Daniel Müller-Schott is one of the most sought-after cellists in the world, and can be heard on all the great international concert stages. For more than two decades now he has been enchanting audiences as an ambassador for classical music in the 21st century. The New York Times refers to his “intensive expressiveness” and describes him as a “fearless player with outstanding technique”. (New York Times).
Daniel Müller-Schott guests with important leading international orchestras; in the US with the orchestras in New York, Boston, Cleveland, Chicago, Philadelphia, San Francisco and Los Angeles; in Europe the Berliner Philharmoniker, the Gewandhausorchestra Leipzig, the Radio Orchestras from Berlin, Munich, Frankfurt, Stuttgart, Leipzig and Hamburg, Copenhagen and Paris, the London Symphony and Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, the Netherlands Philharmonic Orchestra, the Spanish National Orchestra as well as in Australia with the Sydney and Melbourne Symphony Orchestra and in Asia with Tokyo’s NHK Symphony Orchestra, Taiwan’s National Symphony Orchestra (NSO) und Seoul Philharmonic Orchestra.
All over the world Daniel Müller-Schott has appeared in concert with such renowned conductors as Vladimir Ashkenazy, Thomas Dausgaard, Charles Dutoit, Christoph Eschenbach, Iván Fischer, Alan Gilbert, Gustavo Gimeno, Bernard Haitink, Neeme Järvi, Dmitrij Kitajenko, Susanna Mälkki, Andris Nelsons, Gianandrea Noseda, Andrés Orozco-Estrada, Kirill Petrenko, André Previn, Michael Sanderling and Krzysztof Urbański. Many years of musical collaboration linked him with Kurt Masur, Lorin Maazel and Yakov Kreizberg.
In addition to performances of the great cello concertos, Daniel Müller-Schott has a special interest in discovering unknown works and extending the cello repertoire, e.g. with his own adaptations and through cooperation with contemporary composers.
Sir André Previn and Peter Ruzicka dedicated cello concertos to the cellist which were premiered under the direction of the composers with the Gewandhausorchestra Leipzig and the Kammerphilharmonie Bremen. Last year, to much acclaim from the press, Daniel Müller-Schott performed the premiere of Berger’s “Rime Sparse” for soprano and piano trio in Chicago and then in New York. Both the US-born Sebastian Currier as well as Olli Mustonen have composed a cello sonata for Daniel Müller-Schott.
Highlights of the season 2018/19 include the opening concert Settimane Musicali di Ascona with the Tonhalle Orchestra Zürich and Krzysztof Urbański, concerts with the Royal Philharmonic Orchestra and Lionel Bringuier, in den USA with the Dallas Symphony Orchestra and Karina Kannellaki, and the St. Louis Symphony Orchestra and Gilbert Varga, as well as the Spanish Radio Television Symphony Orchestra and Erik Nielson. There are three extended recital tours on the concert calendar: a solo recital tour to Asia, a trio tour with Julia Fischer and Nils Mönkemeyer as well as with Baiba Skride and Xavier de Maistre. Daniel Müller-Schott will play the premiere of Currier’s piano trio with Anne-Sophie Mutter and Lambert Orkis in New York’s Carnegie Hall, followed by a stop in Chicago. At the Mecklenburg-Vorpommern Music Festival Daniel Müller-Schott is artistic director for the Rügen Classical Music Spring Festival 2019.
International music festivals regularly invite Daniel Müller-Schott to perform, including the London Proms, the Schubertiade, Schleswig-Holstein, Rheingau, Schwetzingen, Mecklenburg-Vorpommern, the Heidelberg Spring Festival and the Vancouver Festival, and, in the USA, festivals in Tanglewood, Ravinia and the Hollywood Bowl in Los Angeles. In his chamber music concerts, Daniel Müller-Schott collaborates, inter alia with Nicolas Angelich, Kit Armstrong, Renaud Capuçon, Xavier de Maistre, Julia Fischer, Igor Levit, Nils Mönkemeyer, Anne-Sophie Mutter, Francesco Piemontesi, Lauma and Baiba Skride and Simon Trpčeski.
Daniel Müller-Schott has been involved for many years now in the project “Rhapsody in School”. He regularly gives master classes and helps to support young musicians in Europe, the USA, Asia and Australia.
Since his childhood, Daniel Müller-Schott has felt a great love for the music of Johann Sebastian Bach. For his first CD record he chose the Six Suites for Cello Solo for Bach’s jubilee in 2000.
Daniel Müller-Schott has already built up a sizeable discography in a career spanning twenty years under the ORFEO, Deutsche Grammophon, Hyperion, Pentatone and EMI Classics labels and includes among others, works from Bach, Beethoven, Brahms, Mozart, Haydn, Schumann, Mendelssohn, Prokofiev, Schubert, Khachaturian, Shostakovich, Elgar, Walton, Britten and Dvořák.
