Interviews |
FonoForum, March 2006 His career as a recording artist really started with a bang, with a recording of Bach’s Cello Suites. With single-mindedness, Daniel Müller-Schott followed up on this early success and strengthened his position as one of the outstanding cello talents of his generation. By Norbert Hornig. Bach Year 2000 – numerous old and new recordings are devoted to the great master. Complete editions of his works are looking for new buyers. Meanwhile, a remarkable new recording of his six Suites for Cello solo is in danger of being overlooked. The “Glissando” label has given Daniel Müller-Schott, the young musician from Munich, a rare opportunity to record the cycle as his recording debut. “I have occupied myself with Bach’s Cello Suites ever since I first had a cello in my hands,” is Müller-Schott’s explanation for his courageous step. “And in the Bach Year I wanted to record the cycle and risk presenting myself on record with this repertoire.” Can a 23-year-old really be up to the musical challenge of these pinnacles of cello literature? Are decades of prior experience on the podium not a requirement? With the very first notes of the suite in G major, all doubts were dispelled. He created every phrase with technical sovereignty and musical consistency, successfully passing the crucial recording test. Born in Munich in 1976, Daniel Müller-Schott came into contact with music at a very early age. His mother, who played the harpsichord and taught piano, was a major influence. “When I was six, she took me to the Herkulessaal to a rehearsal of a Schumann cello concerto with Yo-Yo Ma. This was what inspired me to take up the instrument,” he recalls. First there were private lessons, then he studied at the Munich School of Music under Walter Nothas, a pupil of André Navarra. “The years I spent studying under him were defining years. For him, training in the technical aspects of playing was very important, I mean learning to master the instrument. From the very beginning I was supported and encouraged to develop free and imaginative musicianship.” In 1992, Daniel Müller-Schott, just 15 years old, drew attention to himself when he won first prize at the Moscow “International Tchaikovsky Competition” for young musicians. This was followed by a European tour with the Warsaw National Philharmonic. “It was this competition which determined the course of my life. It was the real turning-point, and a clear signal – you can do it, you must follow the path of the soloist and develop your talent as best you can. The competition started things off, concert organisers started to take an interest in me, and I received more and more offers.” Nevertheless, Daniel Müller-Schott never felt any sense of completeness, and nor does he now. When he was 19, he continued his studies in Salzburg and Vienna under Heinrich Schiff. This was a very important experience: “Schiff is a very emotional musician, but one who sets great store by analysis and textual accuracy,” says Müller-Schott. “He taught me how to deal with a piece as something whole, and to develop a clear view of the “architecture” of a work. In addition to the studies of music, it was also very exciting for me to immerse myself in the cultural life in Vienna. The concerts, the opera, the theatre and the museums – they all provided important influences and inspirations.” In the 1990s, the English cellist Steven Isserlis was both a mentor and inspirer for Müller-Schott: “His enthusiasm for the music, in particular his love of Schumann’s music, captivated me. What was typical of him was his almost religious seriousness when it came to the music, coupled with unmistakable passion and devotion. And he was always studying the historical backgrounds, something which became increasingly important for me over time. Now I enjoy writing about the music I am currently involved in, including texts for the booklets which accompany my recordings. I see it as a wonderful opportunity to inform readers about the thoughts and emotions contained within the music. Finally, in 1992, came his first meeting with Anne-Sophie Mutter. His first performance so impressed the violinist that at once she personally sponsored his talent, first through the “Rudolf Eberle” foundation and then as the holder of a scholarship from the “Freundeskreis Anne Sophie-Mutter Stiftung e.V.” foundation. Anne Sophie-Mutter played a direct role in accompanying the artistic and personal development of the young cellist. Time after time he played for her, and the foundation provided him with a first-class instrument by way of a loan together with additional instruction from Mstislav Rostropovich. In the meantime, the scholarship-holder relationship has developed into an artistic partnership. Daniel Müller-Schott’s first reaction to Anne Sophie-Mutter’s invitation to accompany her on concert tours was one of speechlessness. He sees playing with her and André Previn as enriching him in a very special way. “For me, Anne Sophie-Mutter is an extraordinary musical personality. When she plays the violin, she is able to conjure up all kinds of shades from it, and I try to transfer these to the cello. Playing music together, including in the trio with André Previn, strikes me as being my extremely good fortune.” Since January a first recording with Mozart piano trios has added to Müller-Schott’s steadily growing discography. The cellist is also very happy that, in Orfeo, he has found a label which is still very interested in recording the standard classical and romantic repertoire. Certainly, there are still a lot of plans. “I would love to record Dvorak, preferably with the Czech Philharmonic. A recording of the Schumann concerto with Christoph Eschenbach is planned for 2007. Eschenbach is one of my mentors and has invited me to play many times over the years.” There is certainly plenty of competition in this field, but that is something that Müller-Schott sees positively. “I see it as an incentive to become