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    Daniel Müller-Schott


    „He seemed to play in a meditative
    state, delivering an ardent and
    passionate reading.” Diapason

    A gamble at premium broadcasting time
    The fabulous soloist, Daniel Müller-Schott, The Bern Symphony Orchestra and others created a huge musical cinema.

    "… The work is grippingly executed by the orchestra and its soloist, Daniel Müller-Schott. This includes Olivier Alvarez’ multi-layered horn inserts and the four violas, with which the cellist performs an enchanting duet, sharply plucked pizzicati, and overall an amazing precision that spites all of the polyrhythmic contrarinesses. The excellent communication between Müller-Schott, Weigle and concertmaster, Zohar Lerner, has a lot to do with this. But the visit would have been worth it alone for the solo cadence written for the strings of Shostakovich's friend, the virtuoso Mstislaw Rostropovich, which makes up the entire third set. Goose bumps were raised ultimately by the fine encore, a piece by Pau Casals that Müller-Schott dedicates to the recently deceased conductor, Jesús López Cobos, with whom he often collaborated."
    Der Bund, 05.03.2018, Stefan Bucher

    Bach, against the grain
    Analytically questioned notes: Daniel Müller-Schott

    „… His virtuosity, which he often applies almost casually, appears to be not the product of merciless practising, but of a very individual and highly intelligent way of analyzing the difficulties and mastering them self-confidently in an organic, almost inevitable manner ..."
    Frankfurter Allgemeine Zeitung, 16.02.2018, Doris Kösterke

    Masterly fulminant

    " ... The climax was undoubtedly Tchaikovsky's violoncello variations with the soloist Daniel Müller-Schott, who is simply 'adorable' in terms of technique and expression."
    Kronzenzeitung, 16.12.17

    Two times Carnival
    Dresdner in the Alte Oper

    "… We can be grateful to the soloist for his extremely serious engagement with the oft-played work, unobtrusive and with natural phrasing in the first set, and fine lyrical double-grip passages in the slow set. Müller-Schott was able to rely on the elegance and warmth of his Goffriller instrument, built in 1727, from which, after Ravel's "Habanera", he demanded the powerful guitar pizzicati of a miniature by the Georgian composer, Sulchan Zinzadse. …“
    Frankfurter Allgemeine Zeitung, 16.12.2017, Axel Zibulski

    Gripping Bizet Symphony
    Cellist Daniel Müller-Schott demonstrates his impressive skills in the Brucknerhaus

    "… Equipped with a brilliant solo part, this cello concerto gave the soloist Daniel Müller-Schott the opportunity to impressively demonstrate his virtuoso skills. The cellist responded to the enthusiastic applause of the audience with a piece by Pablo Casals …“
    Volksblatt, 15.12.2017, Fridolin Dallinger

    Successful conquest
    The Dresden Philharmonic Orchestra and Michael Sanderling debut in the Elbphilharmonie Hamburg

    "… the Cello Concerto op. 129 intensively handled by Daniel Müller-Schott again offered new tasks in musicianship with the fabulously performing soloist.”
    Dresdner Neueste Nachrichten, 15.12.2017, Alexander Keuk

    „… The highlight was the cellist Daniel Müller-Schott. He completed the Schumann concerto – almost 30 minutes of uninterrupted playing – with a glowing tone, and not in the least fazed by the hair-raising runs and interval leaps of his part. The duo with the solo cellist of the orchestra in the slow set was captivating, they phrased every little turn together ...”
    Hamburger Abendblatt, 15.12.2017, Verena Fischer-Zemin

    Sometimes edgy and abrupt, sometimes gentle
    Classic – Schumann's Cello Concerto in the Alte Oper

    „… But then the slick Müller-Schott took to the stage. With Schumann's Cello Concerto he had chosen one of the most thankful and at the same time profound works of this genre. An edgy, sometimes abrupt sound alternated with gentle tones – in particular, Müller-Schott managed to achieve the delicate balance between temperament and sensitivity …"
    Frankfurter Neue Presse, 12.12.2017, Matthias Gerhart

    A magical treat for the ears

    „… The climax was undoubtedly the A minor concerto with solo cellist, Daniel Müller-Schott, for whom this work, with its rhythmic finesse and elegiac vocalization appears to have been specifically written …"
    Sächsische Zeitung, 09.12.2017, Jens-Uwe Sommerschuh

