German cellist Daniel Muller-Schott delights with the new recordings. With the participation of the Melbourne Symphony Orchestra conducted by Sir Andrew Davis and pianist Herbert Schuch, an album with music by Richard Strauss was released.
Opens with Sonata CD for cello and piano in F Major where Herbert Schuch performed the piano part. The first — fast — part of the sonata (Allegro con brio) impresses with its bright colors and lively direct movement. The wide, sweeping performance of Muller-Schott is echoed by the same free play of Schuh. As if this is not a learned work, but improvisation on a given mood. The second part (Andante ma non troppo) plunges into the world of tenderness and refined sentimentality, due to the tiniest elaboration of dynamic nuances. In the sonata finale the elated mood of the major returns, but in a different presentation — more restrained and meaningful. Thus, Muller-Schott and Schuh managed to outline all three parts differently.
Muller-Schott himself makes arrangements of works seemingly not quite “convenient” for cello. On this disc, two songs are recorded arranged for cello and piano: Zueignung from the cycle Eight Poems from «The Last Leaves» by Hermann von Gilm op. 10 and Ich trage meine Minne from the cycle «Five Songs» op. 32. The amazing touch of the bow, marvelous vibrato, close attention to detail — all is in its place, creating a holistic view of the works. In the cello version, the songs became even more cantalized and their melodies seem to be even more appropriate than those performed by the vocalists.
The release ends with the symphonic poem Don Quixote. The Melbourne Symphony Orchestra and conductor Andrew Davis helped Muller-Schott dive into the world created by Cervantes. The part of the viola was performed by Christopher Moore. This Strauss work for cello performed by Muller-Schott sounds more strict and restrained than the opening Sonata album, written by Strauss at nineteen. It is as if the burden of a lived life dominates not only the created image of Don Quixote, but also the composer himself. In Don Quixote by Muller-Schott and Sir Andrew Davis the expression and restraint flocked together. The poem was not like the versions presented by Rostropovich and Karajan, or by Fritz Reiner and the Chicago Symphony Orchestra. With Muller-Schott, the cello part breathes freely against the background of the English clarity of the orchestra set by the conductor. This is what creates the image of the real Don Quixote — a romantic-freethinking-rebel, acting exclusively in the framework of decency and deep morality.