His recordings have been enthusiastically received by both the public and the press and have also received numerous awards, including the Gramophone Editor’s Choice, Strad Selection, and the BBC Music Magazine’s “CD of the month”. He has been awarded the Quarterly Prize of German Record Critics for his recordings of the Elgar and Walton Cello Concertos with Oslo Philharmonic and André Previn and for his CD of the Shostakovich Cello Concertos recorded with the Bavarian Radio Orchestra and Yakov Kreizberg. In France the “Solo Suites” by Benjamin Britten were awarded with the Diapason d’or and “Dvořák The Cello Works” with the “Choc de Classica”. For “Duo Sessions” Daniel Müller-Schott and Julia Fischer received the International Classical Music Award (ICMA) 2017. On his new CD to appear in fall 2018 with ORFEO, Daniel Müller-Schott recorded works by Tchaikovsky, Glasunow and Rimski-Korsakov with the German Symphony-Orchestra Berlin and Aziz Shokhakimov.
Daniel Müller-Schott can be regularly experienced on national and international radio broadcasters and on the TV channels ARD, ZDF, ARTE and 3Sat as a soloist in concert recordings and as an interview guest.
Daniel Müller-Schott studied under Walter Nothas, Heinrich Schiff and Steven Isserlis. He was supported personally by Anne-Sophie Mutter and received, among other things, the Aida Stucki Prize as well as a year of private tuition under Mstislaw Rostropovich. At the age of fifteen, Daniel Müller-Schott won the first prize at the International Tchaikovsky Competition for Young Musicians in 1992 in Moscow.
Beside the music Daniel Mueller-Schott has also a considerable affinity for the fine arts, in particular for French paintings of the 19th century. During his travels he always visits the major museums, seeing the great masters in the original. The cellist regularly takes part in art projects himself, for example in the “Street Art“ project in Munich, Berlin (ARTE) and Melbourne 2016.
Daniel Müller-Schott plays the “Ex Shapiro” Matteo Goffriller cello, made in Venice in 1727.
Cellist Daniel Müller-Schott performed Bach at the Brandenberg Gate in celebration of German reunification, echoing the performance of his late teacher, Mstislav Rostropovich, who performed the same works in front of the Berlin wall in November 1989. Daniel...
After his celebrated return to Santa Cecilia in Rome last week, Alexander Sladkovsky takes the stage at Saydashev Concert Hall (Kazan, Russia) today to conduct Elgar Cello Concerto and Dvořák Symphony No. 7 with Daniel Müller-Schott and the Tatarstan National...
Julia Fischer and Daniel Müller-Schott Tour Brahms Double Concerto with the Bavarian State Orchestra
This month, Julia Fischer and Daniel Müller-Schott will be touring with the Bavarian State Orchestra, performing Brahms Double Concerto in A Minor under the baton of Kirill Petrenko, Chief Conductor Designate of the Berlin Philharmonic. Kicking off the tour with two...
“The magnetic young German cellist Daniel Müller-Schott administered a dose of adrenaline with a compelling performance of Haydn’s Concerto in C. Mr. Müller-Schott, a fearless player with technique to burn, made child’s play of the work’s difficulties. But even more impressive were his gorgeous, plush tone and his meticulous attention to expression.”
Guest soloist Daniel Müller-Schott, in his St. Louis debut, seems incapable of making a rough sound, even in the most driven passages. His technique was impeccable, his phrasing remarkable, his communication with Varga and the orchestra locked in from beginning to end with obvious chemistry. Three enthusiastic curtain calls resulted in an encore (Ravel’s “Habanera” for solo cello) that was a slow, soft, exquisite and sensuous delight. Let’s hope he returns soon.John Huxhold
Soloist Daniel Müller-Schott’s playing tapped the vulnerable poetic heart of a concerto where too heavy an approach can crush the music, making it seem self-pitying. Müller-Schott instead located elegance, dignity and a poignant vulnerability in Schumann’s music. His playing was sweet in tone and full of agility, which was neatly complemented by the scaled-down orchestra’s crisp, light-textured accompaniment.Terry Blain
Between these journeys into darkness, Schumann’s Cello Concerto felt more like a love song, and Muller-Schott sang it beautifully, his penetrating tone reminiscent of the voice of a lyric tenor. Schumann was a conflicted man and Muller-Schott evoked that with phrases that quickly shifted from bright to aggressive. His second-movement duet with principal cellist Anthony Ross proved an intimate and involving conversation, and Muller-Schott’s final cadenza was far more contemplative than customary, making the finale’s flurry of frenzied notes a stirring contrast.Rob Hubbard
“The German cellist Daniel Müller-Schott joined the orchestra in a soulful performance of [Dvořák’s] 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.”
“Muller-Schott was clearly the poet, playing so soulfully he added new depths to Dvorak’s heartfelt adieu to his first love. The first movement ached with agony and ecstasy, and Muller-Schott’s songlike phrasing enhanced the mood swings as well as the long stretch of solace in the Adagio. As the concerto neared its tumultuous end, his performance became spellbinding.”
“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…. 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.”
“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…. Well suited to the piece’s [André Previn’s Concerto for Cello and Orchestra] 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.”
“Cellist Daniel Müller-Schott played with great virtuosity. He seemed to play in a meditative state, delivering an ardent and passionate reading.”
“Certainly, what we saw from Müller-Schott at this concert was close to stunning: it is remarkable how much his technical sophistication and control has advanced in a relatively few years, and just how warm and ravishing much of his tonal output is. There is much feeling but also tremendous refinement, shape and eloquence too.”
“There’s no shortage of fine young cellists, but Daniel Müller-Schott is one of the most impressive – his brilliant technique, ringing tone and persuasive musicianship combine to great effect.”
“”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…””