It was too late to change anything. Then I am very quiet, but if I don’t have the reed, the good material, I’m a little nervous. Mostly, we make recordings before we go on tour with the programme. The conductor, the teacher told us everything he knows, but he was the teacher for trumpet, trombone, clarinet, flute, he was no specialist. Because for me, saxophone, when I was young, was so important. It was not interesting for me to try to play Desenclos better than Londeix or anything done before. As I won that competition, I stopped to work on other jobs. Every class was a band. Even now… I don’t know how many times we played that, but even yesterday, Sabina told us tonight it was something different than two days ago. Barry Cockcroft: One noticeable difference is your group can attract huge audiences. I wanted to go onstage. Find album reviews, stream songs, credits and award information for Miniatures: Music for Saxophone and Piano - Jang Eun Bae, Daniel Gauthier on AllMusic - 2002 It sounds maybe a little arrogant, but I would not like to take that way that I would let a hundred composer write for us to at the end choose two good pieces that we want to play. It’s a big problem. At age 17, the highly gifted student Daniel Gauthier (saxophone), Jang Eun Bae (piano) Skip to main content Wishlist My account Currency is US dollars. I went back to Canada, then back to Germany, trying to find my place. Barry Cockcroft: Not just in music, right? The level, of course, I guess was not good, but we had big motivation because out of the best students, the teacher created a better orchestra which had a rehearsal on Saturdays. There was a little prize money, a prize, but also some concerts. „Alliage“ ist die wohl charmanteste Legierung (franz. I got some help from Canada and Quebec, but I had the feeling that that year was so optimal, that it would be better to stop there. Die damit verbundene Konzerttournee führte das Ensemble u.a. bei der ARTE Lounge, haben die Musiker inzwischen insgesamt fünf CDs mit speziell für sie arrangierten Werken von Mendelssohn, Schumann, Mozart, Rossini und Puccini veröffentlicht. I can remember a lesson was $3, but he was already at a high level. Is it possible that your idea of creating Alliage is because of your mix of cultures that you’ve had developing? We have played in the most significant festivals, and they, and they don’t have to explain what is the classical saxophone. 2011 begab sich das Quintett auf eine märchenhafte Reise durch Russland mit Tschaikowskys Nussknacker-Suite und „Scheherazade“ von Rimski-Korsakow. I was not looking for Germany especially, but in Bordeaux, you know that the class is always very international and at the same time as I studied there, there was Achim Rinke, a student from Germany. Even if some mistakes are many years long. It was difficult for me that beginning in Germany because I was in Stuttgart, in a city where the students were between seven years old and even 20, 21, but the children had a lot to do. That’s the sense of an artist. Of course, many, many people applied, of course. That I think is an excellent way to bring the people, a typical audience to new music. Currently, he is studying for the Konzertexamen with Daniel Gauthier at the Hochschule für Musik und Tanz in Cologne where he also is studying a Master of Contemporary Music with the Saxophone quartet Fukio Ensamble with the teacher David Smeyers. We are not trying to imitate another ensemble. Daniel Gauthier: Yeah, of Detmold. I came to the saxophone in a completely different way. Every year with exams. We played Poulenc Trio. Entrevista a Daniel Gauthier Saltar a contenido primario Hoy vamos a entrevistar a un saxofonista franco/canadiense que desde el año 2003 ostenta el cargo de profesor de saxofón clásico en la Universidad de la Música de Colonia (Alemania). All my friends of that time are jazz musicians. He gave me big motivation, and he prepared me for the Conservatoire in Montreal. There’s something there. I have a website that I created probably 15 years ago, and I never, never update it, but not one time. I had the feeling that it was not enough because my brother was playing the piano and I saw that he had every week a lesson with a professional. I understood, “Why do I do what somebody else wants me to do? I was quite isolated and doing no concerts, almost none. It happened that I won that competition, along with an outstanding violinist, Barry Shiffman, who was later a member of the St. Lawrence Quartet, a very famous quartet, very renowned musician. I think she had played with 300 orchestras or something as a soloist, but she’s now drawn, it seems, more to chamber music and the smaller things. Personnes qui s’appellent Daniel Gauthier Retrouvez vos amis sur Facebook Connectez-vous ou inscrivez-vous à Facebook pour communiquer avec vos