CD Feature/ Amstel Quartet: "Amstel Peijl"
Puts things into perspective: A private quest of musical genealogy.
Christopher Nolanâ€™s â€œMementoâ€ wasnâ€™t only a surprising and suspenseful thriller in the â€œfilm noirâ€ tradition, it was also an intruiging investigation into the question of whether there is a future for someone without a past. The same issue, if only in the context of the Saxophone Quartet, lies at the heart of â€œAmstel Peijlâ€. While the format has by now firmly established itself in the concert halls of the world with a repertoire that keeps growing continually, its history only really started in the second half of the twentieth century and rather resembles a small slice of Swiss chesse than a sizeable chunk of Gouda. It is therefore up to the Amstel Quartet to demonstrate different developments, uncover lines which have been running in parallel motion and to put things into perspective.
Needless to say this musical genealogy is not only an act of science. For the Amstel Quartet, it is a private quest as well. The formation of the ensemble as such already represented an artistic search for meaning and of finding out where one belongs. When the members of this fourpiece were still going their separate ways, after all, the Saxophone Quartet was still considered rather exotic â€“ at least among the general public. To Remco Jak (Soprano), Olivier Sliepen (Alto), Bas Apswoude (Tenor) and Ties Mellema (Baritone), however, every single sound of music they encountered, was demanding an answer to the question of what it would sound like when performed by the power of their combined instruments, every composition was scrutinised to find out about its potential for a new arrangement. To them, the story of the Saxophone Quartet and of their joint project under the â€œAmstelâ€ banner is the story of how they were finally able to perform the repertoire they wanted in the lineup they so dearly loved.
On a second level, â€œAmstel Peijlâ€ is also very much a nationally tinged effort. Its title references the Dutch system of gauging the relation of water and land by placing stone markers at strategic places in town â€“ an essential tool for preventing minor and major catastrophes in a country which just as much lives from the symbiosis it enjoys with this element as from the fears of its devastating impact. And then, of course, it is yet another brick in the wall of a long tradition of Saxophone Quartets. One therefore has to understand the title, which pays no heed to the demands of an increasingly internationalised business, as a clear indication that the ensemble will both stay true to its ideals and to its roots.
In terms of repertoire, â€œAmstel Peijlâ€ truly lives up to its aims. It features the three compositional forms which have, intermittently and each at its time, been in the limelight of the genre: The early experiment, the transcription and the Saxophone Quartet as a mature type of its own. Alexander Glazunov holds the honour of being the author of what possibly constitutes the first score in this respect. His â€œSaxophone Quartetâ€ dates back all the way to 1932 and already captures a lot of what makes this instrumental combination such an instantaneously captivating affair: The warm and dense sound, its rhythmic flexibility, a perfect melodic and harmonic clarity despite the strong melting sensation of the individual voices as well as a consoling timbre, which even transcends the more melancholic passages into wonderfully bittersweet joy. With its unusual form, it also highlights the progressive potential of the Quartet in terms of arrangement.
Gabriel Faureâ€™s â€œPelleas et Melisandeâ€, meanwhile, fills the gaping gap which preceeds Glazunovâ€™s work. Reworked by Wijnand van Klaveren, who also takes on painistic duties here, it is a piece of romantic inclinations, an undulating ballad in four movements, which doesnâ€™t seem to be able to escape its circling chord schemes, which never really come to a conclusion.
As Paul Janssen points out in his linernotes, there have been plentiful examples of Saxophone Quartets since then, but none has probably been as influential and popular as the one written by Philip Glass. Glassâ€™ Quartet springs from an opening movement which acts as a nucleus, presenting the thematic material, juxtaposing it and testing its compatibility and friction areas. More than in his other works, the rhythmic pulse is topped off with sensous melodies, its complexity replaced with perpetually changing formations within the group taking charge.
With the exception of the second part, which seems to be more of an intellectual intermezzo, the movements are marked by a stunning emotionality, which grabs one immediately and without mercy. Among the recordings of this seminal piece, there is even a rendition performed by the Rascher Saxophone Quartet, which has been released on Glassâ€™ own Orange Mountain Music label. In direct comparison, the version by the Amstel Quartet is softer, more tender and graceful, with especially the quiet third movement shining in a surreal nocturnal light.
â€œAfter many explorations in the area of modern and most modern music, the Amstel Quartet now sets its own standard with these three piecesâ€, Janssen writes and that is no exageration. â€œAmstel Peijlâ€ manages to perform those all-important splits between a personal expression and a universal statement. And, to put it less academically, it is both a rewarding musical essay with regards to the genreâ€™s history and an album which you can listen to without having to put a dictionary near your comfty chair. Letâ€™s see when Christopher Nolan finally notices these guys when deciding upon his next soundtrack.
By Tobias Fischer
Review American Dream
Amstel Quartet inspires listeners twice in Monastery hall (German)
Maxim Shalygin laat acht saxofoons bruut branden
Vurige saxofoons - Dag in de Branding
Cinema Paradiso at the Mainzer Musiksommer
Amstel Quartet thrills with "Classical Zen"
Review of our concert
Die Rheinlandpfalz about our concert in Landau on September 28th
Wagners Ring in 20 Minuten - genial
Balm for the soul ... La vie en rose even is a revelation
A real Caribbean feast for the ears!
5 out of 5 stars for Sax avec Elan! in Elsevier!
Sax avec Elan! Album of the Week on SinfiniMusic!
En Route review Sax & Elan
Review 'Sax Avec Elan' op Musicframes.nl
Recensie 'Sax avec Elan' in Trouw
Recensie Klassiek Zaken 'Sax Avec Elan'
Recensie NRC 'Sax avec Elan'
Recensie Telegraaf 'Sax avec Elan'
Review Gaudeamus concert[s]
Mit dem Saxophon unterwegs in ungewohnte Klangwelten
Elan & Sax
Concert at Sarnia Concert Association, Canada
Amstel Tracks NOW! review
recensie: ZWART LICHT.. . Leeroy draait door
gecertificeerde zuurstofflessen - certified oxygen cylinders
Alles ist Saxophon
review Amstel Tracks NOW! in Opus Klassiek
review Amstel Tracks NOW! in Mania
LUXEMBURGER WORT - Une mosaÃ¯que musicale Ã©tincelante
"Amstel Quartet: The best saxophone quartet in the world." (AVRO Radio)
Met vier saxen naar Hengelo (O)?
CD review Amstel Raga (in German) Pizzicato
CD review Amstel Raga (in German)
CD review Amstel Raga (Dutch with translation)
CD review Amstel Raga (Dutch)
Amstel Peijl Review
Review Amstel Peijl album
review in FanfareMag
Review Amstel Peijl CD
Party im "RÃ¶merbad"
This is how a saxophone quartet should sounds like
CD Feature/ Amstel Quartet: "Amstel Peijl"
Who needs violins, harpischords, organs, and pianos?
ASQ, the Brand! - 1 Gram of Time - Supersonic Award
When the Star Reaches Out for You - Baltica - Supersonic Award
Incredibly beautifully played PrÃ©lude, Fugue et Variation
Recommended Recordings - Straight Lines - Amstel Quartet
In Total Admiration of the Amstel Quartet - Amstel Tracks - Excellentia Award
Amstelâ€™s sensitive dynamic control and energetic sense of ensemb