Published in Trierischer Volksfreund, 11/25/2011
” The world belongs to the brave. In music as well.
For their most recent concert in the “Kurfürstlicher Palais” the “Kammermusikalische Vereinigung Trier” had invited the “Signum Saxophonquartett”. [...] Blaz Kemperle, Simon Schuller, Alan Luzar and David Brand adjusted themselves perfectly to the hall. Exotic ensembles often have to do arrangements of existing compositions to create an entire concert programme – but not the “Signum Saxophonquartett”. Merely the “Romanian Dances”, Sz 56, by Béla Bartók were arranged in a worthwhile way by the young musicians. All the other pieces were originally composed for saxophone quartet, such as the Quartet op. 109 by Alexander Glazunov, with which the formation surprised the audience. It was already worth attending the concert exclusively for this partly profound but also humorous piece. Even the picturesque “Mysterious Morning II” (1996) by the Japanese composer Fuminori Tanada was exciting and colourful. [...]. The result was a complete success: Making acquaintance with four young musicians who achieved in enticing their audience technically and musically. [...] by Gerhard W. Kluth ”

Published in Nordkurier, 10/01/2011
“ The concert started with a price of the “Oscar und Vera Ritter-Stiftung “, being worth 10.000 Euro, which was handed over by artistic director Thomas Hummel to the four young musicians from Germany and Slovenia. They immediately started the program with Edvard Grieg’s “Holberg Suite“. They played by heart which is not usual at all for ensembles and which enabled them to concentrate entirely on sound, expression and ensemble playing. The quartet has a fascinating huge width of sounds – it may sound round and full, sharp and succinct, but also very soft, tender and airy.
With “Stilness – Musical landscape after Ciurlionis“ Lithuanian composer Zita Bruzaite (*1966) had composed a work exclusively for the “Signum Saxophonquartett“. The piece starts with tender and calm chords and the four create the chords at the première out of complete silence and motionless. One hardly feels a beginning but then the piece blossoms magnificently. In the middle there is a polyphonic network of the voices but executed sensitively. […]
Signum played opus 85 from Max Reger and succeeded in creating the impression of the streaming sound of a huge organ in the Prelude but also the tenderness in the Fugue. And everything polished to the smallest details.
But the four could also rock good and proper! Like they did in a folkloristic and virtuoso manner with Béla Bartok’s “Romanian Folk Dances“. […]
Those who still weren’t gone into ecstasies by then cheered and applauded at the end of the official programme and sparked off fireworks of three encores. “

Published in Nassauische Presse, 9/14/2011
” Top-notch night in Oranienstein with the “Signum Saxophonquartett” – phantastic combination with accordion:
[...] Next to a unique, consistent and sentimental ambience the “Oraniensteiner Nacht” has always a musical delicacy. This year it was the “Signum Saxophonquartett” which was completed by accordionist Nikola Djoric in the lovliest way. The evening started with “Le tombeau de Couperin” by Maurice Ravel, the musical tombstone for French composer François Couperin [...]. Especially captivating were the shimmering wave-like movements in the melody of the Prelude, the restlessness of the Forlane, the Menuet with remarkable harmonies and the dance-like and virtuoso Rigaudon which ended in a rhythmically pointed Finale. [...]
In contrast to that stood the second part of the concert where unknown pieces by contemporary Slovenian composers were played who are absolutely worth getting more attention. Both composers had written for the unusual quintet of Saxophone Quartet and accordion: Gasper Konec with his piece “Journey” and Izidor Leitinger with his three-movement Suite “Suita Quasi Balkanika”. The journey impressed with calm and sonorous chords creating an astonishing suction which drew the audience into the piece. [...] The music grew into an expression of pure love of life [...] which would have animated to dance if the room had been there. The Balkan Suite surprised with unusual sounds and succinct phrases. That sounded very lightly and was played elegantly although it is written rhythmically challenging. The piece is based on an underlying “joie de vivre” – a joy of being alive which wanted to be expressed and was expressed indeed. At the same time there were parts where the musicians were singing which reminded of the singing of monks and dervishes. [...] The baroque scenario of the “Oraniensteiner Nacht” ended open-air in the garden with more pieces and encores for Saxophone Quartet and accordion – much too early but accompanied by a long and ethusiastic applause. ”