amis, votre famille et … That second year was for me so intense. After studying at both Conservatoire de Musique de Montreal (Canada) and Bordeaux (France) Daniel Gauthier completed his studies at the Université de Montréal where he earned a doctoral degree. It was not an option for me to repeat what other peoples have done. I met him 1990 at a Congress or something. Daniel Gauthier: Absolutely. We should go and enjoy some Melbourne sunshine. Daniel Gauthier is the professor of classical saxophone at the Cologne Academy of Music. Then I realised that I am an idiot. Die koreanische Pianistin Jang Eun Bae komplettiert die Quintettbesetzung. Then studying in France with a real tradition, going back to Marcel Mule with Londeix, it added a new dimension to my playing. Après des études aux conservatoires de Montréal (classe de Nick Ayoub) et de Bordeaux (classe de Jean-Marie Londeix), Daniel Gauthier complète ses études par un doctorat à l’Université de Montréal (sous la co-direction de Lorraine Vaillancourt et René Masino). Even there, it was not such an ideal situation. I could perhaps relate to that same idea that you need time to absorb the information and make it work for you. I don’t know anymore. It was a pleasant surprise, a good situation for us with that ensemble. We are musicians because we want to go on stage and not play in our living room for ourselves. We tried to get some help from the cultural found. Barry Cockcroft: I had a similar story in some ways that in I went to France. Is there a website that you update? The level of the class was very high. With his saxophone ensemble, the Alliage Quartet, he has recorded a disc of For me, I think I teach more on the musical side, and it’s our way to reach the technique. On Wednesday was swimming. Barry Cockcroft: Great. Barry Cockcroft: Is there one piece of advice you could give to your younger self who’s just starting out? Das Alliage Quintett gastiert in den großen Konzertsälen in Europa, Asien und Nordamerika sowie bei renommierten Festivals wie dem Rheingau Musikfestival und dem Lucerne Festival. von Milhaud, Satie und Gershwin, die musikalische Faszination Frankreichs um die Jahrhundertwende ein. It was a very, very fast process each time, okay, you do that on, then the next one and next one, so that you learn a lot. I had 12 pieces to play because it was five rounds and I sent the programme with Denisov and everything and all the repertoire, Desenclos and Frank Martin Ballad and everything, Saugé Sonatine. http://media.blubrry.com/barry_sax_show/content.blubrry.com/barry_sax_show/Daniel-Gauthier.mp3. Barry Cockcroft: Is improvising part of your music making? Daniel Gauthier: Not anymore. Daniel Gauthier: The piano brings us all together. They wanted to see what I do. I think that this experience of the North American way to play the saxophone with a bigger sound is in me still now. Daniel Gauthier: Outside of music. Yeah, two days ago especially was something different and we had a different way too because of the acoustic, because of the piano, because of the different instrument. Nach ersten Preisen am „Conservatoire de Montréal" und am „Conservatoire de Bordeaux" erwarb er den Doktor für Interpretation an der „Université de Montréal". It was a little sad for me, a little tricky, but I came back to Montreal with so much information, such a big bag of cultural information that Londeix gave me that I could work for two good years on that. Barry Cockcroft: This was the University of Dortmund? I enjoyed in the concert last night particularly, although you’re all playing at the same time, often there was something smaller happening, perhaps clarinet and soprano sax doing something together and over we had tenor and baritone working together. It will be you. Daniel Gauthier: What I do with my students, I try to give them the technical aspect as much as possible what they need and the technical aspect and the musical formation. International Saxophone Competition 'Josip Nochta'. The reaction is always quite good I must say. I met Jean-Marie Londeix at a summer camp. Typically it’s because we wanted to go on stage and not play in our living room for ourselves. It was a school where actually everyone who wants to, can learn music. I’m quite quiet. It’s come from you, from yourself and you have a way to do that, which is much more engaged and convincing than if you take the music from somebody else. I tried to do the step to Germany to try and see how it would be because I know that Europe is cultural, it had a much, much, much better tradition in classical music. It was never a big part, but as I told you, I played big band for many years and my friends of that time are now in Montreal. Der Gründer des Alliage Quintetts schreibt 2006 die Erfolgsgeschichte des klassischen Saxophons fort. Beim Welt-Saxophon Kongress in