Cello Reimagined Daniel Müller-Schott, L'arte del mondo & Werner Ehrhardt

• Carl Philipp Emanuel Bach (1714 - 1788): Cello Concerto No. 3 in A Major, Wq. 172:
• 1 I. Allegro 06:03
• 2 II. Largo con sordini, mesto 07:02
• 3 III. Allegro assai 05:25
• Wolfgang Amadeus Mozart (1756 - 1791):
• 4 Adagio in E Major, K. 261 (Arr. for Cello & Orchestra) 06:12
• Joseph Haydn (1732 - 1809): Violin Concerto in G Major, Hob.VIIa:4 (Arr. for Cello & Orchestra):
• 5 I. Allegro moderato 08:10
• 6 II. Adagio 05:34
• 7 III. Allegro 03:50
• Wolfgang Amadeus Mozart (1756 - 1791): Flute Concerto in D Major, K. 314 (Arr. for Cello & Orchestra):
• 8 I. Allegro aperto 08:03
• 9 II. Adagio ma non troppo 06:18
• 10 III. Rondo. Allegro 05:01
• Johann Sebastian Bach (1685 - 1750): Violin Concerto in E Major, BWV 1042:
• 11 II. Adagio (Arr. for Cello & Orchestra) 05:55
• Total Runtime 01:07:33

Info for Cello Reimagined

On his new recording Daniel Müller-Schott demonstrates a verve and lively curiosity in his programme, bringing together three composers to form a triangular relationship that is fascinating to experience. The intertwining and superimposition of successive generations is charming in itself: Johann Sebastian Bachs son, born in 1714, was perhaps the greatest composer of his generation; the essential founding father of the Classical era and creator of significant musical genres, born in 1732; and finally, the child prodigy born in 1756. The dates of their deaths, however, then seem to skew the chronology: Mozart died in 1791, just three years after Carl Philipp Emanuel, whereas Joseph Haydn lived another 18 years. CPE Bach made a significant contribution to establishing the piano concerto genre and arranged three such works for flute and all of them predictably virtuosic for the cello, one of which can be heard on this recording. Haydn on the other hand wrote, as is well known, the first and sadly the only great 'Viennese Classical' cello concerto, which Daniel Müller-Schott naturally plays often. He also composed piano and violin concertos, one of which appears here in a technically demanding arrangement for cello.Daniel Müller-Schott, in the tradition of Emanuel Feuermann, has attempted to imagine what Mozarts Oboe Concerto would sound like on the cello. In the process, he demonstrates the typical way in which Mozart transcended the borders of genre for solo concerto. The experimental repertoire succeeds in this instance not least thanks to the lively, infectious musicality of the LArte del mondo ensemble under the direction of Werner Ehrhardt, who are clearly very much at home in this music.

Daniel Müller-Schott, cello
L'Arte del mondo Werner Erhardt, conductor

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