Christoph-Mathias Mueller - Presse

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  • - CD Schumann - with Rachel Barton Pine and Göttinger Symphony Orchestra

  • “You probably don't think you need another Mendelssohn concerto in your collection, and you may not think you need the Schumann at all. […] This could very well be the recording that changes your mind. […] Mueller’s orchestra plays very well, and is clearly of one mind with Pine. […] But wait, there's more! Rachel Barton Pine and conductor Mueller really make the work their own. […] Mueller brings tremendous conviction and cogency to the accompainments. As a result, the entire work is elevated. I loved this. The two Beethoven romances are as wonderful as the rest of the disc, and generous to boot. A clear winner, and a joy to hear.” (Brian Wigman, 12/2013)

  • International Record Review - CD Schumann - with Rachel Barton Pine and Göttinger Symphony Orchestra

  • “A word, too, about her [Rachel Barton Pine’s] outstanding collaborators here, neither international household names, and probably amongst Germany's best-kept musical secrets! […] Orchestral playing is immaculately precise, freshly minted and balanced, with Mueller proving a quite masterful accompanist, responsive to every move and nuance from his soloist here.”

  • The Buffalo News - mit dem Buffalo Symphony Orchestra

  • “Maestro Christoph-Mathias Mueller was an active figure on the podium, guiding the BPO through the evening’s fare. His handling of the Chabrier [Suite Pastorale] arrangement and Gordon’s new score [flute concerto] was quite impressive.” (Garaud MacTaggart, April 13)

  • Seen and Heard International - with the NYOS

  • “Most of the major concerts of the Three Choirs Festival follow a well-tried pattern, but this contribution by The National Youth Orchestra of Scotland – on their ever visit to the Festival – was refreshingly different and challenging. The musicians were directed by a Swiss conductor with impeccable credentials having previously worked with the Gustav Mahler Jugendorchester under Claudio Abbado. Mr Mueller judged the acoustics of Worcester Cathedral perfectly in Ravel’s Rapsodie espagnole. The music of Prélude à la nuit seemed to emerge from the mist and retained a sense of delicacy until the end with the woodwind providing some evocative sounds. […] This was an exquisite performance with restrained playing and excellent phrasing in all sections of the orchestra. […] Christoph-Mathias Mueller is clearly a conductor-trainer of the highest order.”

  • European News Agency - Vienna Musikverein

  • “… each note maintained its value and had space and time to resonate in the ‘Il Distratto’ symphony, where conductor Christoph-Mathias Mueller ensured an interpretation that would surely have met with Haydn’s unqualified approval in every respect. Even the quickest runs in prestissimo never degenerate into sloppy glissandos, the Minuet remains danceable and the Adagio is a wonderfully quiet antipole, without ever becoming boring. All this, combined with the optimally implemented ‘Vienna Classic’ sound, was deservedly met with thundering applause.”

  • Dernières Nouvelles d'Alsace - Orchestre Symphonique de Mulhouse

  • «[…] l'excellent Christoph Mueller, chef invité compose […] un décor orchestral aussi raffiné que somptueux. Longue ovation bien méritée […]. Avec une réjouissante bonne humeur, ces variations très anecdotiques ont bénéficié de l'interprétation pleine de fantaisie du chef, à la tête d'un orchestre revendiquant force et énergie.»

  • L'Impartial - La Chaux-de-Fonds

  • «Christoph Mueller et le Göttingen Symphonieorchester se sent particulièrement à l'aise. Cela est apparu dans l'importance accordée à l'avancée dramatique des mouve-ments successifs, du scherzo. Assurément une version du haute tenue, démontrant une concentration absolue. Vivement applaudis, chef et orchestre […]»

  • Kultura Moscow, with the Russian National Orchestra

  • “Without doubt Christoph Mueller is one of the most talented and interesting conductors of his generation, as is evidenced by his second appearance with the RNO. [...]. It is very rare to experience such a ‘Mahleresque’ sound with the Russian orchestras [...].”