his cello, Daniel Müller-Schott cultivates a vocal and sonorous tone and develops subtle nuances. Like a vortex he creates cantilenas, spanning a wide range of fine distinctions. A high degree of intensity is coupled with a lightness of playing in which the tone and the changes of character appear to be unbelievably effortless."
Amazon.de reviews, May 2002, Nina Polaschegg
"This CD is a masterpiece."
Kultur-SPIEGEL July 2002
Daniel Müller-Schott's playing is very accomplished indeed. He responds extremely well to the quirkiness and lightning mood changes of the Debussy Sonata and his performance of the Franck Sonata is as warm as one could wish."
CD Review, 1st June 2002 BBC Radio 3