All, they are jazz musicians. Why are we musicians? He was more of a great studio musician playing the flute, clarinet, oboe and an excellent jazz player as well. Find album reviews, stream songs, credits and award information for Miniatures: Music for Saxophone and Piano - Jang Eun Bae, Daniel Gauthier on AllMusic - 2002 I’m old-fashioned. Barry Cockcroft: Not just in music, right? Daniel Gauthier: Depends. There’s big financial help from the city, but the parents have to pay a lot as well. 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. Something was missing. Daniel Gauthier: No, no. My impression of saxophone quartet traditionally is four equal voices playing together to make something larger, but I didn’t have that impression from the quintet. Er erhielt 1997 die erste Professur für klassisches Saxophon in Deutschland und unterrichtet seit 2003 als Professor an der Hochschule für Musik in Köln. I found a lot of layers in the performance. I thought that it would be that kind of school where I can get even some older students, but it was not the case. Daniel Gauthier: The piano brings us all together. Die damit verbundene Konzerttournee führte das Ensemble u.a. I had some teaching possibilities right and left, two hours here, two hours there. Daniel Gauthier: It might be. Delivery country is United States. Daniel Gauthier: Digest that and to include all that information to your real playing. We had nothing to do. I’m pleased about that. The first time, I was learning to play the saxophone, and the second time I was learning to play music. After six years, I was more German. 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. You have to record a programme, and then you can propose it. I don’t play that much right before the concert. I knew exactly what was coming and I was so well prepared with what Londeix wants from us. 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. With his saxophone ensemble, the Alliage Quartet, he has recorded a disc of 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. If you don’t have the sound, the phrasing alone doesn’t mean anything. Even there, it was not such an ideal situation. That piano is the centre of the group. 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. It’s not for free like in France, but you have to take everyone. 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 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. Daniel Gauthier: Quite early. After two weeks, we were wind orchestra, but without a real teacher. We realised, “Oh, that’s our sound. Daniel Gauthier: It’s a good question. in die Liederhalle (Stuttgart), die Laeiszhalle (Hamburg), die Glocke (Bremen) sowie in die Essener Philharmonie. Im Mittelpunkt des Repertoires stehen berühmte Meisterwerke aller Epochen in kompositorisch fein ausgeloteten und raffinierten Arrangements für Saxophonquartett und Klavier. How important has recording been both to your career, but also for your musical development? Mostly, we make recordings before we go on tour with the programme. You can show us what you are doing, and we will decide.” They gave me a call a couple of months later. I enjoyed that it like there were like two or three groups happening inside of one group. 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. After studying with Londeix, I was very focused on new music, contemporary music because Londeix was very forceful about that. International Music Exams Barry Cockcroft: I would love to know how you first got started. It’s not a very interesting answer, but for me to find the reed, to see the position of the reed. I think he came for many years. The conductor, the teacher told us everything he knows, but he was the teacher for trumpet, trombone, clarinet, flute, he was no specialist. I don’t have a ritual. Daniel Gauthier erhielt 1997 die erste Professur für klassisches Saxophon in Deutschland an der Hochschule für Musik Detmold. It’s Hochschule Detmold, and Dortmund was the department of Detmold. 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. 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. Later, he studied a Master of Saxophone with the teacher Daniel Gauthier at the Hochschule für Musik und Tanz in Cologne, Germany. 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. Typically it’s because we wanted to go on stage and not play in our living room for ourselves. „Das Ensemble brilliert in jeder Beziehung auf höchstem Niveau.“. I could study there. 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 It was not an option for me to repeat what other peoples have done. 2nd International Saxophone Competition will be held from 23 to 28 April 2017 at... Facebook is showing information to help you better understand the purpose of a Page. 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. If you have the feeling that you have something to say, be patient enough to wait until that time comes, and it will happen. I had lessons from him. I’m quite quiet. The preparation for the first CD was a lot of work and the second CD; we already had a new something clear in our head. They wanted to see what I do. Daniel Gauthier erhielt 1997 die erste Professur für klassisches Saxophon in Deutschland an der Hochschule für Musik Detmold. Is it possible that your idea of creating Alliage is because of your mix of cultures that you’ve had developing? Barry Cockcroft: I had a similar story in some ways that in I went to France. 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 would be played maybe ten years later because somebody else is interested. It was founded by Canadian saxophonist Daniel Gauthier, who plays soprano saxophone. 