Pindakaas Saxophone Quartet performs in Wittgenstein Palais

By Volker Buchmann

He was a court lutenist in England and one of the most colourful characters of his time. Today John Downland (1526-1626) is remembered and admired chiefly for the songs he wrote for the accompaniment of the lute, a charming mix of melancholy and lightness. A few of these compositions were performed in the Wittgenstein Palais recently, dressed up entirely new, as the four Pindakaas musicians had replaced the lutenist with a counter tenor.
The voluminous sound of the saxophones seemed strange initially, but the extraordinary performance gained ever more appeal by the quartet's sensible and never importunate style, which retained the tender character of the short pieces. The ensemble harmonised perfectly, resulting in a precise yet dynamic performance.
The Altus was also remarkable mastering all registers in a clear, pure fashion. His simple, natural style which is devoid of exaggeration or over-use of the vibrato, he follows the tradition of great English counter tenors. He gave the more sombre songs musical depth whereas the burlesque pieces were performed with subtle irony.
The quartet's versatility and their adventurous spirit also became apparent in their interpretation of two dances by John Jenkins (1592-1678), which were more reminiscent of old cornettos. By occasionally swapping the saxophones for flute, clarinet or bass clarinet, Marcin Langer, Guido Grospietsch, Joachim Schoofs and Matthias Schroeder made the concert all the more colourful. Several short rounds by Arnold Schönberg (1874-1951) were presented with great sensitivity and wit before the ensemble went on to prove their lively side with some Jewish traditionals. The instrumental versions of songs from the Ghettos and a Klezmer piece were played in a virtuoso manner with dynamic, tremendously fast tempo changes, yet without ever losing control. The quartet harmonised perfectly throughout the concert.
Translation: Anke Mittelberg