„... one of the finest cellists before the public today.“The Sunday Times
With technical brilliance and authority, with intellect and emotional esprit, Daniel Müller-Schott has been guest soloist with Berlin Philharmonic under Alan Gilbert, New York Philharmonic and the Boston Symphony Orchestra under Charles Dutoit and the Munich Philharmonic under Lorin Maazel.
He is also a regular guest of the City of Birmingham Symphony Orchestra, Philharmonia Orchestra, London Philharmonic Orchestra, at London’s BBC Proms, Leipzig Gewandhaus Orchestra, the Radio Orchestras of Berlin, Munich, Frankfurt, Stuttgart and Hamburg, and in the US with the orchestras of Cleveland, Chicago and Philadelphia. He performs with NHK Symphony Orchestra, National Symphony Orchestra Taiwan, Sydney Symphony and Seoul Philharmonic. He works with conductors including Christoph Eschenbach, Iván Fischer, Jakub Hrůša, Neeme Järvi, Jun Märkl, Andris Nelsons, Gianandrea Noseda and Sakari Oramo, Vasily Petrenko, André Previn, Jukka-Pekka Saraste and Dima Slobodeniouk. Daniel Müller-Schott has premiered concertos dedicated to him by Sir André Previn and Peter Ruzicka.
2016/17 includes returns to City of Birmingham Symphony Orchestra collaborating again with Gustavo Gimeno, Bournemouth Symphony Orchestra and Kees Bakels. He shares the concert platform ‘in trio’ with fellow cellists Gautier Capuçon and Adolfo Arenas in Penderecki’s Concerto Grosso for Three Cellos with the Spanish National Symphony conducted by the composer himself. He is soloist with Deutsche Symphonie Orchester and Alain Buribayev, Munich Chamber Orchestra with Clemens Schuldt, Frankfurt Museumgesellschaft Orchester and Stuttgart Philharmonic. An Australia/New Zealand tour brings him to Melbourne, Tasmania and New Zealand Symphony orchestras the latter under the baton of Sir Andrew Davis. He tours in Germany with the Colombian Youth Orchestra under the baton of Andrés Orozco-Estrada and is a featured soloist at the Amsterdam Cello Biennale performing in duo with pianist and composer, Olli Mustonen.
His recent release in 2016 on the Orfeo label “DUO SESSIONS” with Julia Fischer (duos of Kodaly, Schulhof, Ravel and Halvorsen) has received much international praise. In a unique collaboration in duo with Julia Fisher in Lugano, she will perform both on violin and as pianist in Schubert’s “Arpeggione” with Müller-Schott. Other chamber music partners include Nicolas Angelich, Baiba Skride, Xavier de Maistre, Francesco Piemontesi and Simon Trpčeski.
Müller-Schott studied with Walter Nothas, Heinrich Schiff and Steven Isserlis and was recipient of the 2013 Aida Stucki Award awarded from the Anne-Sophie Mutter Foundation. Through this support he studied with the late Mstislav Rostropovich. In 1992 Müller-Schott won first prize at the 1992 at the International Tchaikovsky Competition, Moscow. He plays the “Ex Shapiro” Matteo Goffriller cello, Venice, 1727.
“[...] you have an Olympian team: two string players with a similarly sleek, high-calorific sound, intensity of purpose and technical command.”BBC Music Magazine, Helen Wallace, 11.16
“That pair of works are the mainstay of Julia Fischer and Daniel Müller-Schott’s disc together, too. But they play them with such energy, engagement and virtuoso precision that there’s never any hint of overfamiliarity; in both works, every detail of the extremely demanding string writing is carefully etched, and captured with tingling immediacy in the recording, whether it’s the rhapsodic lines of the Kodály, or the acerbic bitonal clashes of the Ravel.”The Guardian, Andrew Clemens, 27.07.16
“Daniel Müller-Schott 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
“Müller-Schott is a strong soloist who plays with a dark, warm [...] tone.”Washington Post, Anne Midgette, 22.01.16
“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.”Dallas Morning News, Scott Cantrell, 05.11.15
“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. [...] Muller-Schott's approach reaffirmed its cogency with a poised sense of line and immaculate tonal projection.”Sydney Morning Herald, Peter McCallum, 10.09.15
“Müller-Schott proceeded to give us some rapt and eloquent playing and immaculately crafted phrases. [...] did a brilliant job bringing out the rasping ferocity of the scherzo while maintaining beauty of tone. [...] played the meditative Largo with an unblemished beauty of tone and succeeded in achieving an epic tragic grandeur.”Seen and Heard International, Robert Beattie, 18.11.14
“He is a songbird, with wonderfully sensitive vibrato, pacing and tone.”South China Morning Post, Alexis Alrich, 27.06.14
“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, Corinna da Fonseca-Wollheim, 03.06.14
“He is heroically standing in at short notice for indisposed Truls Mørk, and will take the stage to play the Dvorak Cello Concerto in all its perfect Beauty.”Berliner Morgenpost, Felix Stephan, 01.02.14
“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, Robert Beattie, 03.03.14
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