Daniel Müller-Schott | IMG Artists

Daniel Müller-Schott



Daniel Müller-Schott ranks among the world’s best cellists of his generation and can be heard on all of the foremost international concert stages. He has made his mark by delighting audiences for two decades “a fearless player with technique to burn” (New York Times).

Daniel Müller-Schott guests with 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 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) and 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, Jun Märkl, Andris Nelsons, Gianandrea Noseda, Andrés Orozco-Estrada, Vasily 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. The new CD released in autumn 2017 with ORFEO fully reflects this passion. In collaboration with l’arte del mondo, Daniel Müller-Schott processed works for cello by Haydn, CPE, JS Bach and Mozart for this recording.

Sir André Previn and Peter Ruzicka dedicated cello concertos to the star cellist which were premiered under the direction of the composers. Further premieres of Previn’s cello concerto were performed by Daniel Müller-Schott: in Japan in 2015 with the Osaka Philharmonic Orchestra conducted by Gustavo Gimeno and, as far back as 2014, in the USA. American-born Sebastian Currier composed a cello sonata for Daniel Müller-Schott. The cellist premiered Olli Mustonen’s sonata for cello and piano along with the composer in the Laeiszhalle in Hamburg, and the adaptation for string orchestra was launched by Daniel Müller-Schott under the direction of the composer at the Cello Biënnale Amsterdam 2016.

In the spring of this year, and to much acclaim from the press, Daniel Müller-Schott played the premiere of Berger’s “Rime Sparse” for soprano and piano trio in Chicago’s Harris Theatre and then the New York premiere in the Alice Tully Hall.

Highlights of the season 2017/18 include the “Hommage to Rostropovich” in the Konzerthaus in Berlin along with Anne-Sophie Mutter and the concerts with the Bayerisches Staatsorchestra conducted by Kirill Petrenko. Daniel Müller-Schott and Julia Fischer will play Brahms’ Double Concerto in Munich in the Bavarian State Opera, in Hamburg’s Elbphilharmonie and in Carnegie Hall New York. For the second time this year, Daniel Müller-Schott has been invited to Australia, where he will make a guest appearance with the Sydney Symphony Orchestra and Vladimir Ashkenazy. In North America he is a guest with the Vancouver Symphony Orchestra and Joshua Weilerstein and with the Minnesota Orchestra and Michael Francis. Concert stops in Europe include his debut with London Symphony Orchestra and Susanna Mälkki, the Elbphilharmonie again, the new concert hall of Dresden’s Kulturpalast and the Old Opera in Frankfurt, with the Dresden Philharmonic Orchestra and Michael Sanderling, the Rudolfinum, Prague and the Philharmonic Orchestra, Munich with Prague Philharmonia and Emmanuel Villaume, the new concert hall in Katowice with the Polish National Radio Symphony Orchestra and Leonard Slatkin, Barcelona Symphony Orchestra and Andrew Grams, and Oslo Philharmonic and Arvid Engegård. Daniel Müller-Schott can be experienced as a chamber music partner in trio with Baiba Skride and Xavier de Maistre, in duo with Lauma Skride in the Louvre in Paris, and in Mogens Dahl Concert Hall in Copenhagen with Francesco Piemontesi.

Daniel Müller-Schott can be heard regularly as a musical partner in Brahms’ Double Concerto and as a trio partner of Anne-Sophie Mutter. In October 2013, the Anne-Sophie Mutter Foundation awarded the Aida Stucki Prize to Daniel Müller-Schott. Already in 2000, the famous violinist invited him to perform his debut concert at New York’s Carnegie Hall.

In his chamber music concerts he works, among others, with Renaud Capuçon, Xavier de Maistre, Julia Fischer, Igor Levit, Francesco Piemontesi, Lauma und Baiba Skride und Simon Trpčeski. International music festivals regularly invite Daniel Müller-Schott to appear. These include the Proms in London, the Schubertiade, Schleswig-Holstein, Rheingau, Schwetzingen, Mecklenburg-Vorpommern, at the “Heidelberger Frühling” as well as at the Festival Vancouver and in the US at festivals for example in Tanglewood, Ravinia and Hollywood Bowl in Los Angeles.

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 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”.

Daniel Müller-Schott recorded his current CD DUO SESSIONS with Julia Fischer for the Munich label ORFEO. Recording the duos by Kodály, Schulhoff, Halvorsen and Ravel with Julia Fischer was something Daniel Müller-Schott had wanted to do for years. The recording was awarded the International Classical Music Award 2017 (ICMA) at a gala event in Leipzig.

Daniel Müller-Schott studied under Walter Nothas, Heinrich Schiff and Steven Isserlis and benefited early on from personal sponsorship by Anne-Sophie Mutter as the holder of a scholarship from her foundation. Through this support, Daniel Müller-Schott was taught privately by Mstislav Rostropovich for a year. In 1992, at the age of fifteen, he first caused a sensation internationally by winning the 1st Prize at the Moscow International Tchaikovsky Competition for Young Musicians.

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 visit the major museums, seeing the great masters in the original. The cellist regularly takes part in art projects, for example at the Lenbachhaus in Munich.

Daniel Müller-Schott plays the “Ex Shapiro” Matteo Goffriller cello, made in Venice in 1727.

Recent News


“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

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