Published in Westfälischer Anzeiger, 1/28/2011
” The multi-awarded and young ensemble [...] had put together a programme with great sophistication. [...]
In the center of the second half of the concert were two further compositions in the style of a suite. “Le Tombeau de Couperin” by Maurice Ravel (1875-1937) falls back upon old dance forms but includes an Impressionist harmony. It was followed by six Romanian dances by the Hungarian National composer Bela Bartok (1881-1945) whose oevre builds a synthesis between folkloristic and classical music. The miniatures were developed into
moaning tunes, burlesque sceneries and gypsy fire – masterfully interpreted by the Signum Saxophone Quartet.
The programme was concluded by “Tango Virtuoso” by Thierry Escaich (*1965). The composition is a reference to Astor Piazzolla, the Argentinian doyen of Tango-composition.

The audience celebrated the artists with standing ovation. ”

Willich – Schloss Neersen

Published in Rheinische Presse, 11/6/2010:
” The Signum Saxophone Quartet [...] may be one of the greatest ensembles of its kind.
They started with an arrangement of Edvard Grieg’s five-movement suite “Aus Holberg’s Zeit” which they performed completely from memory – like several other pieces. That alone is a notable achievement. Even more important is the musical precision work [...]. Fast passages like the beginning come lightly and flexible. Slow movements like the “Sarabande” are being presented with a cultivated sound filled with a discreet and only outlined vibrato. [...] The regular part of the programme was concluded with Astor Piazzolla’s effective Tango Nuevo “Four for Tango”.

Worms – Städtisches Museum im Andreasstift (Musikfestival Rheinhessen)

Published in Rhein Main Presse, 9/14/2010:
Four men in black, four saxophones, a historic place – this constellation keeps its promise:
a musical journey, joyful for body and soul. [...] These men offer an extensive repertoire on the highest level possible. Whether Haydn, Shostakovich or Pucchini, even if one wouldn’t confuse these names with saxophone music, these musicians risk much and give everything. They don’t shy at arranging string quartets – and the result proves them right.
[...] Their music is ear-piercing. The audience seems to sink into the music completely.
Sometimes powerful and fast, sometimes gentle and slow: The artists show impressively
which possibilities the classical saxophone has and they play notes one would never have thought possible on this instrument. At the same time there is the perfect homogeneity of the quartet that turns the concert into an unforgettable experience [...].
No matter which epoch the musicians pick – the realization always seems to work.
A first-class concert evening that offered something for everybody.

Stein, Burgkapelle

Published in Frankenpost, 8/10/2010:
“Dance floor on holy ground.
In the five movements of “Holberg Suite” the saxophonists showed a wide range of colours, feelings and capabilities of making music. Excitingly bold, stongly and sonorously they started with the Prélude. But they can also spread a cozy summer evening breeze by playing the Sarabande. They created an uncomplicated elegance in the Gavotte – and feverish passages in its trio – as well as a certain unstoppability in the Rigaudon. But they never disregard opportunities to reflect upon themselves introvertedly. They chose the Air
to be a moment of standstill beyound vitality, leaving one to compelling grief. [...]
Determined and with first-class reliability they swing through two Gershwin songs. In the exquisitely composed “Tango Virtuoso” by Thierry Escaich they toy with the stereotypes of greasy machismo and vamp-like vivacity – a sensual dance that seemed to turn the wooden floor of the chapel into a dance floor.

Ljubljana – Town Hall (Slowenien)

Published in Radio Slovenia (Program ARS) , 7/14/2010
“In Edvard Grieg’s Holberg suite the saxophone quartet replaced the string orchestra wonderfully. Not only did we correctly hear all the voices of the melody and accompaniment but the young saxophonists also gave a personal note to the composition.
In contrast to this beautifully presented romantic suite was the work Lamentatio by the contemporary Estonian composer Erkki-Sven Tüür, where the young saxophonists’ great articulative skills were pronounced. We were also impressed by the excellent articulation and nice coordination in their interpretation of Dmitri Shostakovich’s Polka, adapted for saxophone quartet. [...]
In Astor Piazzolla’s piece Four for Tango we were fascinated [...] by the dedicated, sometimes even vehement delivering which lifted the audience to its feet.
The first encore, Pequena Czardas by the Spanish composer Pedro Iturralde heated up the audience even more. So the second encore followed, a short movement in the joyful style of Klezmer.”