    Summit meeting
    Vortex-like: Fischer, Schuch and Müller-Schott in Weilburg

    "… exorbitant technical challenges that the three musicians accepted with perfect confidence. And more: when they raised the pace to a dizzying height, or pushed the dynamics to the pain threshold, that appeared to be legitimized uncompromisingly by the absolute precision of their playing despite the willingness to take risks. An incredibly exciting, outstanding, powerful and, in the quiet fade-out of the Tchaikovsky trio, another deeply moving evening in Weilburg."
    Frankfurter Allgemeine, 18.07.17 Axel Zibulski

    Gyro Gearloose at the stand: the conductor Andrés Orozco-Estrada

    "...the seductive effect of the attention to detail of the soloist who, always searching for the most beautiful of all sounds, sometimes individually tones down every individual sound of his broad phrases."
    Stuttgarter Nachrichten, 30.06.2017, Susanne Bender

    „A masterful display of empathy: Cellist Daniel Muller-Schott“
    » read the full review

    The Sydney Morning Herald, Clive O'Connell, 25.06.17

    “… an ardent, bold performance … “

    » read the full review

    New York Times, 13.03.17, Anthony Tommasini

    "Müller-Schott performs the two sonatas by Brahms with the self-confidence of a musician who knows that he can."

    "... Cellist Daniel Müller-Schott ... is not least of all so successful because he uses his instrument to say clearly what he wants. Müller-Schott performs the two sonatas by Brahms with the self-confidence of a musician who knows that he can. He does not have to push and shove like some cellists do, his tone is articulate, and carries right into the rows at the very back without becoming pot-bellied and bloated. Müller-Schott's Brahms sounds strong and sustained, and, for all the energy he invests, he always maintains a reserve …"

    Koelnische Rundschau, 17.02.17, Raoul Moerchen

    Classical answer in minor

    "… after a gripping cadence, stretched to the limits by the world-class soloist, then a bizarre scherzo – here the unplayable becomes for Müller-Schott an instrumental revelry…”

    Offenbach Post, 16.11.16, Klaus Ackermann

    A magic moment with Frankfurt's Museum Orchestra conducted by Constantinos Carydis in the Alte Oper

    " … What could have sounded like a cold start of more than half an hour, turned out to be a premium-class hotrod. From the first repetition figures played by Daniel Müller-Schott on, up to the racing sequences and cantilenas with all the time in the world, the audience was not only kept awake, but at all times highly alert. In a kind of contemplative alarm status, arising from endless, entirely liberated, dry melodic arcs in a tone which was well fixed, reserved and brilliant in articulation ...."

    Frankfurter Rundschau, 15.11.2016, Bernhard Uske

    Powerfully elemental

    "…. Müller-Schott's artistic and musical self-confidence was not narrowed in any way by this unusual constellation. He performed the striking solo motif of the first movement in a gripping, energetic manner, and thus provided the right basis for an engaged dialogue with the orchestra…"

    Frankfurt Neue Presse, 15.11.2016, Ge

    Open end
    Museum concert with Carydis in the Alte Oper

    "… It started very transparently with Shostakovich's Cello Concerto No. 1 in a distinct, fine chamber-music presentation, whereby the interplay in the first movement between the woodwind section and the outstanding soloist, Daniel Müller-Schott, as well as the self-confident interjections of the solo horn parts, also had the necessary bite. The elegiac second movement was built entirely on the melodic. With the leading cello voice, this conveyed a strong sense of loneliness…"

    Frankfurter Allgemeine Zeitung, 14.11.2016, Guido Holze

    OSI shines with Dvořák and Schumann

    "… In the first part of the evening, cellist Daniel Müller-Schott thrilled the audience with a fantastic performance. His cello corresponded perfectly with the viola ensemble conducted by Ivan Vukcevic, and with the first cellist Johann Sebastian Paetsch. … rare instruments by the violin maker Matteo Goffriller from the seventeenth century: it appears that the meeting of these instruments – just like on the previous evening – would create a magical sound experience."

    Corriere del Tecino, 01.10.16, Stefano Bazzi

    Daniel Müller-Schott is scintillating in the Bagno Concert Gallery
    Start of an exciting voyage of discovery

    "… it was not the usual cello literature that Daniel Müller-Schott had spread out in front of himself at his virtuoso performance. … The cello gives the concerto for violin and orchestra in G major by the Viennese master, Joseph Haydn, its own special character, whereby Müller-Schott commanded breathless attention particularly in the cadences."

    Westfälische Nachrichten, 04.09.2016, Martin Fahlbusch

    The hidden pearls shine

    The violinist Julia Fischer and the Cellist Daniel Müller-Schott charmed the audience at the Rheingau Music Festival on Schloss Johannisberg.