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. I grow up, as I said, in a small village. In the school in Canada, we had first one year with the recorder, a complete class on the recorder. 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 … Barry Cockcroft: Why Germany? That’s the sense of an artist. It is the best way to convince a promoter, to show what we are doing. Sometimes it’s difficult for people to accept that the piano is not always possible to hear really what the piano is doing, but to have that instrument with us in the group bring us to a different way to play. Daniel Gauthier: Don’t doubt. It’s great to have the possibility to work on the equal musical level, and it’s a great feeling. Barry Cockcroft: This was the University of Dortmund? 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. 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. Daniel Gauthier: Outside of music. It was such a revelation to understand how much only to have the piano, which is not a front instrument in that formation. It was the real beginning for me. Barry Cockcroft: Old school. Mit ihm spielen einige der derzeit besten Solisten des klassischen Saxophons: , und Sebastian Pottmeier, Baritonsaxophon. Barry Cockcroft: Do you like social media? We tried to get some help from the cultural found. For me, I came a little late to what I wanted to do. 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). Every year with exams. Have a look today! Those who decided music learned a wind instrument. I make application for a competition, a prestigious national competition which is in Canada is significant in five rounds. Every class was a band. 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? I feel that classical music was more me. 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. 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? Geboren bei Montréal (Kanada), studierte Daniel Gauthier in Kanada und Frankreich. I would say to be patient. I understood, “Why do I do what somebody else wants me to do? We had not decided to change the name for the quintet, but the first recording was for us significant. I remember that almost every week we had to bring something new or every two weeks, but we never had, for example, a concert. It is a very good feeling, and it is a good feeling knowing that we had prepared a better situation for the next generation. She said, “Well, we will try to find somebody, some German saxophonist and if we are not happy with the level, we will ask you to come and try. It’s a good question. I don’t know here in Australia how it is, but I began a little late with music. It’s a big problem. 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. When I have the feeling in my mouth, that’s how it should be right to be able to play on the stage. It was something else, something more extensive, but with smaller things as well. 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. At that time came the opportunity to go to Germany. Seit 2003 unterrichtet er als Professor an der Hochschule für Musik in Köln. When they have achieved that, once they have a proper foundation, I tell them, “Try to find what you are and what you want to do. I can remember as I was in Bordeaux there were some students from Spain or. Actually, no. I came to the saxophone in a completely different way. After maybe two years with him, I went to the audition for the entrance exam at the Conservatoire. He told me that he would quit his job because of a better one. 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. 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. It’s not the way that I would prefer to go. I was quite isolated and doing no concerts, almost none. Barry Cockcroft: At what point did you decide to move to France to study with him? Barry Cockcroft: Great. Barry Cockcroft: It would seem Sabine Meyer would agree with that because she has been a soloist for many years. You will not have to play a game. It’s an essential function. Daniel Gauthier is the professor of classical saxophone at the Cologne Academy of Music. 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. Mit ihm spielen einige der derzeit besten Solisten des klassischen Saxophons: Hayrapet Arakelyan, Altsaxophon, Simon Hanrath, Tenorsaxophon, und Sebastian Pottmeier, Baritonsaxophon. He retired, and they ask me to take the job. Canadian Daniel Gauthier has performed throughout the world as a concerto soloist and as soprano saxophonist with the internationally acclaimed group, Alliage Quintet. The French Canadian held the first saxophone professorship for classical saxophone. 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 met him 1990 at a Congress or something. Then studying in France with a real tradition, going back to Marcel Mule with Londeix, it added a new dimension to my playing. 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. Because for me, saxophone, when I was young, was so important. 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. Barry Cockcroft: Where can people find out more specifically about you? Daniel Gauthier: I am sure. Barry Cockcroft: Outside of music? If we don’t take the time to process the information, then it’s lost. 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. We realised how much the piano could change the way we play. There was a little prize money, a prize, but also some concerts. Barry Cockcroft: If you just had one piece of music that you could play from now on, which piece would that be? He was a very, very, talented musician. I can remember a lesson was $3, but he was already at a high level. They don’t see the saxophonist in the world. I teach, and I played, and I got that job. 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. 