At age 17, the highly gifted student Barry Cockcroft: One noticeable difference is your group can attract huge audiences. It is the first work for saxophone … Daniel Gauthier: For us, as a quintet, it is very, very exciting. We learned from each other and Londeix. It was founded by Canadian saxophonist Daniel Gauthier, who plays soprano saxophone. If you have something to say, be patient enough to wait until that time comes, and it will happen. 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. I had lessons from him. The contact with Jean-Marie Londeix opened a door to a new world. That I think is an excellent way to bring the people, a typical audience to new music. I was selling croissants during the day and in the evening learning Denisov by memory. Die koreanische Pianistin Jang Eun Bae komplettiert die Quintettbesetzung. It is for me a little tricky because the instrument always reacts differently in a small room than on the stage. 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. He was more of a great studio musician playing the flute, clarinet, oboe and an excellent jazz player as well. 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. alliage) von vier Saxophonen und Klavier. Then studying in France with a real tradition, going back to Marcel Mule with Londeix, it added a new dimension to my playing. At some point, my teacher at the Conservatoire, my former teacher, was ill and they ask me to teach there. I was not so good as my friends probably who decide to go that side. That teacher was essential to me. At that time, I was doing a doctorate at the University of Montreal in new music with a conductor, who was a great conductor for new music and a saxophone teacher as well, but I had those two mentors. 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. I went there. It’s fantastic to have the possibility to react, to be free enough every night to try different things. Each summer, he was in Canada for maybe six, seven years in a row. Barry Cockcroft: If you just had one hour to practice, what would you do in that one hour? 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. We were an outstanding group. Daniel Gauthier: Absolutely. 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. I teach, and I played, and I got that job. You will not have to play a game. As soon as I got that instrument in hand, I was focused on that. 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. We should get more active and work more on looking for help, and I’m sure we will find it. International Music Exams There’s something there. I don’t play that much right before the concert. Zu seinem Repertoire zählen klassische Werke wie auch zeitgenössische Kompositionen, die zum Teil von ihm uraufgeführt und ihm gewidmet wurden. Barry Cockcroft: Why Germany? 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. At that point, everyone gets in their hand an instrument, trumpet, clarinet. Sound fetishist in German. Mittlerweile konzertiert Gauthier in den internationalen Musikzentren in Deutschland, Europa, Nordamerika und Asien. Those who decided music learned a wind instrument. 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. I had the opportunity to stay one more year because the money was not a problem anymore. On Wednesday was swimming. Daniel Gauthier: Yes. He told me that he would quit his job because of a better one. Of course, many, many people applied, of course. He has a particular way to teach. Daniel Gauthier is the professor of classical saxophone at the Cologne Academy of Music. 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. After maybe two years with him, I went to the audition for the entrance exam at the Conservatoire. It was a hard time for me, but I had good discipline to work and work and work and work, to be ready if the time would have come that I have to show what I can do. Daniel Gauthier: I am sure. We understood quite fast that we were better realising our ideas. Neben zahlreichen Rundfunk- und TV-Aufnahmen, u.a. Thank you for your time. 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. Some players need to warm up very heavily, blowing, blowing, blowing, blowing and baff on the stage. For me, it is a very good situation to be able to have a programme to play many times. We realised, “Oh, that’s our sound. Are there any new projects coming up that you would like to share with us? There are children there, but there are also real students with bachelor, master. „Das Ensemble brilliert in jeder Beziehung auf höchstem Niveau.“. It was my problem that I had a problem to accept that those children didn’t take the music as seriously as I was expecting. We had a quintet. I’m not good at 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。 It’s more interesting for me to work in a group. Daniel Gauthier: It’s a good question. Barry Cockcroft: If we learn from our mistakes, is it okay to make mistakes? 