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    Daniel Müller-Schott


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

    Schumann, Strauss, Volkmann, Bruch

    Convincing and impassioned Müller-Schott’s interpretation, showing an intent balance between technical neatness and expressiveness …

    Very heartfelt and almost touching Müller-Schott’s interpretation who lets sing the cello with inspiration and sensitivity ….The beautiful brightness of his timbre, the shine and the personality enchanting the lucky listeners in the hall.

    Milano Cultura, September 2010

    Exceptional CD of the Month

    „Without much ado, Daniel Müller-Schott is in the process of acquiring the status of an essential cellist of our time. CDs like the one with the two Cello Concertos by Dimitri Shostakovich, also released by Orfeo, reveal an interpreter who abhors ostentation and has a clearly defined personality. A warm tonality, precise phrasing and a supernatural feel for the subtleties of shading endow his performances with an unmistakable chamber-musical poetic ring. They display neither the slightest overindulgence nor the necessity to disfigure or betray the pentagrams in order to generate more emotion or brilliance – something that we can be grateful for in such a clearly romantic repertoire as this. Nor is it lacking. It is sufficient to hear the Schumann Concerto to understand that restraint need not conflict with expression. The use of the cello is simply memorable, with a Müller-Schott who, building on his rich articulation, allows his instrument to sing naturally and with feeling. The music breathes, and the same can be said of the rest of the programme. The rarely played Concerto by Robert Volkmann (1815 – 1883) follows the Schumann pattern almost verbatim, merely stressing its virtuosity. Though not a masterpiece, played in this way it is still capable of bewitching, and the same can be said of Richard Strauss’s youthful Romance. The final piece, Kol Nidrei by Max Bruch, is one that the cellist is very fond of and who therefore gives us a concentrated rendition, very personal and full of hope. Müller-Schott may be the leading light on this CD, but it would be unfair not to fittingly commend Christoph Eschenbach’s contribution, a conductor with the reputation of being cold and analytical who here does a clear job of work with clearly defined textures expressed in complete accord with the cellist.“

    Scherzo 04/2010

    Classical CD of the week

    This is a disc for connoisseurs of the most polished cello playing

    Daniel Müller-Schott's mellow cello timbre and emotional sensibility are key factors in this warm-hearted disc of four Romantic works. Two of them - the Schumann Concerto and Max Bruch's Kol Nidrei - are regular repertoire items, Richard Strauss's Romanze and the Concerto by Robert Volkmann rather less so.

    But even in the familiar pieces, Müller-Schott opens up fresh vistas of tonal shading and sincere expression. He has a naturally singing line that suits the Schumann perfectly. His phrasing is long-breathed, the paragraphs of music articulated with elegance and a restrained passion shared by the way in which the orchestra voices its textures with tenderness.

    Strauss's Romanze of 1883 is an early work, but one with pronounced lyrical and dramatic streaks that were to find a place in his later music. There are many pre-echoes here of scintillating orchestral devices that were to recur in works such as Der Rosenkavalier, and of melodic turns of phrase that were to become characteristic.

    Volkmann's Concerto, completed in 1855, for the most part, matches the discretion and refined taste of Schumann's and in some respects seems to recall certain ideas and states of mind that the Schumann also embodies. If not as consistently rewarding (or memorable) to listen to, the Volkmann nevertheless receives an affectionate and spirited performance from Müller-Schott, and the gently reflective final section, after some quicker outbursts, is a thing of genuine beauty, with a strange ruminative passage that dissolves away near the end before the affirmative cadential chords. What a pity Volkmann put those in. The quiet, questing ending would have been far more effective.

    In the Bruch, Müller-Schott brings to mind the great Pierre Fournier in his poise and rapt concentration, confirming that this is a disc for connoisseurs of the most polished cello playing.

    Geoffrey Norris, The Daily Telegraph, November 14, 2009

    „… Daniel Müller-Schott managed a wonderfully songlike, brilliantly thoughtful and virtuoso implemented interpretation of this romantic cello works together with the NDR Symphony Orchestra. Assessment: Tremendous.“

    Angelika Lucchesi, kulturradio 16.10.2009

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