2011 begab sich das Quintett auf eine märchenhafte Reise durch Russland mit Tschaikowskys Nussknacker-Suite und „Scheherazade“ von Rimski-Korsakow. It is us. alliage) von vier Saxophonen und Klavier. I thought about that, and I think for me my way to play is a real blend between the roots that I have in North America because I played in conservatoire in Montreal for many years, I played big band. For me, it is a very good situation to be able to have a programme to play many times. It was a shock in a very, very positive way. It was clear to me that new music was not the music that I will bring on the stage. Then I went back to Bordeaux for one more year, and it was a completely different situation. He had a full-time job, an outstanding job, but they changed the offer, and that was not such a great situation for me. At some point, my teacher at the Conservatoire, my former teacher, was ill and they ask me to teach there. For the young musicians, it was a big challenge to try to get in that orchestra, which had more official concerts and some trips. Nach ersten Preisen am „Conservatoire de Montréal" und am „Conservatoire de Bordeaux" erwarb er den Doktor für Interpretation an der „Université de Montréal". We have played in the most significant festivals, and they, and they don’t have to explain what is the classical saxophone. Yes, yes, yes, yes. Thank you very much, Barry. Gauthier received the first classical saxophone professorship in Germany in 1997; since 2003 he has taught at the Hochschule für Musik in A short time later, Asya Fateyeva moved to Cologne to study as a junior student under Daniel Gauthier. Barry Cockcroft: If you just had one hour to practice, what would you do in that one hour? The original repertoire for a saxophone quartet, for example, Desenclos and so on, was… We had no motivation to play that. You are not alone. If you have something to say, be patient enough to wait until that time comes, and it will happen. 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. Then I am very quiet, but if I don’t have the reed, the good material, I’m a little nervous. I’m sure that the audience feels that. There’s something there. For this reasion, this edition not only includes the original part but also an additional solo part by Daniel Gauthier, professor of classical saxophone at the Music Conservatoire in Cologne. It’s not the best situation, I must say, but today it is like that. Then there’s the communication between the musicians and between the groups as well. by Barry | May 7, 2018 | The Barry Sax Show | 0 comments. That second year was for me so intense. It’s a pleasure to answer every letter. I managed to get in that orchestra. Die melodisch und zugleich expressiv klingenden Saxophone treffen hier auf die orchestrale Fülle eines Klaviers und erzeugen somit ein neues Hörerlebnis höchster Qualität. We were an outstanding group. I stayed there six years long, and I was at the point where I decided to go back to Canada and to maybe even quit the music. Barry Cockcroft: Sounds good. Do you think to change your environment, changing your country, changing perhaps what is comfortable for you is an essential thing for a musician? Daniel Gauthier: What supports the music is the sound. It’s crazy because if we got a piece from a composer that we like, we would play that a hundred times. Sound fetishist in German. After a couple of years with him, I met Jean-Marie Londeix at a summer camp. There’s a potential.” It must be a great feeling to be able to play for 1,000 people, 2,000 people in a beautiful hall with great acoustics and you get that critical mass if you’ve got enough audience that you get these reactions where you start to get this positive effect in both directions. That’s why maybe I went onto the classical side. 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 … I spent one year, and four years later, I went back for the second year. In that time, I began to play with piano with Jane Eun Bae, my wife. I had a feeling that I should try to find a way to learn better. Then with the time, I was never a big improviser. 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. 【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。 Daniel Gauthier: Of course, of course. I can remember a concert of Alliage without piano, Alliage Quartet at that time, where we played Glazunov and Alla and I don’t know what else, but after the concert, we realised that it was nothing special. I got the job as the first saxophone professor in Germany. All my friends of that time are jazz musicians. It’s called Una Voce Poco Fa because we had not realised really what is our sound, what was the potential of our sound? Jean-Marie Londeix is the one who opened to a new dimension of the repertoire. Daniel Gauthier: Absolutely. Thank you for your time. Alle Bearbeitungen werden dem Alliage Quintett auf den Leib geschrieben und entstehen in enger Zusammenarbeit zwischen dem Ensemble und dem jeweiligen Tonsetzer: z.B. Barry's new project — International Music Exams — visit today! Der Gründer des Alliage Quintetts schreibt 2006 die Erfolgsgeschichte des klassischen Saxophons fort. 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). We go in a city, every year in the different city. Even if I like very much new music, I must say people don’t know. I’m so glad for them that it will be a different way. 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. No, since many years I have to say that I don’t improvise anymore, but I hope that my student will not see that as a limit. Daniel Gauthier: Not that much. It was the right time to do that. But those three cultures I think are all part of my way to make music now. 