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. Barry Cockcroft: Is there one piece of advice you could give to your younger self who’s just starting out? Der Gründer des Alliage Quintetts schreibt 2006 die Erfolgsgeschichte des klassischen Saxophons fort. Barry Cockcroft: Great. He was a very, very, talented musician. It happened, and I was ready, and that’s why I think I could get that job. That’s what I always try to find out, “Okay, if it sounds here like that in my very, very small room, it will be okay on the stage.” That’s what I always try to find. Daniel Gauthier: Yes, yes, yes. How important has recording been both to your career, but also for your musical development? Im Mittelpunkt des Repertoires stehen berühmte Meisterwerke aller Epochen in kompositorisch fein ausgeloteten und raffinierten Arrangements für Saxophonquartett und Klavier. We go in a city, every year in the different city. I got the job as the first saxophone professor in Germany. Alle Bearbeitungen werden dem Alliage Quintett auf den Leib geschrieben und entstehen in enger Zusammenarbeit zwischen dem Ensemble und dem jeweiligen Tonsetzer: z.B. I don’t know anymore. This site uses Akismet to reduce spam. I could perhaps relate to that same idea that you need time to absorb the information and make it work for you. That second year was great because we could… I could understand. Barry Cockcroft: If you just had one piece of music that you could play from now on, which piece would that be? Barry Cockcroft: Where can people find out more specifically about you? Very high. That’s the sense of an artist. They don’t see the saxophonist in the world. I understood, “Why do I do what somebody else wants me to do? Absolutely. It was not an option for me to repeat what other peoples have done. I observe in Germany that the young saxophonists, for them now, it’s much easier than for me as I came to Germany. Is there a website that you update? Barry Cockcroft: Not just in music, right? 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. It would be great, but it’s not so easy. von Milhaud, Satie und Gershwin, die musikalische Faszination Frankreichs um die Jahrhundertwende ein. Daniel Gauthier: Don’t doubt. We never prepared a piece to go on the stage to play the piece. I was quite isolated and doing no concerts, almost none. Daniel Gauthier studierte in Kanada und Frankreich. 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. You must leave the stage feeling good. 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. It was the right time to do that. It was of course horrible. Daniel Gauthier: Of course, if that job would have come earlier, probably I would not have been ready for it, not only the language but the culture as you said. 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. Daniel Gauthier: It is a very good feeling. For me, I came a little late to what I wanted to do. I was very focused on new music, contemporary music because Londeix was very forceful about that. I improvise actually. 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. Barry Cockcroft: Do you like social media? You can show us what you are doing, and we will decide.” They gave me a call a couple of months later. It’s a big problem. We all go to the piano and then it takes us together. I think he came for many years. Barry Cockcroft: Outside of music? 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 … Einzigartig in seiner Besetzung lässt das mit einem ECHO Klassik ausgezeichnete Ensemble die Illusion eines großen Orchesters Wirklichkeit werden. I went back to Canada after that second year. Is it possible that your idea of creating Alliage is because of your mix of cultures that you’ve had developing? I knew exactly what was coming and I was so well prepared with what Londeix wants from us. It is, for me, to bring us to the stage because the stage is what we want to do. Even if some mistakes are many years long. I spent one year, and four years later, I went back for the second year. It was a shock in a very, very positive way. For me, it was a little longer. Gauthier received the first classical saxophone professorship in Germany in 1997; since 2003 he has taught at the Hochschule für Musik in We are musicians because we want to go on stage and not play in our living room for ourselves. I think that it was not a bad situation at the end that I had two years alone to work on that. He founded this ensemble in 2004, and together they have recorded seven … 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. It was a pleasant surprise, a good situation for us with that ensemble. We were much better. 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. It is the best way to convince a promoter, to show what we are doing. 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). Barry Cockcroft: Back to croissants? I remember that almost every week we had to bring something new or every two weeks, but we never had, for example, a concert. DANIEL GAUTHIER. 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. Seit 2003 unterrichtet er als Professor an der Hochschule für Musik in Köln. It might be, but let me tell you a little how I came to that idea of that group. Barry Cockcroft: Don’t doubt yourself. Yes, yes, yes, yes. You’re playing in the best concert halls that often saxophonists wouldn’t have the opportunity to play in because they can’t draw an audience playing newer music. Barry Cockcroft: It’s mixed based on the level of music, not on age. We played Glinka trio, Trio Pathétique and a couple of trios and we realised that it worked not bad. Er zählt zu den prägendsten Dozenten seines Faches, was sich unter anderem in zahlreichen Preisen seiner Studenten bei nationalen und internationalen Wettbewerben widerspiegelt. 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. 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. It was close to me to the music business, but of course was not such a good situation to sell CDs from other people.