WAZ
Rhythmical strength of the ensemble was represented from pastoral dalliance to
happy wildness and passion. These four instrument found their harmony with
delicacy, and they formed - i.g. in Claude Debussy's "Arabesque No.1" - the
filigree ornaments with the typical pastel shade of the impressionism. The
"Ease and sensibility" of Debussy's music were drawn by Tetraphonics in a most
virtuosic fashion...
With even more verve the four took on the devilish tricks in Astor Piazzolla's
"Night Club" and "Concert d'aujour'hui": from his "Tango nuevo" these saxophones
took elegantly the tempo and changed modernism into a chic serenade ...

WNZ / GIESSENER ALLGEMEINE ZEITUNG
(Wetzlar-wv).
When four excellent saxophonists make music harmoniously, then the
audience can easily hope for some musical great moments. Exactly that happened
at Saturday night's concert in the Cathedral of Wetzlar where the Tetraphonics
Quartett took some 400 guests on its journey through a world of melodies...The
church music director seemed to know in advance how a symphonic concert would
come across through the various sound of saxophones in such a sacred
building...Wonderful chords lingered on, played by instruments that are usually
counted among outsiders in classical music. The audience was very thankful for
the musician's magnificent achievement by applauding greatly.

KOELNER RUNDSCHAU
- very impressiv Tetraphonics at the concert in Bruehl's Church of Christ -
Bruehl. The saxophone quartet Tetraphonics relies on a wide repertoire and on a
great capacity of understanding of musical styles. Three fugues of Bach's
"Well-tempered Clavichord" through this rather unusual instrumentation caught
attention!...The major part of the concert's program was the performance of
"VOX" composed for saxophone quartet and organ. Obviously really moved was its
composer Willy Giefer when listening once more to the interpretation of his
three-movement composition...From the organ balcony, imitations of the angel's
voice, the heaven's voice and human voice floaded down into the church room.
Throughout exciting and also rather tranquil passages the sound colours of all
the instruments melted together. The musicians nailed their audience into their
seats by a thrilling and very intense interpretation which was very impressiv.
Great cheers from the audience were rewarded by two encores.

KOELNER STADTANZEIGER
- Tetraphonics mastered the baroque fugues just as well as contemporary music -

Certainly, Bach couldn't have known the saxophone which was invented in 1841.
But already after short moments it became clear that these four-part fugues
easily could have been written for the facetted and very flexible play of the
quartet Tetraphonics. Bach's formal strict compositional techniques gained so
much liveliness which at times is rather missed in usual recordings of keyboards
playing his work...
But this ensemble has certainly more to offer. The four musicians continued
their musical trip with...Aleksandr Glazunov's saxophone quartet in B major op.
109...in the following variations the four instruments even more provided their
characteristic variety to the extent that one could imagine to hear flutes and
even strings. It was fascinating to observe what these four musicians were able
to get out of their instruments...the very excited audience called for three
encores.