What a magnificent sound, what a splendid feeling for what is fundamental! Daniel Müller-Schott is an exceptional cellist – one who acknowledges the good traditional aspects, yet without appearing to be old-fashioned. On the contrary; even though Müller-Schott can make his cello “sing” all the time, he never loses sight of the musical line. In his playing, everything is influenced by a certain objectivity and instrumental clarity, yet these are characteristics which never have an academic and neutral effect but perfectly complement the expressiveness, virtuosity and traditional beauty. The listener is so fascinated by Müller-Schott’s interpretation that he or she only becomes aware of pianist Robert Kulek on a second listening. And immediately it becomes clear that he, too, is a brilliant musician and partner.
Supersonic, pizzicato.lu, Steff
... Daniel Müller-Schott is a truly charismatic player, technically brilliant and with a penetrating, highly expressive tone. He’s well partnered by Robert Kulek and the duo is recorded with vivid realism, so this Schumann has many advantages. The single original work, the Fünf Stücke im Volkston, is supplemented, not just by the Opp 70, 73, and 94 pieces in which the cello is a familiar alternative to the original scoring for wind, but with three effective arrangements by Müller-Schott himself.
Several of the performances are really fine: a heart-on-sleeve account of Op 70’s Adagio, leading to same splendidly incisive playing in the following Allegro, a performance of the Volkston pieces that grabs every opportunity to present quirky individuality, alternating with a mood of intense meditation in the second piece. And the Fantasiestücke have a lyrical fullness that speaks directly to the listener. ...
The gramophone, Dezember 2005, Duncan Druce
“In the meantime, the young cellist from Munich has become one of the best in his field. Without any excessive flourishes, moving purposefully along the melodic line, on his new CD, he plays Robert Schumann’s pieces for cello. Moving, intimate romanticism without any sentimentality.”
FOCUS 6/2005, CD-Tipp