oria milano

Daniel Müller - Schott   cellist



“The magnetic young German cellist Daniel Müller-Schott...a fearless player with technique to burn ... But even more impressive were his gorgeous, plush tone and his meticulous attention to expression.” The New York Times

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) 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, 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 the 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.

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 .. 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

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

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 Hob. VIIb:1 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 Budwe

“He is a songbird, with wonderfully sensitive vibrato, pacing and tone.”

South China Morning Post, Alexis Alrich, 27.06.14

“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