It is the best way to convince a promoter, to show what we are doing. 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. I never wanted to be more in the front than anybody else. Barry Cockcroft: Then the poor alto all by himself in the middle. Barry Cockcroft: He needs a friend. I’m so glad for them that it will be a different way. Even if I like very much new music, I must say people don’t know. All my friends of that time are jazz musicians. It was difficult to find a teacher there, but I was lucky because, in the city near my town, there was a music student who came back every weekend. Barry's latest project He came to Canada. That’s right. 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. I could perhaps relate to that same idea that you need time to absorb the information and make it work for you. When I have the feeling in my mouth, that’s how it should be right to be able to play on the stage. Barry Cockcroft: It would seem Sabine Meyer would agree with that because she has been a soloist for many years. I decided to go back to Canada and to maybe even quit the music. 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. I had a feeling that I should try to find a way to learn better. Er ist Gründer des Alliage Quintetts, das 2005 mit einem ECHO Klassik ausgezeichnet wurde. Do not try to do what I did or what somebody else did. Daniel Gauthier: It is a very good feeling. We realised, “Oh, that’s our sound. 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. It’s a big problem. Right after they were finished in Bordeaux, they got the perfect job that they wanted to have. It was clear to me that I wanted to create something new because after you have done that, it’s you. Für die aktuelle CD „Dancing Paris“ arbeiteten die Musiker erstmalig mit dem Gypsy-Geiger József Lendvay zusammen und fingen mit Werken, u.a. That I think is an excellent way to bring the people, a typical audience to new music. „Alliage“ ist die wohl charmanteste Legierung (franz. You can show us what you are doing, and we will decide.” They gave me a call a couple of months later. 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. As soon as I got that instrument in hand, I was focused on that. Then we had the choice after that one year to choose to go on with music or to go to arts, painting and everything. He was more of a great studio musician playing the flute, clarinet, oboe and an excellent jazz player as well. Have a look today! My best friend at the Conservatoire in Montreal, who came exactly in the same time as me, we went to Bordeaux together. If you have the feeling that you have something to say, be patient enough to wait until that time comes, and it will happen. Mit ihm spielen einige der derzeit besten Solisten des klassischen Saxophons: Hayrapet Arakelyan, Altsaxophon, Simon Hanrath, Tenorsaxophon, und Sebastian Pottmeier, Baritonsaxophon. The level of the class was very high. 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… It will be you. It was of course horrible. I sold croissants. Die damit verbundene Konzerttournee führte das Ensemble u.a. Barry Cockcroft: Not just in music, right? Thank you very much, Barry. There’s big financial help from the city, but the parents have to pay a lot as well. 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. Daniel Gauthier: It’s a good question. He retired, and they ask me to take the job. I don’t know how it is here in Australia, but in Montreal, the Conservatoire is similar to the system in France. We have a different approach, but until now, we do not get help on that. After two weeks, we were wind orchestra, but without a real teacher. 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). 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 met Jean-Marie Londeix at a summer camp. I came to the saxophone in a completely different way. Then playing the original repertoire, the tonal repertoire, Dubois and so on was not an option. It’s fantastic to have the possibility to react, to be free enough every night to try different things. Barry Cockcroft: People can write you a letter somewhere? After, it developed much, much faster. Barry Cockcroft: You have created a group that is unique not just in instrumentation, but in style. 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. 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. Barry Cockcroft: Is there one piece of advice you could give to your younger self who’s just starting out? Barry Cockcroft: Taking time, not rushing even though, as you said, the music goes by so fast. Daniel Gauthier: Of course, of course. Even if some mistakes are many years long. Daniel Gauthier is the professor of classical saxophone at the Cologne Academy of Music. He has a particular way to teach. I’m not good at that. 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. 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. What’s something that you might like to be working over the next 10, 20 years? We all go to the piano and then it takes us together. 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 … Beim Welt-Saxophon Kongress in Ljubljana 2006 wurde Daniel Gauthier als herausragendes Mitglied des Internationalen Saxophon-Komitees gewählt. Firstly, because you will be the only one at the beginning and, secondly because you will be so convincing.