    "… who even knows the duos for violin and cello by Zoltán Kodály and Maurice Ravel? They are hidden pearls in a repertoire that one almost never hears in concert. And its takes artists of the calibre of a Julia Fischer and a Daniel Müller-Schott to make these pearls shine ... It was clear how much Julia Fischer and Daniel Müller-Schott enjoyed playing this music, and it says a lot for their ability to take their audience down less trodden musical paths. ... An extraordinary evening that ended with a furious encore: the "Passacaglia" by Johan Halvorsen."

    Frankfurter Neue Presse, 15.07.2016, Martin Grunenberg

    Müller-Schott plays Mozart:
    with existential urgency

    "Once again, with tonally mature, always noble phrasing clarity, Müller-Schott demonstrated how Mozart's trio world dominated by the virtuoso piano playing changes when the cello is allowed to participate with equal status, for example, in the slow set. … Accordingly, the piano trio Skride/Müller-Schott played with almost existential urgency in gigantic arcs of tension (Editor's note: Shostakovich Piano Trio No. 2), fully exploring all extremes of dynamics, articulation and tempos without destroying the inner context."

    Stuttgarter Zeitung, Stuttgarter Nachrichten, 07.03.16, Helmuth Fiedler

    It was an evening of great emotions.

    "Daniel Müller-Schott made his instrument sing at the concert for violoncello and orchestra in d-Moll by Édouard Lalo. Softly and intimately, he wove a seemingly endless melodicity over the murmuring orchestral background, with its flagellating accents creating little bursts of fire in the melodious bliss ... Even in this prickling vitality in the finale of the Lalo concert with blossoming brass and energy-charged play, the solo instrument was the driving force in dispensing further tender loving care. With vigorous, persistent applause, the audience demanded a highly emotional encore from the cellist."

    Rheinische Post, 05.03.16, Monika Klein

    When the violoncello brightens the mood

    “The fact that, in this case, the violoncellist is called Daniel Müller-Schott and is one of the top masters of his trade, turns the performance into a small event, because: Müller-Schott blends in perfectly with the ensemble, which in Lalo's case does not mean that he is just one of many and only shines in the solo section. No: Müller-Schott controls the flow of the music. He floats on top of it with his warm, low tones, … He is deeply immersed in his playing and never allows the routine to triumph over his passion for making music and the submission to emotion. And that's the way we hear it: his violoncello is the pivotal element.”

    Kölner Stadtanzeiger, 05.03.16, Frank Weiffen

    Intoxicating musicianship

    "Daniel Müller-Schott places the main theme in Antonín Dvořák's cello concerto with a dreamy mixture of raw immediacy and burning desire. The cellist charms his audience with large, virile tone and, at the same time, with fine sensitivity; the orchestra surrounds him with a dense weave of unrelenting tension. Müller-Schott's intuitive phrasing and Eschenbach's energetic sound work merge beautifully. There is never a moment when the cello hit appears worn out, and this is also due to the unselfconscious passion for playing and adaptability of the orchestra."

    Süddeutsche Zeitung, 18.02.2016 Barbara Doll

    Athletes on Tour
    National Symphony Orchestra, Munich Philharmonie

    “… Soloist Daniel Müller-Schott pulled out all the stops during the expansive first movement. … Possible fears that he might already have worn himself out were fortunately dispelled in the following Adagio, in which the cellist displayed his lyrical qualities and, particularly in the relaxed interplay with the flutes, put his chamber music experience to good advantage. The fact that in this work Dvořák paid musical tribute to the memory of his first great love, Josefina, who died shortly before the premiere, was also subtly perceptible in Müller-Schott’s tender interpretation, without falling too deeply into melancholy, however.”

    Münchner Merkur, 17.02.16, Tobias Hell

    The NSO Washington shines with Müller Schott’s cello.

    "DMS was splendid. He sung and sung with the imperishable melancholy of this score and this also written energy which sometimes seems not to have any limits. Maestro Eschenbach let him be heard even in those passages in which the cello might be disfavoured by the orchestra. Overwhelming quality, not in vane that the soloist won the Tchaikovsky Competition for Young Performers. Two minutes and ten seconds of applause and after Ravel’s encore one more minute and a half."

    La Nueva Espana, 07.02.16

    NSO anticipates upcoming tour with Central European program

    “….Müller-Schott is a strong soloist who plays with a dark, warm ... tone. Any tendency to impetuosity was kept firmly in check first, by his sense of slightly calculated control, and second, by some notably slow tempi from Eschenbach, setting off lyrical passages, like the second theme in the first movement, with lots of space around them. ... but also allowed the ear to wallow in Dvorak’s fat melodies, and set up a suspenseful ending, when the cello’s long, held note through the hushed orchestra briefly seemed to signal a different kind of ending than what ultimately resolved into the rousing finale. For many NSO players, the piece is associated with their former music director, Mstislav Rostropovich; Eschenbach and Müller-Schott offered something entirely different ... but, in its own way, powerful."