Gescher-Hochmoor – Firma Trapo AG

Published in Westfälische Nachrichten, 11/22/2009:
” The machines of the “Trapo AG” stood idle for one night. [...] The reason for that was not a strike but the concert of the Signum Saxophone Quartet performing in the concert series “Mommenta Münsterland”. [...] In a virtuoso manner, musically versatile and full of light-heartedness dealing with compositions both of ancient and contemporary times the ensemble moved his audience. With Edvard Grieg’s “Aus Holbergs Zeit” op.40 they set new standards with their instruments which were placed like the voices in a choire. [...] 29 jears old Timo Ruttkamp composed the piece “Fences” exclusively for the Signum Saxophone Quartet. Rotating Sounds took the audience into on a journey to other spheres. Stuttering, snorting, and blowing were sounds that the musicians produced with their instruments next to the usual tonality. ”

Mönchengladbach – Schloss Rheydt

Published in Rheinische Post, 10/13/2009:
“The start of the series of concerts “Best of NWR” was a huge success due to the Signum Saxohpone Quartet which was founded in 2006. The musicians gave a demonstration of how well music of all epochs can sound when played by four saxophones. The “Italian Concerto” by Bach was performed so brilliantly that one could imagine it was composed for Saxophone Quartet in the first place. [...]

Only after playing three encores the thrilled audience finally released the musicians.

Siegen – Apollo-Theater

Published in Siegener Zeitung, 10/10/2009:
” [...] The dense sound of the Signum Saxophone Quartet met an unbiased audience and also convinced sceptics with genuine chamber music. [...]

Dressed entirely in black, the quartet played six pieces and three encores dynamically, expressively and partly even in a virtuoso manner. ”

Bonn – Beethoven-Haus

Published in Bonner General-Anzeiger , 10/7/2009:
” The Slovenian musician Blaz Kemperle, soprano saxophone, and the German musicians Simon Schuller, alto- and David Brand, baritone saxophone, were excellently in tune with each other.

They started with Grieg’s “Aus Holbergs Zeit” played in casual dynamics which was contrasted with Fabien Lévy’s 1998 composed piece “DURCH”. Continuing with Bach’s “Italian Concerto” the four saxophonists showed once more their famous superior flexibility which was also required in Alfred Desenclos’ Saxophone Quartet. The two pieces “Elegie” and “Polka” by Shostakovich were arranged by the quartet themselves. They concluded the concert with encores by Gershwin and Piazzolla. ”

Stadtlohn – Geschwister Scholl Gymnasium

Published in Münsterlandzeitung, 9/2/2009:
” It is taking their music serious that distinguishes these musicians from others. Whereas other saxophone ensembles humorously reduce their interpretations of classical pieces to parodies, the Signum Saxophone Quartet achieves bringing out the special characteristic of the pieces. [...]

The whole variety of the instrument becomes perceptible – produced by the fiery realization of these four highly talented musicians. ”

Eitorf – Skulpturengarten Vetere

Published in Extra-Blatt Eitorf und Windeck, 5/13/2009:
” Gentle saxopohone sounds under a blue sky.
The visitors enjoyed unusual sounds in an ideal ambience. [...]
The musicians convinced with homogenous sound and clear articulation. The young ensemble enjoys already an exceptional reputation throughout the world of chamber music. From Eitorf they will go to Bangkok to play at the
World Saxophone Congress. ”

Köln – Ruder- und Tennis- Klub Germania

Published in Kölner Stadt-Anzeiger , 12/11/2007:
“When the saxophones sing.
Maybe already Vivaldi and Mozart would have liked the saxophone, its velvetly sound and enormous reserves of strength. [...] The quartet played flexible, with slender sound throughout all registers. [...] The Signum Saxophone Quartet brought a unique colour to the popular morning concerts. ”