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    TheCellist.com
    Daniel Müller-Schott

    CD-Reviews

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

    Raff - Cello Concertos

    Müller-Schott extracts so much passionate fervour from Joachim Raff’s first cello concerto that it is virtually impossible to explain how such colourful music could have been forgotten for such a long time.

    Fono-Forum, June 2005

    „Sur un somptueux Goffriller, Daniel Müller-Schott en donne une interprétation de toute beauté: ampleur, générosité du son, justesse et homogénéité des registres, clarté des traits les plus virtuoses.“

    Diapason/ Mars 2005

    „Blessed with a remarkable sensitivity and warm, burnished tone, he (Daniel Müller-Schott) seems entirely caught up in the richly lyrical writing, the sheer joy of this music. His expressive treatment of the little Begegung – literally “meeting“, clearly a romantic liaison that seems rather overheated for genteel salon audiences – is music-making of the highest order.“

    American Record Guide, March/April 2005

    „The star of this recording is undoubtedly Daniel Müller-Schott, whose intelligence in interpretation and technical assurance in delivery are breathtaking.“

    Raff-Society, CD reviews, 26.2.2005

    “With his sophisticated, elegant cello-playing, Daniel Müller-Schott succeeds in delighting those who listen to this previously almost unknown music – the premiere of the second concert only took place in 1997 – from the first to the last note; he does not allow himself to resort to superficial effects during the shallower passages, but instead he always remains faithful to the noblesse of the playing which has already become his trademark. How soothing it is that he never, mistreats, strangles or abuses his cello in the way that one or two of his grand, senior colleagues are willing to do in the constant, sometimes inevitable struggle to increase the degree of expression. Instead, he always takes full advantage of the wealth of sound that the instrument provides, while keeping within the boundaries of what it is freely able to give.“

    RONDO (1/05), Michael Wersin

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