    Washington Post, 22.1.2016 Anne Midgette

    Lionel Bringuier conducts Dvořák and Tchaikovsky
    The Frenchman's spectacles

    “…With Daniel Müller-Schott, a cellist who has risen to the international elite is sitting on the podium in the Grand Hall at Zurich's Tonhalle. With great sensitivity, he engages in dialogue with the soloist partners – flute, horn or clarinet – from the orchestra. Intelligently, he differentiates between thematic sections and virtuoso figurative work. And, above all, he almost always makes his fantastic sounding instrument sing, whether it is about the passionate main theme in the first set or the soulful side theme that is first exposed by the horn …."

    Neue Zürcher Zeitung, 10.12.2015, Thomas Schacher

    Kapellmeister of the old school
    Dmitrij Kitajenko presents Russian in the Great Hall

    "… The hall is full and it seems that quite a few people have come to hear and celebrate the star cellist Daniel Müller-Schott who is performing the "Symphony-Concerto" by Sergei Prokofiev in the first half of the concert. It delivers the proof that even a work of beautiful melodies can also be voluminous. With his much-revised concerto, Prokofiev produced an edgy, somehow cross-related chunk of music. The heart of the piece here is the middle movement, a bizarre combination of adagio and scherzo. This allows Daniel Müller-Schott to demonstrate several strengths at the same time: on the one hand a marvellously sonorous, vocal cello tone, lean and yet always supportive, on the other the virtuosity which this piece demands to a high degree, in the break-neck cadence, for example. …"

    Leipziger Volkszeitung, 02.11.2015 S. D7, Benedikt Lessmann

    Classical music: A high-energy DSO concert, with a superb cello soloist

    “German cellist Daniel Müller-Schott was a superb soloist in the Dvorák. Playing a Matteo Gofriller instrument with a bold, bright tone, he could also shade it down to feathery delicacies. He brought great flair to the piece, and formidable technique, but also great warmth.

    The orchestra supplied glorious surges of sound, ….. Some of the quieter playing was sheer magic…”

    Dallas Morning News, 05.11.2015, Scott Cantrell

    Sydney Symphony rises to the grandeur of Rome

    “… Before the interval, Daniel Muller-Schott played Schumann's Cello Concerto in A minor, Opus 129 with a wonderfully youthful bloom to the sound and superb instrumental mastery.

    In his mature orchestral works, Schumann seems to trade the psychological extremes and singular imagination of his youth for respectability of form, and Muller-Schott's approach reaffirmed its cogency with a poised sense of line and immaculate tonal projection….”

    Sydney Morning Herald, 10.09.15, Peter McCallum

    Astonishingly soulful

    Müller-Schott/Piemontesi at Schloss Johannisberg

    "Daniel Müller-Schott and his piano partner Francesco Piemontesi located Beethoven's early cello sonata in G minor op. 5 Nr. 2 … as a composition which, although still fully obliged to the classical ideal of beauty, was nonetheless astonishingly open, distancing itself from rationalistic objectivity, but without any romanticization, clear and distinct in tone, finely coordinated and communicating … This also sounded passionate in the following sets (Editor's note: Brahm's Cello Sonata No. 2), sonorous in the cello part, clear and dry in the dense piano part …"

    Frankfurter Allgemeine Zeitung, 13.08.15, Guido Holze

    Cellist Daniel Müller-Schott and pianist Francesco Piemontesi
    at Schloss Johannisberg

    "Dmitri Shostakovich, … Sonata in D minor op. 40 … a highlight of the Johannisberg concert … Whereby both found an excellent balance between allusion and interpretation, with restless melancholy in the first, and erratically gliding and jazzily plucked tones in the second set. The long set appeared to be stretched to bursting, the finale was trenchant and ultimately hyperactive. A fantastic interpretation!"

    Wiesbadener Kurier, 10.08.15, Axel Zibulski

    Cello sonatas

    "… All of the qualities such as the impressively structured, contoured tone, the stylistic self-confidence, the sense of symphonic interaction, the careful phrasing, as well as the unpretentious performance, are in the meantime the trademarks of instrumental virtuosity, in short, Müller-Schott is a diverse and mature master of his discipline, rightly celebrated internationally… His ability to handle over-dimensioned cantilenas and further perspective such as in the Largo by Shostakovich or in the Adagio by Brahms is captivating. ….. Sheer delight."