Ljubljana 2006 wurde Daniel Gauthier als herausragendes Mitglied des Internationalen Saxophon-Komitees gewählt. Daniel Gauthier: Old school, but very old. I can remember as I was in Bordeaux there were some students from Spain or. As a teacher, if you teach somebody and you know that they won’t have the possibility to work in that specialty, it’s tough to be convinced. Mostly we realised two years after that because we played that 40 times on the stage that we do not play at all as at the beginning when we made the recording, which is a fantastic thing for me to let the music grow up. Learn more about Daniel Gauthier in the Encyclopedia of Sax Players Log in with Facebook Signing in with Facebook only works if you have your Facebook profile associated with your Saxplaying account. It was not possible for me to stay longer. I was not only focused on classical. I enjoyed that it like there were like two or three groups happening inside of one group. Daniel GAUTHIER (saxophone) / Jang Eun BAE (piano) ゴーティエ＆バエのデュオによる録音の2枚目。タイトルどおりラテン系の曲、ラテン色の感じられる曲が並んでいます。古典的な名曲がならぶ中、若手グィルノーとネセロフスキー It was such a revelation to understand how much only to have the piano, which is not a front instrument in that formation. Die Saxophonisten des Alliage Quintetts spielen Saxophone von Henri SELMER, Paris und Rohrblätter der Firma Vandoren / Paris. We were not very good because the motivation was not there. Barry Cockcroft: Outside of music? Daniel Gauthier: Oh yes. The contact with Jean-Marie Londeix opened a door to a new world. Daniel Gauthier: Yes, I think it might be interesting because I have a completely different way if I compare to my colleagues in Europe. I never studied in Germany, but I make music in Germany with German musicians, and that part gave me a lot as well, really a lot. It was founded by Canadian saxophonist Daniel Gauthier, who plays soprano saxophone. Mittlerweile konzertiert Gauthier in den internationalen Musikzentren in Deutschland, Europa, Nordamerika und Asien. At that point, everyone gets in their hand an instrument, trumpet, clarinet. Then precisely at that time, I saw in the newspaper that there was a job announced and it was the first job for a professor of classical saxophone in Germany. Absolutely. For me, it is a very good situation to be able to have a programme to play many times. As soon as I got that instrument in hand, I was focused on that. Einzigartig in seiner Besetzung lässt das mit einem ECHO Klassik ausgezeichnete Ensemble die Illusion eines großen Orchesters Wirklichkeit werden. Seit 2003 unterrichtet er als Professor an der Hochschule für Musik in Köln. Daniel Gauthier: Absolutely right. After a couple of years with him, I met Jean-Marie Londeix at a summer camp. He had a full-time job, an outstanding job, but they changed the offer, and that was not such a great situation for me. Daniel Gauthier: I must say that it would be important for me, I would like very much to get some original repertoire for the quintet. I would say to be patient. The original repertoire for a saxophone quartet, for example, Desenclos and so on, was… We had no motivation to play that. If you want, I can talk with my director and see what she says about that.” I realise now that those three elements, which are different between France and Germany, it’s different. Er erhielt 1997 die erste Professur für klassisches Saxophon in Deutschland und unterrichtet seit 2003 als Professor an der Hochschule für Musik in Köln. If you have something to say, be patient enough to wait until that time comes, and it will happen. At the age of twenty-four Gauthier became the first saxophonist to win the Grand Prize at the International Stepping Stone of the Canadi ... an Music Competition. You exchange and talking and exchanging; then you come to some ideas that you would never have alone. In that way, I would say it was vital for us, but in the other direction, I must say now the real reason why we are doing recordings is that it brings us to the stage. I’m sure that the audience feels that. Daniel Gauthier: What supports the music is the sound. There are children there, but there are also real students with bachelor, master. I was age 20. I try to give them as much musical information as possible. Jean-Marie Londeix is the one who opened to a new dimension of the repertoire. It’s a good question. But those three cultures I think are all part of my way to make music now. alliage) von vier Saxophonen und Klavier. I would like very much to get some original repertoire for the quintet. Daniel Gauthier: That was very difficult. But, it was an exciting way to begin because we played together. ‎Listen to songs and albums by Daniel Gauthier, including "Rhapsodie, L. 98," "Concerto pour saxophone alto et orchestre à cordes: I. Allegro giocoso," "Above the Storm," and many more. I was 12 in school. Thank