Suedpunkt Nuremberg, Pillenreuther

The director of this venue could remember organising Whistlebinkies concerts in Germany in the 1970s!


From Die Abendzeitung, 23rd Aug. 2010 (in translation):

Folk music completely without Scottish kilts : The „Stefan Grasse Trio“ and „The Whistlebinkies“ in a colaboration (twin) concert at the Nuremberg Suedpunkt

In the home country be smiled at, abroad beloved: Bavarian folk music. However the „Stefan Grasse Trio“ confronted the Frankonian audience on Friday evening at the Nuremberg Suedpunkt with that, and attested (evidenced) with the „Three Bavarian Dances“ of the Scottish composer John Maxwell Geddes that the heart of many North Europeans may also beats for the Bavarian „Zwiefacher“. This Scottish-Frankonian folk mélange, mixed by the Grasse trio and the Scottish folk sextet „The Whistlebinkies“ at the colaboration concert (double feature) „stringendo #2“ on the occasion of the 25th anniversary of the twin city of Glasgow, refused a homy presentation of traditional costumes with kilts wearing bagpipe players and snuff consuming (Bavarian) brass band musicians. Double metres and triples metres alternated permanentely. Sometimes a familiar home country melody brakes into chromatic jazz sounds. At first the Stefan Grasse Trio with guitar, marimba (correct is vibes) and double bass received only cautious reactions of the audience, but with the mixture of Bavarian folk and music from other twin cities of Nuremberg – as the dreamlike hypnotic Soléa from Córdoba or the song „Las perlas negras“ – they convinced more and more. The Whistlebinkies, who created the second part of the concert, searched and found the interface (joint) between serious music and Scottish home country sounds. Repetitions of one theme which lasted several minutes were performed in adventurous combinations of instruments, from the Celtic harp, concertina, drums, violin, flute and bagpipe, and so the simple melody dazzled (fluoresced) in very different colours. The musicians introduced with Scottish humour their music, narrated from inhabitants of Scottish islands, who imitated musically bleating sheep and cowing sea gulls in lack of other animals, and started to perform immediately these sounds on flute and bagpipe in a duet and raised them (these sounds) on a new level of musical aestetic. And all of this completely without male skirts (kilts).