    Süddeutsche Zeitung, 06.08.15, Harald Eggebrecht

    Mozart's and Haydn's Modernism

    "as a prominent interpreter of world renown, the solo cellist Daniel Müller-Schott set special accents. He intoned Haydn's concerto for Violoncello Nr. 1 in C major with perfect tone, with masterful intonation as well as a high degree of cultivation, and yet with clear accentuation."

    Frankfurter Allgemeine Zeitung, 14.07.15, Harald Budweg

    The instrument sings
    Matinee by the Gürzenich Orchestra in the Cologne Philharmonic Hall with the
    soulful cellist, Daniel Müller-Schott

    "... Müller-Schott, who also loves the esoteric repertoire (Prokofiev "Symphonic concert") ... , sings this piece soulfully on his noble cello, with self-confident intonation at the most precarious heights and speeds…"

    Kölnische Rundschau, 08.06.15, Olaf Weiden

    In the autumn of death

    "…In Franz Schubert's String Quintet in C major (D. 956), completed in late September or early October, just two months before his death in 1828, the two cellists Benjamin Nyffenegger und Daniel Müller-Schott gave a wonderfully heavenly rendering of the Adagio of the second set. Müller-Schott's gently driving pizzicati or the totally pure, clear and linear conclusion delivered great moments here of transcendental magnificence…"

    Frankfurter Neue Presse, 05.06.15, Axel Zibulski

    Longing, sun, shade
    Daniel Müller-Schott with the NDR Radiophilharmonie

    "…great cinema of passions, Daniel Müller-Schott counters with noblesse,… in the Adagio, which with Müller-Schott is never maudlin, but longingly intoned … the finale highly dramatic, furious, fantastic… in the encore with Britten's "Declamato" the tone colour switches from scintillating to matt silver to powerfully primed bronze."

    Hannoversche Allgemeine, 24.01.15, Rainer Wagner

    Daniel Müller-Schott & Simon Trpčeski at Wigmore Hall

    “Daniel Müller-Schott and Simon Trpčeski: A Winning Recital Partnership ….both are distinguished concert soloists so it was no surprise to see a packed Wigmore Hall for this recital.” » more

    Seen and Heard International 18. 11.2014, Robert Beattie

    “Wigmore Hall was packed for Daniel Müller-Schott and Simon Trpčeski, a charismatic pairing on paper and a vibrant one in recital, … three Sonatas that may not be outsize in length but are big in ideas. Cellist and pianist are ‘big’ too, each a powerful soloist, here coming together as friends, complementing and sparring, secure in rapport and repartee.” » more

    Classical Source, 14.11.2014, Colin Anderson

    On Tour mit dem Budapest Festival Orchester unter Iván Fischer

    “On Monday the German cellist Daniel Müller-Schott joined the Budapest Festival Orchestra in a soulful performance of the Cello Concerto that was particularly memorable for his sensitive playing and refined sound in the quiet passages. There was magic in the interplay between soloist and individual orchestra voices, and in Mr. Müller-Schott’s hushed, almost lifeless penultimate note that grew into the soaring, jubilant conclusion.”

    New York Times, 03.06.2014, Ruby Washington

    Neugierig aufeinander sein

    „Die können sogar singen: Das Budapest Festival Orchestra unter Iván Fischer und der Cellist Daniel Müller-Schott mit einem reinen Dvorák-Programm in der Alten Oper Frankfurt. … Müller-Schott war ohnehin ein höchst experimentierfreudiger, schonungslos dem Interessanten in der Musik nachspürender Solist.“ » mehr

    Frankfurter Rundschau 26.05.2014, Judith von Sternburg

    Temperament traf auf Seele

    "Sensationell war die Interpretation des Münchners Daniel Müller-Schott: Theatralisch klang dieser Dvorak und war mit dichtem Ton, voller Energie gespielt. Müller-Schott singt Melodien wunderschön auf dem Cello aus: Der langsame Satz wurde damit zu einem Ereignis."

    Ruhr Nachrichten 20.05.2014

    „… The music making of the first half of the concert was of an exceptionally high standard but with the Shostakovich the performances all seemed to go up a notch in what was an unforgettable experience. … Müller-Schott seemed to find just the right sound quality with the eerie whispered harmonics of the opening while the subsequent fugal writing was exceptionally clear, and the intensity of the movement was allowed to build in an incremental way….“

    Seen and Heard International, 03 2014, Robert Beattle

    “Jurowski's musicianship was always evident, his restraint allowing Julia Fischer's violin and Daniel Müller-Schott’s cello space to breathe and converse without forcing the tone. ... They sang with one voice in the rapturous andante and the scampering finale.”       