you. The first recording that we have made with Alliage Quintet… At that time, it was Alliage Quartet Plus Piano. Do not try to do what I did or what somebody else did. But it was not exactly what I was expecting because, in my head, I thought it would be a kind of conservatoire like in France, where you have children, but the children in those conservatoires in France are very, very disciplined. I hope that my students open to that aspect as well. When I have the feeling in my mouth, that’s how it should be right to be able to play on the stage. That teacher was essential to me. Sometimes I only sit and play and play notes. You have a lot in your head, but you have to take time after to… I don’t know how to say to, digérer. I come back that I say entirely different thing than I just said, but I only turn around from up to down and try to find different sounds. It is the first work for saxophone … I went there. I don’t have a ritual. Mixing all those, almost made you come up with a new type of group. The way he made music was a very natural way, but actually, he was not a real classical musician. Barry Cockcroft: He needs a friend. On Tuesday was horse riding. Daniel Gauthier: Not that much. He composed, arranged for big band and he was an outstanding musician, but in the classical side, he was not a real specialist. Even if I like very much new music, I must say people don’t know. Er ist Gründer des Alliage Quintetts, das 2005 mit einem ECHO Klassik ausgezeichnet wurde. Barry Cockcroft: Is there perhaps one thing you could think of for a student who’s starting out with their studies, a piece of advice that might help them get through their studies? Daniel Gauthier engagiert sich intensiv für die Kammermusik und gibt damit dem klassischen Saxophon den Stellenwert auf den Konzertpodien dieser Welt zurück, der dem Instrument schon von Berlioz, Meyerbeer, Glasunov, Debussy oder Berg zugesprochen wurde. After studying with Londeix, I was very focused on new music, contemporary music because Londeix was very forceful about that. In that long process, sometimes you are not sure anymore if you are a musician or if you have something to give to the audience. They think that I don’t support new music, but I encourage… I like very much new music, but I have a different approach to new music now with my students, for example. The jury travels around Canada for the first three rounds, and we go all together I think two months later when they finished with that tour choosing the candidates for the two final rounds. It was a shock in a very, very positive way. schreiben der Japaner Jun Nagao oder der Holländer Wijnand van Klaveren sowie kongeniale Arrangeure wie Reiner Schottstädt und Hendrik Schnöke und Ensemblemitglied Sebastian Pottmeier für diese außergewöhnliche Kammermusikbesetzung. Seit 2003 unterrichtet er als Professor an der Hochschule für Musik in Köln. Why not do what I want to do?” I didn’t know what I would do, but that way to bring the music to children was not what I wanted to do. It will be you.” It’s the way to reach a high level, to do what you feel, but be creative and doesn’t be lazy by only taking what is already there. It’s Hochschule Detmold, and Dortmund was the department of Detmold. He studied saxophone and piano. Daniel Gauthier: It might be. I have the feeling that he is the one who opened to a new dimension of the repertoire. We never prepared a piece to go on the stage to play the piece. We have a different approach, but until now, we do not get help on that. 【輸入盤】『ファンタジア』 アリアージュ・クインテット、ザビーネ・マイヤー - Saxophone Classical - CDの購入は楽天ブックスで。全品送料無料！購入毎に「楽天ポイント」が貯まってお得！みんなのレビュー・感想も満載。 Barry Cockcroft: Do you like social media? I was a little older than my colleagues, but probably it had to be like that because now each time when I am on the stage, I realise how much chance I have had. Sound fetishist in German. It is what we want as musicians to always discover new ways to play, working with different new people is an excellent way to get larger in our colour palette. That piano is the centre of the group. I observe in Germany that the young saxophonists, for them now, it’s much easier than for me as I came to Germany. It’s too bad because actually if it had been possible, I would have done that because jazz music is for me is something great, but indeed I have not enough talent to do both on the level that I would like to. Mit ihm spielen einige der derzeit besten Solisten des klassischen Saxophons: , und Sebastian Pottmeier, Baritonsaxophon. But working hard is never wrong. It took a very, very important part of my musical development. After six years, I was more German. Previous members of the Comité International de Saxophone 1979 – 1982 Jean-Marie Londiex (France, President) Robert Black (USA) Jacques Desloges (France) Wolfgang Graetschel (Germany) Trent