After a seven-year absence from Seoul's classical music scene, renowned German cellist Daniel Müller-Schott is set to make his highly anticipated return to Korea. The 48-year-old virtuoso will perform at the Seoul Arts Center on October 12, accompanied by pianist Cho Jae-Hyuck, in what promises to be an evening of exceptional chamber music spanning different eras of German classical composition.
The carefully curated program showcases Müller-Schott's ability to bridge musical centuries, featuring works that are "contrasting yet connected," as the cellist himself describes them. The centerpiece of the evening will include Beethoven's Cello Sonata No. 3 and Brahms's F-major Sonata, complemented by Webern's concise Op. 11 and the lyrical warmth of Schumann's Fantasiestücke, Op. 73. This thoughtful selection demonstrates the evolution of German classical music while highlighting the cello's versatility across different compositional styles.
In an email interview, Müller-Schott explained the unique characteristics of each piece in the program. "Beethoven created a new kind of sonata that gives equal voice to both piano and cello. Brahms's F-major Sonata is more symphonic, full of orchestral color," he noted. "Webern's piece is very short but full of energy and intensity, while Schumann's music is deeply poetic. It connects literature and music," he added, revealing his deep understanding of each composer's distinctive approach to the cello repertoire.
While Müller-Schott has performed these masterworks for many years, his artistic contributions extend far beyond interpreting the standard repertoire. The cellist has devoted significant effort to expanding the cello's musical possibilities through discovering lesser-known pieces, creating his own arrangements, and actively collaborating with contemporary composers. His commitment to advancing the instrument's repertoire has resulted in numerous world premieres and commissioned works.
Several distinguished contemporary composers, including George Alexander Albrecht, André Previn, and Peter Ruzicka, have dedicated cello concertos specifically to Müller-Schott. He has premiered these works with some of the world's most prestigious orchestras, including the Leipzig Gewandhaus Orchestra, the Deutsche Kammerphilharmonie Bremen, and the Staatskapelle Weimar. These collaborations demonstrate his standing in the international classical music community and his role in shaping the future of cello literature.
Beyond his performing career, Müller-Schott maintains a deep interest in literature and visual art, often writing his own program notes and album essays about the composers and works he performs. "I feel each art form has its own source of inspiration," he explained. "I enjoy exploring different ways of expressing music or explaining what I see as most important. Through writing, speaking, or even painting, I sometimes gain more clarity since pictures, texts, and sounds are all connected. We can learn so much from these art forms."
As co-founder of the Vevey Spring Classic Festival in Switzerland alongside conductor Wilson Hermanto, Müller-Schott continues to experiment with interdisciplinary projects that push the boundaries of traditional classical music presentation. These innovative collaborations, such as combining Bach's music with dance, aim to expand the visual and emotional reach of classical music for contemporary audiences.
"At the festival, I work with artists and painters while giving young musicians a platform to perform chamber music with my colleagues," he explained. "All art forms come from the same human need to express ourselves. I also paint from time to time, love reading and visiting exhibitions. Exploring these forms gives me – and hopefully the audience – a broader perspective." This holistic approach to artistry reflects his belief in the interconnectedness of creative expression.
Throughout his distinguished career, Müller-Schott has released more than 30 recordings on major international labels, including Orfeo, Deutsche Grammophon, Hyperion, and Warner Classics. Despite this impressive discography and his international recognition, the cellist remains driven by curiosity and humility rather than commercial success or critical acclaim.
"There's no perfect image of a performer," Müller-Schott reflected. "What matters is to stay open, keep learning, and let your humanity come through in your playing." This philosophy of continuous growth and authentic expression has undoubtedly contributed to his longevity and respect in the classical music world, making his return to Seoul all the more significant for Korean classical music enthusiasts who have waited seven years for this opportunity.