    The Guardian, 27.02.2014 Martin Kettle

    In CinemaScope

    Daniel Müller-Schott and Lorenz Nasturica-Herschcowici performed a version of Brahms’ Double Concerto “which came very close to the Brahms idea of an “eight-stringed instrument”. … The melodic elegance, charisma and passionate unity of the soloists were immediately captivating. The applause for this downright colouristically scintillating recital was reciprocated with a recital of Johan Halvorsen’s virtuoso passacaglia on a theme by Handel. Cue the ovations.“

    Süddeutsche Zeitung, 14.02.2014, Harald Eggebrecht

    Elegance and exuberance

    “Their imitating succession, their vivacious unity: a perfect balance.”

    Münchner Merkur, 14.02.2014 Gabriele Luster

    Daniel Müller-Schott mastered Dvořák’s Cello Concerto „with sovereign nobility and crystal-clear sound.“

    Berliner Zeitung, 31.01.2014, Jan Brachmann

    „Daniel Müller-Schott takes the stage to play the Dvořák Cello Concerto in all its perfect beauty.”

    Berliner Morgenpost, 01.02.2014, Felix Stephan

    Daniel Müller-Schott soars with the New Jersey Symphony Orchestra

    "Perhaps it’s a cliché to say that an instrument sings, but when Daniel Müller-Schott plays the cello, it’s true — and downright operatic.

    As the soloist for the U.S. premiere of André Previn’s Concerto for Cello and Orchestra — played by the New Jersey Symphony Orchestra — Müller-Schott added star quality to a program of strong works led by music director Jacques Lacombe.

    Previn’s colorfully orchestrated and thoughtfully constructed work culled together cinematic splashes of the most glamorous kind, as well as blues grooves and yearning melody. A veteran composer, Previn showed his expertise in work that was concise and cohesive, and also incorporated some moody elements, including explosive, harsh, virtuosic solo passages that Müller-Schott met with accuracy, finesse and conviction.

    Well suited to the piece’s style, Müller-Schott called to mind violinist Joshua Bell in his lush, golden, well-projected tone, his charismatic presence and his ability to mine music for unabashed beauty — which Previn supplied in abundance. .."

    Star-Leger, 10.01.2014, Ronni Reich

    Russian yearnings
    “Only few cellists are capable of combining intensity of intonation with slender elegance. Daniel Müller-Schott is one such magician. … Prokofiev pulls out all the stops – in terms of scale and extreme technical difficulty and with regard to the politically necessitated balancing act between tender melancholy and confident rebellion. And this makes the composition a masterpiece. Itsgestural complexity, vibrant presence and even rustic folk elements with so many beautifully played nuances were a delight to the ears.”

    Mannheimer Morgen, 10.05.2013, Eckhard Britsch

    Islands of dreamy contemplation
    “… in his unique way, Daniel Müller-Schott displayed somnambulistic assurance in giving this difficult, almost unmanageable concerto lasting all of 45 minutes every conceivable facet of heightened expressive intensity. Yet even in passages of the rhythmically freneticvigour, tiny islands of dreamy contemplation can be found. The timbre of his Goffriller cello dating back to 1727 – balanced, resonant and elastic – is truly sensational. It is therefore nothing short of astonishing that, after the sheer physical effort particularly of the final passages, Müller-Schott still found the energy for a no less expressive Britten encore …”

    Frankfurter Allgemeine Zeitung, 07.05.2013, Harald Budweg

    Fate expressed in enthralling sounds
    “…Prokofiev‘s symphonic concerto … with the marvellous Daniel Müller-Schott on the cellopresented an entirely different mood. From the very outset, the soloist let his instrument sing out as far as possible, unperturbed by the rapid figures, breakneck double and other multiple stops, fanfare-like pizzicati and fluty flageolet effects …”

    Rhein-Zeitung, 07.05.2013, Andreas Hauff

    “…Daniel Müller-Schott played with absolute assurance and haunting tone….”

    The Guardian, 05.05.13 Alfred Hickling

    „…Daniel Muller-Schott is one of the world's top soloists and it showed. His delivery of Dvorak's Cello Concerto was nothing less than stunning. He projected through even the fullest orchestral playing yet the occasion demanded, as second movement, was able blend in to become another orchestral colour. The interplay between the cello and various elements of the orchestra was always judged to perfection ...”