Kynaston (USA) Keiji Munesada (Japan) Iwan Roth (Switzerland) 1982 – 1985 Eugene Rousseau (USA, President) Jean-Marie Londeix, (France) Peter Clinch (Australia) Günter Priesner … Then with the time, I was never a big improviser. It’s crucial to me. I came to the saxophone in a completely different way. I’m not good at that. Daniel Gauthier: It is a very good feeling. Barry Cockcroft: If you just had one hour to practice, what would you do in that one hour? At that time came the opportunity to go to Germany. Delivery country is United States. Even sometimes it’s scales, but it’s not scales because I want to practise scales, but I try to optimise the sound and to find different sounds. Italian saxophonist specialized in WEDDINGS and INTERNATIONAL EVENTS Contact me with a MESSAGE on FACEBOOK ( Daniele Vitale Sax ) DIRECT on INSTAGRAM ( @daniele_vitale_sax ) EMAIL daniel… When I was young, my idea was to become a soloist, but I realise quite fast that it’s more interesting for me to work in a group. Daniel Gauthier: To myself? You have to record a programme, and then you can propose it. Nach ersten Preisen für Saxophon am „Conservatoire de Montréal“ und am „Conservatoire de Bordeaux“ erwarb er den Doktortitel für Interpretation an der Université de Montréal Daniel Gauthier: Quite early. Daniel Gauthier: Yes, yes, yes. What’s something that you might like to be working over the next 10, 20 years? Barry Cockcroft: I would love to know how you first got started. I thought that it would be that kind of school where I can get even some older students, but it was not the case. It might take times, but you will have the chance to say it. That was what I wanted to do as I was young, to go onstage and to have the possibility to play. Daniel Gauthier: Yes. It was something else, something more extensive, but with smaller things as well. Alle Bearbeitungen werden dem Alliage Quintett auf den Leib geschrieben und entstehen in enger Zusammenarbeit zwischen dem Ensemble und dem jeweiligen Tonsetzer: z.B. That’s why maybe I went onto the classical side. We had a programme with a soprano, a singer; with a violin. I was selling croissants during the day and in the evening learning Denisov by memory. He was more of a great studio musician playing the flute, clarinet, oboe and an excellent jazz player as well. That’s right. Barry Cockcroft: The last thing is your contribution to music is extraordinary already, but I can’t help thinking that there’s more to come. He is now famous in Montreal as a very great jazz piano teacher. Daniel Gauthier: He has to go from one to the other. We had that programme with Sabine Meyer. For example, an arrangement like the Firebird from Stravinsky needs the stage time to grow up. He retired, and they ask me to take the job. It’s not the way that I would prefer to go. You can show us what you are doing, and we will decide.” They gave me a call a couple of months later. We had the feeling that it’s something interesting, but as we got to the recording. Those who decided music learned a wind instrument. Physically, the tenor and the baritone on the other side of the stage are a group as well. Barry Cockcroft: Do you think that the belief in yourself, you’ve chosen something you want to do, because of that, therefore, the audience can also get more from the music? It’s great to have the possibility to work on the equal musical level, and it’s a great feeling. Barry Cockcroft: At what point did you decide to move to France to study with him? I’m old-fashioned. How important has recording been both to your career, but also for your musical development? I’m so glad for them that it will be a different way. Barry's latest project We go in a city, every year in the different city. We had not decided to change the name for the quintet, but the first recording was for us significant. We don’t know now how we should resolve that problem, but it would be a real pleasure for me if we had three, four or five of those composers writing for us to have original music for that formation. I grow up, as I said, in a small village. I sold croissants. Exactly right. You are not alone. Barry Cockcroft: Where can people find out more specifically about you? Going back to Montreal or at the beginning in Germany, I remember we prepared a programme, and we played that one time, and it was done. They say, “I study with Gauthier because it’s the French school,” but if you say that to the French saxophonist, Gauthier French school, they are not so sure about that. He founded this ensemble in 2004, and together they have recorded seven … After that first CD, it went much faster. It’s not a very interesting answer, but for me to find the reed, to see the position of the reed. After, it developed much, much faster. I teach, and I played, and I got that job. Thank you very much, Barry. It came