involved with the works to as intensive a degree as possible. It’s true that occasionally I hear recordings made by my colleagues, but what is important for me is to study the sources again and again in order to achieve my own completely personal and unmistakable interpretation." Just listening to him provides evidence of his intensive studies. What is also impressive is his control over all mechanical aspects, the intonation is faultless, and the intensity and maturity of the tone are most attractive. One of Müller-Schott´s passions is rummaging in archives and old bookshops, always hoping to make discoveries which complement and add to his repertoire. In one case he found the completely unknown concertos of Joachim Raff. "When I saw the notes, I was fascinated, in particularly by his first concerto, which is constructed in a similar way to the Saint Saens Concerto in A minor. It is very entertaining and passionate music which really rewards those who take the trouble to get to know it. I was especially delighted by Tudor’s offer to be the soloist for the first recording – it was definitely an honour for me." A Trio for Mozart (André Previn, Anne-Sophie Mutter, Daniel Müller-Schott) CD-Information Daniel Müller Schott´s career has long been an international one. His debuts in London, Paris (with Anne-Sophie Mutter in Brahms’ Double Concerto), New York or Chicago were happy occasions which immediately resulted in him being invited to appear again. In spite of all his successes, he has remained both modest and serious. "Only staying in the limelight and being applauded would have been far too little for me. In fact, the real privilege is being involved with great art. This includes always thinking critically about how to do justice to the composer and how to present his music according to my own personality. I see my main task as using this to open up new paths to the public." |
Subject: An interview with Daniel Müller-Schott
/ by Annemarie Ballschmiter Straight to the heart He isn’t a pop star, and he isn’t one of those highly-strung geniuses. No, Daniel Müller-Schott is, quite simply, a superb musician. The 28-year-old cellist, who comes from Munich, and who won the prestigious Tchaikovsky Competition for Young Musicians held in Moscow when he was only 15, has developed into one of the best in his field. There have been no spectacular marketing efforts, just steady progress, the ability to generate enthusiasm, and the fact that he is very down-to-earth. ELLE: Why should people listen to classical music? D.M.-S.: There are many answers. One of them is that classical
music is our culture, our heritage, and we musicians are privileged
to be able to devote ourselves to it. Just like the fine arts,
music enriches us and is as much a part of our ELLE: Isn’t it easier to approach music simply by listening to a CD? D.M.-S.: Listening to a CD is fine, but a concert is a completely different experience. The music is created at that very moment. Sitting down for an hour, concentrating on and really listening to the music – that is what purifies, what clarifies the listener’s thoughts. ELLE: What attracted you to the cello? D.M.-S.: My mother plays the harpsichord and teaches piano. She used to take me to rehearsals, and I was five years old when I listened to my first cello concert. It was the sound that impressed me then, but also the way of playing the cello, of embracing the instrument. ELLE: Have you ever considered playing a different instrument? D.M.-S.: So far no other instrument has fascinated me as much as the cello does. Its warm sound is magnificent, and its dark tone comes very close to that of the human voice. Also, it’s an instrument which I find very easy to play, and I can express my emotions freely on it. ELLE: Are there any moments when you are bored by the music? D.M.-S.: No. Every time I work on a new piece of music, it’s like looking for buried treasure. I become involved in a composer’s world of emotions and feelings. The notes are a code which needs to be deciphered. ELLE: So what do you think of music which simply plays away in the background? D.M.-S.: Terrible. Whenever I listen to music, no matter what kind, then that’s something I want to do with all my senses. Interview: Annemarie Ballschmiter |
Frankfurter Allgemeine
Zeitung Bowing to frenetic applause As we drive into the garage, the car's headlights light up graffiti wildly sprayed on the garage wall. Daniel Müller-Schott is responsible for the mess. When he was younger, he used to spray. But never illegally, he ensures. That was back before he knew that he wanted to be a cellist. In those days, he might have wanted to become a painter. Painting still interests him, but one thing is now certain: This 28-year-old is on the right track to become one of the world's best cellists. Müller-Schott was born into a musical family. His mother teaches cembalo at Munich's conservatory and practicing chamber music was a normal activity at home. It was only later that he discovered playing as a form of expression. Gradually he realized that "music impacted me profoundly, and that I wanted to explore myself through music," Müller-Schott said. The decision to carve out a life with the cello was made in Moscow. When he was just 15 years old, Müller-Schott won first prize at the International Tchaikovsky Competition. It was an early break, and from that moment on people began to take note of him. Probably the most surprising aspect to Müller-Schott's rise to fame is that it has happened without much strain. Good teachers were conducive to his first successes: Walter Nothas in Munich, Heinrich Schiff in Salzburg, Steven Isserlis in Britain. Thanks to Anne-Sophie Mutter, he was able to get a good modern cello from Etienne Vatelot and was put into contact with numerous people. Today, he tours around half the world as a soloist. Müller-Schott has been untroubled by the crises that sometimes cripple other highly talented musicians. When he sees the many young