    The Press, Christchurch 8.4.13, Patrick Shepherd

    “…Guest cellist Daniel Mueller-Schott played Dvorak's well-loved Cello Concerto in B minor with great passion and made it the triumph of the night. … The audience at the Regent were launched into a world of grandeur and sublimity and emerged exalted by Mueller-Schott's performance. Particularly excellent moments included the duet between first violin and cello and the conversation the cello shares with the wind. Mueller-Schott treated the audience with an encore of Ravel's delightful Habanera from which he wrung every tenderness. This is virtuosity at its highest.

    Otago Daily Times, Dunedin, 06 Apr 2013, Marian Poole

    „Then Daniel Müller-Schott’s cello sailed ahead, golden in tone, noble and big, as befits the solo instrument with the concerto’s starring role.”

    The London Times, 17.12.12, Geoff Brown

    „...in a work in which the cello is allotted the lion's share of the important moments, it was inevitably Müller-Schott's attractively veiled, unassertive tone that caught the ear most.”

    The Guardian, 14.12.12, Andrew Clements

    “Daniel Müller-Schott was the ultra-refined cellist.”

    The Guardian, 12.11.12, Tim Ashley

    "Shostakovich’s Cello Concert No. 2 also has a brooding undertone. …. But also the melancholic mood of Opus 126 enthralls, particularly when an artist presents such a sonorous yet svelte tone as Daniel Müller-Schott. The sovereignty of his fingering technique together with his musical maturity and intense soundall fuse together, creating a rendition reminiscent of a Mstislav Rostropovich performance."

    Kölnische Rundschau, 05.11.2012, Christoph Zimmermann

    Proms 2012: BBC Symphony Orchestra, Thomas Dausgaard, Royal Albert Hall, review

    “Daniel Müller-Schott is among the finest of today’s young cellists, a musician possessed of poise and purity of tone and one who has a feel for musical style in a repertoire ranging from Bach to Britten. Here in Shostakovich he exercised his rhythmicality and warm lyrical timbre to notable effect.Partnered by the BBC Symphony Orchestra under Thomas Dausgaard, he found the pulse of the first movement, shaping the principal theme purposefully and lending the music an edge that somehow managed to be both tangy and mellow. The emotional heart of the piece in the second movement and the ruminative cadenza was especially impressive, Müller-Schott expressing a bleak melancholy and creating a strange calm in the rarefied harmonics towards the second movement’s end. With Dausgaard and the orchestra pointing up the instrumental colours incisively, this was the high spot of the evening, an interpretation of the concerto that reflected Müller-Schott’s musical character and conveyed the contradictions of defiance and introspection in Shostakovich’s own.”

    The Telegraph 30.07.12 Geoffrey Norris

    Prom19: BBCSO/ Dausgaard – review

    “The bulk of the programme, however, was given over to Russian classics. Shostakovich's First Cello Concerto was finely controlled and shaped by Dausgaard, while his soloist Daniel Müller-Schott, virtuoso … probed the sardonic wit of its outer movements and the soured romanticism of its central moderato with great and detailed insight.”

    The Guardian 30.07.12 Tim Ashley

    Fresh north wind over England

    Eivind Gullberg Jensen instead of Kirill Karabits at the Rheingau Music Festival

    “However, the timbre of the cello, played by soloist Daniel Müller-Schott, thrived with even more exuberance from his brilliant, tremendously modulated tone and dramatically shaped musical performance; he simply presented himself as a remarkably talented creator of this most distinguished of all romantic contributions to the genre for his instrument. His encore was penned by the British composer Benjamin Britten.”

    Frankfurter Allgemeine Zeitung 24.07.12 Harald Budweg

    Cleveland Orchestra at Blossom:
    all-Tchaikovsky with Vassily Sinaisky and Daniel Müller-Schott

    Sinaisky pared the string sections down to Mozartean scale, giving Müller-Schott the opportunity to project above the ensemble without pushing his tone. And what a glorious tone: focused, rich and even from top to bottom of his range, with that agreeably nasal quality that gives the instrument its resonance and carrying power. It's a tribute to Müller-Schott's technical command and musicality that the audience could sit back and enjoy these variations with pure enjoyment. The orchestra was finely tuned in to every detail in the solo line. The cadenza was astonishing. The large audience loved the performance and gave Müller-Schott an enthusiastic ovation.

