Daniel Müller-Schott



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 many years 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 technique to burn “.

Daniel Müller-Schott guests with international leading orchestras in New York, Boston, Cleveland, Chicago, Philadelphia, San Francisco and Los Angeles; the Berliner Philharmoniker, the Gewandhausorchester Leipzig, Bayrisches Staatsorchester and Münchner Philharmoniker, the Radio Orchestras from Berlin, Munich, Frankfurt, Stuttgart, Leipzig, Hamburg, Copenhagen and Paris, the London Symphony and Philharmonic Orchestra, as well as Sydney and Melbourne Symphony Orchestra and Tokyo’s NHK Symphony Orchestra, Taiwan’s National Symphony Orchestra (NSO) and Seoul Philharmonic Orchestra. He has appeared worldwide in concert with such renowned conductors as Marc Albrecht, Vladimir Ashkenazy, Cristian Măcelaru, Thomas Dausgaard, Christoph Eschenbach, Iván Fischer, Alan Gilbert, Gustavo Gimeno, Manfred Honeck, Neeme Järvi, Karina Canellakis, Susanna Mälkki, Andris Nelsons, Gianandrea Noseda, Andrés Orozco-Estrada, Kirill Petrenko, Michael Sanderling und Krzysztof Urbański.

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“To experience Daniel Müller-Schott’s intimate and instinctive understanding of the cello’s sound world throughout this wide variety of unaccompanied works is a completely compelling musical journey.”

Richard Bratby


“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.”

The New York Times

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

St. Louis Post-Dispatch

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

Star Tribune

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

Pioneer Press

“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.”

The New York Times

More Reviews

“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.”

Chicago Tribune

“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.”

Cleveland Plain Dealer

“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.”

New Jersey Star-Leger

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

Minneapolis Star Tribune

“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.”

Vancouver Classical Music

“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.”

Gramophone Magazine

“”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…””

Frankfurter Allgemeine Zeitung