female violinists who come to prominence every season, he asks himself: "where are the male violinists?" Of course, he too uses his young looks to his advantage and is pleased with the photos that illustrate his CD covers. But that is not what is decisive. The career development of cello players is a little more relaxed. To have physical control over the large instrument, a cellist needs to have reached a certain age. Even at 30, cellists are still considered young. And while Müller-Schott is on the brink of being really famous, he knows he will never be splashed on the cover of boulevard newspapers. "What's really nice about being a classical musician," he says "is that one can be famous and still have a private life." If you ask him about his current goals, he immediately names his wish to push through his repertoire. Mstislaw Rostropowitsch sparked his interest in less well-known pieces for the cello. When he was to play for the first time in front of the "old master," he was told to perform the seldom-played Hindesmith solo sonatas. Since then, he has concentrated his efforts on pieces that have been neglected, Müller-Schott says. He has just released a CD that contains the two cello concertos of Liszt's contemporary Joseph Joachim Raff as well as a new interpretation of Robert Schumann's violin sonatas in A-minor. Bringing such pieces to the concert hall remains hard. "But I'm fighting against this," Müller-Schott said. Müller-Schott already has released various CDs from numerous music labels. Although the Munich company Orfeo has a large share of Müller-Schott's CDs in their catalogue, the young cellist has purposely avoided signing a long-term contract with any one music label. He is turned off by the rigid demands of the big labels when it comes to repertoires and he is annoyed at contracts that make soloists release an easy listening CD if they also want to put out a standard work. In the past, music companies used to help build up the careers of musicians, speaking with them to discuss which music would best suit them - the relationships were once mutually supporting. But those days belong well to the past. The 28-year-old has big plans ahead. He would like to get younger people interested in classical music. He wants to perform the works of Elgar and Walton next year and at some point soon, he would also like to perform the suites from Johann Sebastian Bach again. He recorded them for the first time four years ago. This time around, he wants to draw onhistorical playing practices. With this ambition in mind, he equipped a cello from the 19th century with catgut strings. Just a few weeks ago, he held a cello in his hands that could
become the instrument of his life. Venetian master Matteo Gofriller
built the cello in 1700. The balance between highs and lows is
fabulous and it has warmth. It could well accompany him to the
highest echelon of the cello |
DIE ZEIT, JANUARY 2003 Youth without folly: cellist Daniel Müller-Schott By Claus Spahn When, in fact, do extremely talented young musicians become adults? Is it when, like Anne-Sophie Mutter, they are taken as a 13-year-old Wunderkind under the wing of a great old conductor? Or when, like Hilary Hahn, they suddenly find themselves in the limelight of an international career in the field of classical music? Or when, like the 19-year-old Yehudi Menuhin, they find themselves in the middle of their first great crisis of the mind? Or when, at the age of 24, they decide that the lack of freedom which they had in their youth has come to an end and they start a new life, as did violinist Viktoria Mullova following her flight from the Soviet Union? Such striking turning points and breaks are missing in the biography of 26-year-old cellist Daniel Müller-Schott; it is as if his musical development has only ever been a relaxed, safe and sure progression into the life of an artist. Some people simply become superb musicians. Just like that. Of course, Daniel Müller-Schott comes from a family (near Munich) who encouraged his development - his mother plays the harpsichord, his father is a mathematician. And he had a good teacher, in Professor Walter Nothas, the Munich cellist. Yet he was never acclaimed as a Wunderkind. Once, just once, he achieved what nobody before him had ever managed to do - when he was 15, he became the first German musician to win the legendary Tchaikovsky competition in Moscow. However, he treated this sensational success as something of a matter of course, and continued to study under Heinrich Schiff and Steven Isserlis. In any case, he was not interested in taking on the role of the virtuoso young multitalent in the world of classical music. "When you play the cello, and you are male", he says, "everything develops rather more sedately than if you are a teenage girl who plays the violin." He has continued to work on his repertoire, and to extend his concert activities, without taking on too much, but with everything carefully thought-out and very sensible. Heinrich Schiff could have lent him his red Porsche without worrying that Müller-Schott would promptly have crashed into the next tree. Nevertheless, nobody becomes a great musician just by being sensible. When Müller-Schott is playing the cello,
his maturity is disarming. In technical terms, he long ago mastered
all the tricks, and effortlessly plays even the most difficult
works. He expresses every musical thought with clarity. His treatment
of baroque music is as tasteful as his playing of the French
repertoire of the late 19th century. He is not the type of musician
who indulges in juvenile and effusive extravagances, who plays
Dvorak's concert for cello one way today and a different way
tomorrow. He says that he has an ideal vision of his interpretation,
an idea for which he strives, although one which always contains
new perceptions and variations. And "I am very certain of
my abilities when it comes to music-making," he says. |
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