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. We are musicians because we want to go on stage and not play in our living room for ourselves. von Milhaud, Satie und Gershwin, die musikalische Faszination Frankreichs um die Jahrhundertwende ein. 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. As I won that competition, I stopped to work on other jobs. That’s a real point that you are touching on now because we are so convinced about that and we are so in. Barry Cockcroft: Did you find something to do with all of these skills and this knowledge when you went back to Canada? I have a website that I created probably 15 years ago, and I never, never update it, but not one time. Then we had the choice after that one year to choose to go on with music or to go to arts, painting and everything. We had a programme with a soprano, a singer; with a violin. We were much better. Barry Cockcroft: One noticeable difference is your group can attract huge audiences. I observe in Germany that the young saxophonists, for them now, it’s much easier than for me as I came to Germany. It took a very, very important part of my musical development. I was not only focused on classical. Als Solist und Kammermusiker nahm er mehrere CDs auf, darunter die Welteinspielung der „Légende" für Saxophon und Orchester (1903) von André Caplet, die 1988 wiederentdeckt wurde. It would be great, but it’s not so easy. That was what I wanted to do as I was young, to go onstage and to have the possibility to play. Barry Cockcroft: You were their first professor of saxophone, and the job was given essentially to a foreigner, not to a German? What would you say back to yourself? It was a big motivation. Three cultures are all part of my way to make music now. We had that programme with Sabine Meyer. It is, for me, to bring us to the stage because the stage is what we want to do. I was 19. If you want, I can talk with my director and see what she says about that.” Daniel Gauthier: Probably something from Bach. 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. Daniel Gauthier: Yeah, of Detmold. Für die aktuelle CD „Dancing Paris“ arbeiteten die Musiker erstmalig mit dem Gypsy-Geiger József Lendvay zusammen und fingen mit Werken, u.a. Some of them are great jazz musicians. Barry Cockcroft: Is improvising part of your music making? I improvise actually. He has a particular way to teach. Each summer, he was in Canada for maybe six, seven years in a row. I decided to go back to Canada and to maybe even quit the music. He came to Canada. It is each time a great pleasure to be there. 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… Barry Cockcroft: Is there one piece of advice you could give to your younger self who’s just starting out? That friend, François Theberge, is now a professor at the Conservatoire Supérieur in Paris for improvisation for jazz. For me, I think I teach more on the musical side, and it’s our way to reach the technique. Neben zahlreichen Rundfunk- und TV-Aufnahmen, u.a. I was selling croissants during the day and in the evening learning Denisov by memory. After, it developed much, much faster. They have to work seriously; otherwise, they have to go. Daniel Gauthier: Not anymore. But working hard is never wrong. That teacher was essential to me. Learn how your comment data is processed. Barry Cockcroft: Taking time, not rushing even though, as you said, the music goes by so fast. I could perhaps relate to that same idea that you need time to absorb the information and make it work for you. We played Glinka trio, Trio Pathétique and a couple of trios and we realised that it worked not bad. Are there any new projects coming up that you would like to share with us? I have here a big window, and I see the city, the Sun. I have the feeling that he is the one who opened to a new dimension of the repertoire. Physically, the tenor and the baritone on the other side of the stage are a group as well. We never prepared a piece to go on the stage to play the piece. At age 17, the highly gifted student I began at 12. On Monday was the saxophone. Do not try to do what I did or what somebody else did. Barry Cockcroft: But perhaps the six years of living in Germany and language and culture, it must have helped. I hope that my students open to that aspect as well. It was not interesting for me to try to play Desenclos better than Londeix or anything done before. I was fortunate because I come from a tiny village, maybe 150 kilometres from Montreal. Er ist Gründer des Alliage Quintetts, das 2005 mit einem ECHO Klassik ausgezeichnet wurde. I must say as I came back, I had different jobs. We had the feeling that it’s something interesting, but as we got to the recording. I think that it was not a bad situation at the end that I had two years alone to work on that. It was not an option for me to repeat what other peoples have done. He said to me, “Now, in Germany, there are not so many people who are qualified for that job. 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 don’t know anymore. The reaction is always quite good I must say. 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. ‎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. He is now famous in Montreal as a very great jazz piano teacher. I went back to Canada after that second year. Who is somebody who has contributed a lot to the world of the saxophone with whom you have had contact? 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. Einzigartig in seiner Besetzung lässt das mit einem ECHO Klassik ausgezeichnete Ensemble die Illusion eines großen Orchesters Wirklichkeit werden. Daniel Gauthier: Yes, yes, yes. Then playing the original repertoire, the tonal repertoire, Dubois and so on was not an option. 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.