that we had the idea to ask Sebastian because he’s a great musician to play with us and we played trios. I never wanted to be more in the front than anybody else. I have to add that it’s a great pleasure to have found the right musicians for that project because it’s a real, real chamber ensemble project. Is it an outcome of a North American being able to play lots of different styles to strict France school to being in a country that’s a new culture for you? Daniel Gauthier: I am sure. I realise how much music grows up when we have the chance to play it many times in much different acoustics and many different situations. Gründer ist der Kanadier Daniel Gauthier, Primarius am Sopransaxophon. Daniel Gauthier: Especially with that programme with Sabine Meyer because, as you said, on that side, on soprano and clarinet, of course, we are a kind of team in the group. In the school in Canada, we had first one year with the recorder, a complete class on the recorder. It would be played maybe ten years later because somebody else is interested. It is the best way to convince a promoter, to show what we are doing. If I prepared a new piece, then I would have only one opportunity to play that, and I’d wait six months for the next opportunity. He came to Canada. I got the job as the first saxophone professor in Germany. Exactly. Barry Cockcroft: You’ve recorded quite a large number of albums. In Germany, it’s a different system. I am sure about that. It’s an essential function. On Monday was the saxophone. It is our work, and it grows up all the time when we get new arrangements. I must say as I came back, I had different jobs. They don’t see the saxophonist in the world. It is a very good feeling, and it is a good feeling knowing that we had prepared a better situation for the next generation. Daniel Gauthier: Of course, for me, the automatic answer would be Jean-Marie Londeix because he was so crucial for me in my development, but I think that he had a very central function in the change of the repertoire for the saxophone after Marcel Mule. There’s no solution that you can say everyone should do like that, of course, but I’m quite sure that to quit a comfortable situation and to try something new to discover is good for the creativity because indeed, I have the feeling now … In Germany, they think that I am from the French school. Very high. I don’t know how it is here in Australia, but in Montreal, the Conservatoire is similar to the system in France. Who is somebody who has contributed a lot to the world of the saxophone with whom you have had contact? I could study there. It was a big motivation. I send it, and after I posted it, I realised that in the prospect, I read a little note that we have to play every piece by memory. He has a particular way to teach. It is each time a great pleasure to be there. I don’t know here in Australia how it is, but I began a little late with music. in die Liederhalle (Stuttgart), die Laeiszhalle (Hamburg), die Glocke (Bremen) sowie in die Essener Philharmonie. It would be great, but it’s not so easy. I was so lucky that I got the job, but I must say that for all those years, those six years in Germany, I had not very much contact with the musical world. I decided to do that competition because I knew it would help me if I had the chance to win or to reach a good position. We understood quite fast that we were better realising our ideas. I decided to go back to Canada and to maybe even quit the music. Daniel Gauthier: Actually, I did not choose. We learned from those who were in that orchestra longer than us, but a real teacher was challenging to find. It took time. I had lessons from him. This site uses Akismet to reduce spam. It happened, and I was ready, and that’s why I think I could get that job. It’s a great city, and we are so happy to be here. That’s what I mean. Barry Cockcroft: Did you find something to do with all of these skills and this knowledge when you went back to Canada? I think he came for many years. Then playing the original repertoire, the tonal repertoire, Dubois and so on was not an option. I feel that classical music was more me. It was clear to me that I wanted to create something new because after you have done that, it’s you. I mean the concept from somebody else. He said to me, “Now, in Germany, there are not so many people who are qualified for that job. For me, the next huge step, I sold CDs in a music store. If we don’t take the time to process the information, then it’s lost. I had the opportunity to stay one more year because the money was not a problem anymore. If you feel that you have something to say, don’t doubt. You will not have to play a game. Because we are not known in the contemporary music scene, they think that we don’t have anything to do with contemporary music, and that’s why they don’t help us.