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. That’s a real point that you are touching on now because we are so convinced about that and we are so in. Daniel Gauthier: Yes, I think it might be interesting because I have a completely different way if I compare to my colleagues in Europe. Then there was the money problem. by Barry | May 7, 2018 | The Barry Sax Show | 0 comments. As I won that competition, I stopped to work on other jobs. 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. Daniel Gauthier: No. This site uses Akismet to reduce spam. I was age 20. They wanted to see what I do. It’s not a very interesting answer, but for me to find the reed, to see the position of the reed. Barry Cockcroft: I had a similar story in some ways that in I went to France. Daniel Gauthier: That was very difficult. Geboren bei Montréal (Kanada), studierte Daniel Gauthier in Kanada und Frankreich. It would be played maybe ten years later because somebody else is interested. Barry Cockcroft: Why Germany? It’s more interesting for me to work in a group. Every year with exams. It was the right time and the proper preparation to work with him. If we had a piece that we can include in every programme, it would be a fantastic situation, but now I have the feeling many times, the composer, they write for one concert, and it’s done. Die koreanische Pianistin Jang Eun Bae komplettiert die Quintettbesetzung. It’s crazy because if we got a piece from a composer that we like, we would play that a hundred times. We understood quite fast that we were better realising our ideas. 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. Daniel Gauthier: Outside of music. 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. 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. 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 came that we had the idea to ask Sebastian because he’s a great musician to play with us and we played trios. 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. We were much better. Why not do what I want to do?”
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 was selling croissants during the day and in the evening learning Denisov by memory. 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’s not the way that I would prefer to go. We had a programme with a soprano, a singer; with a violin. 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. He is now famous in Montreal as a very great jazz piano teacher. 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. He had a full-time job, an outstanding job, but they changed the offer, and that was not such a great situation for me. 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. 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. Is it possible that your idea of creating Alliage is because of your mix of cultures that you’ve had developing? 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. It is always very, very interesting because it forced us to adapt our way to play, to change a little our way to play. Then I am very quiet, but if I don’t have the reed, the good material, I’m a little nervous. It is us. Daniel Gauthier: Yeah, of Detmold. I had the opportunity to stay one more year because the money was not a problem anymore. I think he came for many years. Daniel Gauthier: Right. Barry Cockcroft: Where can people find out more specifically about you? Daniel Gauthier: Not anymore. For example, an arrangement like the Firebird from Stravinsky needs the stage time to grow up. 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. Barry Cockcroft: If we learn from our mistakes, is it okay to make mistakes? It happened, and I was ready, and that’s why I think I could get that job. I got the job as the first saxophone professor in Germany. 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. It’s called Una Voce Poco Fa because we had not realised really what is our sound, what was the potential of our sound? Barry Cockcroft: If you just had one hour to practice, what would you do in that one hour? 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 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. I’m quite quiet. If you don’t have the sound, the phrasing alone doesn’t mean anything. Jean-Marie Londeix is the one who opened to a new dimension of the repertoire. 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? 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 musicians because we want to go on stage and not play in our living room for ourselves. I try to give them as much musical information as possible. Barry Cockcroft: This was the University of Dortmund? I had to try to take that opportunity to teach at the Conservatoire and to make something out of it, but I was not convinced because mostly the saxophonists who study classical saxophone at a high level after they finished with studying, there’s nothing to do. I would say to be patient. We go in a city, every year in the different city. I wanted to go onstage. On Monday was the saxophone. Is there a website that you update? 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: To digest. I can remember as I was in Bordeaux there were some students from Spain or. Then we had the idea to combine those two project, Alliage Quartet and with my pianist. For me, the next huge step, I sold CDs in a music store. Delivery country is United States. Barry Cockcroft: One noticeable difference is your group can attract huge audiences. I began at 12. It might be, but let me tell you a little how I came to that idea of that group. It was close to me to the music business, but of course was not such a good situation to sell CDs from other people. We should get more active and work more on looking for help, and I’m sure we will find it. I’m not good at that. Is there something specific that you do before you walk onstage that helps you focus so that you can play at your best? Daniel Gauthier: Yes. Daniel Gauthier: He has to go from one to the other. Yes, yes, yes, yes. The reaction is always quite good I must say. That was what I wanted to do as I was young, to go onstage and to have the possibility to play. 