    Clevelandclassical 17.7.12, Daniel Hathaway

    Tchaikovsky at Blossom Festival:
    Sinaisky and Müller-Schott make Cleveland Orchestra debuts

    For Tchaikovsky's Variations on a Rococo Theme Mr. Sinaisky used a reduced-size orchestra, which lent a chamber-music feeling to this charming work, with its consciously "antique" theme patterned on music of the mid-18th century. The variations never stray far from the tune, even when the soloist plays intricate filigree of utmost virtuosity. Daniel Müller-Schott and Mr. Sinaisky proved excellent collaborators. They had frequent visual contact and seemed in sync with each other's musical ideas. Variation III, with its long legato lines, and the mournful Variation VI were especially effective. Variation V, with its mini-cadenzas, showed Mr. Müller-Schott's technical prowess. The perpetual motion of the final variation and coda earned the performers a standing ovation. During one of the softer variations, the audience was treated to one of the occasional benefits of outdoor performance: the brilliant song of a twilight bird in the woods just outside the pavilion, nature's obbligato to the solo cello.

    Bachtrack.com 17.7.2012, Timothy Robson

    Cleveland Orchestra takes refreshing look at music of Tchaikovsky

    The high point, no doubt, was Tchaikovsky’s “Variations on a Rococo Theme,” as performed by German cellist Daniel Muller-Schott, in his Cleveland Orchestra debut. Playing an exceptional cello from the early 18th century, the soloist first wooed the crowd by means of sheer sound, then with a reading of remarkable sensitivity. Rarely does an artist -- Muller-Schott, that is -- captivate so quickly. Seconds after the cellist first applied his bow to his strings, one was taken by the special sound of his instrument: resonant, direct and rich, even at soft volumes. Then came the actual performance, a paragon of virtuosity and grace. Interacting closely with the orchestra, Muller-Schott endowed each variation with its own personality, soaring here, frolicking there, and pausing regularly for moments of exquisite tenderness. Let’s just hope the pause between this and his next appearance isn’t long.

    The Plain Dealer 16.07.12, Zachary Lewis

    Delicacy and insight of masterpiece

    Since in the beginning of the recital captivated the minds of the audience with his performances of Bach and Britain music detail every music seemed like life was stirring. The delicate sound of power, intelligibility is very excellent from the beginning. It had to whip up people's minds to the world of Bach's music was meditative. He is one of the top cellists in terms of adequately expression for the nature of Bach's two other works.

    Auditorium, July 12 Eunkyu Choi

    Gallic Soiree was truly formidable

    They were a match for the world-class German cellist Daniel Muller-Schott, who played the Saint-Saens Cello Concerto No1 with all the considerable technical expertise required. He also showed a deep empathy with the moods of this short but deservedly popular piece. The cellist also made a distinguished contribution to the brief Elegie by Faure, in which a number of soloists from the orchestra blended with notable individual virtuosity.

    Belfast Telegraph 23.04.12 Alf McCreary

    Half-heartedly times, times full of glowing: The Bern Symphony Orchestra devoted haunting works by Prokofiev and Shostakovich.

    “… German cellist Daniel Müller-Schott performs the epic work (Prokofiev Sinfonia Concertante) – one of the trickiest cello compositions there is – with enviable confidence and vibrantly clear tone ...”

    Berner Zeitung, 14.01.2012 Oliver Meier

    Russian adrenaline rush

    “The composer evidently exploits every opportunity to showcase the solo instrument in all its sonorous and technical sophistication – and the young German cellist Daniel Müller-Schott was able to honour these occasionally horrendous demands with masterful aplomb. Rapid passages in the altissimo register, intricate double-stopping, and agile bouncing bow strokes: equipped with phenomenal dexterity, he mastered the challenges with a tremendously round, distinguished tone. Far more impressive, however, was the way in which Müller-Schott embraced the complex and vicissitudinous part to which he dedicated distinctive phrasing…”

    Der kleine Bund, 14.01.12 Michael Matter

    “…Cellist Daniel Müller-Schott played with great virtuosity. He seemed to play in a meditative state, delivering an ardent and passionate reading…”

    Star Tribune, 06.01.12 William Randall Beard


    The hidden pearls shine

    The violinist Julia Fischer and the Cellist Daniel Müller-Schott charmed the audience at the Rheingau Music Festival on Schloss Johannisberg.

    "… who even knows the duos for violin and cello by Zoltán Kodály and Maurice Ravel? They are hidden pearls in a repertoire that one almost never hears in concert. And its takes artists of the calibre of a Julia Fischer and a Daniel Müller-Schott to make these pearls shine ... It was clear how much Julia Fischer and Daniel Müller-Schott enjoyed playing this music, and it says a lot for their ability to take their audience down less trodden musical paths. ... An extraordinary evening that ended with a furious encore: the "Passacaglia" by Johan Halvorsen."

    Frankfurter Neue Presse, 15.07.2016, Martin Grunenberg