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Jerry Dubins
Fanfare, November 2019

With the Cello Sonata, Müller-Schott restores my faith that he’s still one of the top players in the still under-50 company of cellists on the scene today. What a difference it makes when he’s partnered by a pianist in Herbert Schuch who brings out the best in him and in the music. The meeting of their musical minds results in a performance of Romantic ardor and exuberance of this youthful score of by the 19-year-old Strauss. … It’s gorgeous. And speaking of songs, so are the two that Müller-Schott has transcribed for cello. © 2019 Fanfare Read complete review



Huntley Dent
Fanfare, November 2019

…The Munich-born German cellist Daniel Müller-Schott has produced an impressive discography, consistently displaying admirable musicality, a singing tone, and perfect technique. He’s among the most refined and elegant cellists on the current scene, and at 43 he’s in his prime.

I’ve been enthusiastic about the solo recitals from pianist Herbert Schuch, and he’s a wonderful collaborator here. The cello arrangements of two Strauss Lieder are as ravishing as they could be, with Müller-Schott preferring elegance to showiness in both. © 2019 Fanfare Read complete review



The Strad, November 2019

The freshness of youthful Romanticism in Strauss’s Cello Sonata is immediately intoxicating. © 2019 The Strad



Richard Masters
MusicWeb International, October 2019

This [Cello Sonata] is the finest recording of the work that I have come across. Müller-Schott and his musical partner Herbert Schuch play with an effective combination of elegance and dynamism in the outer movements, and find a beautiful sense of repose in the slow movement.

Schuch is an outstanding pianist. His phrasing is sensitive, his softer colors varied in the extreme, but he is not afraid to play out in muscular fashion when the score calls for it. Schuch’s voicing and his timing of broken chords (both a real concern in this thickly-scored piece) are impeccable. © 2019 MusicWeb International Read complete review



Bob Neill
Positive Feedback Online, September 2019

Strauss’s music represents the last valiant, sometimes poignant, rear guard attempt to keep the western tradition intact. Therefore, how fitting that we have before us Strauss’s tone poem, Don Quixote! Young German musician Müller-Schott is one of the very best young cellists of his generation and does the work full justice. © 2019 Positive Feedback Online Read complete review



Erica Jeal
The Guardian, August 2019

Also out this week is more cello music: Daniel Müller-Schott’s disc of works by Richard Strauss. This is less of a conversation, more of an oration. Strauss’s early F major Sonata, for which he is joined by the pianist Herbert Schuch, has a distinctly heroic cast to which Müller-Schott rises persuasively; then, with the Melbourne Symphony Orchestra conducted by Andrew Davis, he draws a vivid portrait of the self-styled knight errant in the concerto-like tone poem Don Quixote. © 2019 The Guardian



The Classic Review, August 2019

What makes this new recording particularly special is how fully they capture the humanness of Cervantes’s story. Don Quixote is a touching examination of human suffering, the desire for love and the need for healing, and that is the essence of this new performance. © 2019 The Classic Review




Remy Franck
Pizzicato, August 2019

A determining element in the wonderful, very characteristic performance is the cellist Daniel Müller-Schott, whose playing is beautifully lyric and intensive. In the violist Christopher Moore, he has an excellent and expressive partner. © 2019 Pizzicato Read complete review



Lisa Flynn
WFMT (Chicago), August 2019

During his long and exceptionally fruitful creative life, Richard Strauss composed only a few works for the cello. Only three have survived and small as that number may seem, those works are critical to the composer’s development. Daniel Müller-Schott sees the early Sonata and the late tone poem Don Quixote as marking the path that was to lead Strauss within the space of a few years from Romanticism to the Modern era in music. The cellist highlights this watershed in Strauss’s artistic development with his own transcriptions, expressly made for this album, of the songs Zueignung and Ich trage meine Minne. © 2019 WFMT (Chicago)





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