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. It’s great to have the possibility to work on the equal musical level, and it’s a great feeling. If we don’t take the time to process the information, then it’s lost. Actually, no. Then there’s the communication between the musicians and between the groups as well. The first recording that we have made with Alliage Quintet… At that time, it was Alliage Quartet Plus Piano. Daniel Gauthier erhielt 1997 die erste Professur für klassisches Saxophon in Deutschland an der Hochschule für Musik Detmold. It was a pleasant surprise, a good situation for us with that ensemble. Daniel Gauthier erhielt 1997 die erste Professur für klassisches Saxophon in Deutschland an der Hochschule für Musik Detmold. Daniel Gauthier: Quite early. I teach, and I played, and I got that job. Barry Cockcroft: Old school. I feel that classical music was more me. It was the right time to do that. Who is somebody who has contributed a lot to the world of the saxophone with whom you have had contact? It’s an essential function. Im Mittelpunkt des Repertoires stehen berühmte Meisterwerke aller Epochen in kompositorisch fein ausgeloteten und raffinierten Arrangements für Saxophonquartett und Klavier. 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. We should go and enjoy some Melbourne sunshine. It was a school where actually everyone who wants to, can learn music. Mixing all those, almost made you come up with a new type of group. We played Poulenc Trio. For me, it was a little longer. Daniel Gauthier: Don’t doubt. I don’t know anymore. The French Canadian held the first saxophone professorship for classical saxophone. Barry Cockcroft: I would love to know how you first got started. I have here a big window, and I see the city, the Sun. It is each time a great pleasure to be there. Daniel Gauthier: Not that much. Of course, many, many people applied, of course. Barry's new project — International Music Exams — visit today! It could have been France, Spain, Italy. I don’t know if you say that in English?
Sound fetishist in German. Then I went back to Bordeaux for one more year, and it was a completely different situation. They don’t see the saxophonist in the world. Many years after studying with him, I played almost only original literature, but it was not satisfying for me because I realise that when I play new music, I’m not so, so, so great. Daniel Gauthier: No, no. 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: Actually, I did not choose. 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 … Er erhielt 1997 die erste Professur für klassisches Saxophon in Deutschland und unterrichtet seit 2003 als Professor an der Hochschule für Musik in Köln. It’s a good question. Daniel Gauthier: Depends. There’s a potential.”
Barry Cockcroft: Do you like social media? After a couple of years with him, I met Jean-Marie Londeix at a summer camp. I met him 1990 at a Congress or something. I was quite isolated and doing no concerts, almost none. Indeed, I learned that complete repertoire, and for me especially Denisov was a big deal, but at that age, I was probably 22, 23. We had not decided to change the name for the quintet, but the first recording was for us significant. We have played in the most significant festivals, and they, and they don’t have to explain what is the classical saxophone. He composed, arranged for big band and he was an outstanding musician, but in the classical side, he was not a real specialist. On Thursday was… The saxophone was, for many of them, one little thing, not so important. Find album reviews, stream songs, credits and award information for Miniatures: Music for Saxophone and Piano - Jang Eun Bae, Daniel Gauthier on AllMusic - 2002 Then studying in France with a real tradition, going back to Marcel Mule with Londeix, it added a new dimension to my playing. Absolutely. We played Glinka trio, Trio Pathétique and a couple of trios and we realised that it worked not bad. It’s a great city, and we are so happy to be here. Seit 2003 unterrichtet er als Professor an der Hochschule für Musik in Köln. I must say as I came back, I had different jobs. 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. Very high. That second year was great because we could… I could understand. 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. Daniel Gauthier: To myself? „Das Ensemble brilliert in jeder Beziehung auf höchstem Niveau.“. On Wednesday was swimming. We were not very good because the motivation was not there. Exactly. Daniel Gauthier: What supports the music is the sound. In that time, I began to play with piano with Jane Eun Bae, my wife. Daniel Gauthier: The piano brings us all together. Some players need to warm up very heavily, blowing, blowing, blowing, blowing and baff on the stage. Barry Cockcroft: If you just had one piece of music that you could play from now on, which piece would that be? Daniel Gauthier: Digest that and to include all that information to your real playing. That friend, François Theberge, is now a professor at the Conservatoire Supérieur in Paris for improvisation for jazz. Nach ersten Preisen am „Conservatoire de Montréal" und am „Conservatoire de Bordeaux" erwarb er den Doktor für Interpretation an der „Université de Montréal". 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 I was selling croissants during the day and in the evening learning Denisov by memory. Barry Cockcroft: Don’t doubt yourself. If you want, I can talk with my director and see what she says about that.”
After studying with Londeix, I was very focused on new music, contemporary music because Londeix was very forceful about that. We had nothing to do. We realise in the last years that it is very exciting to work with guests. It was too late to change anything. I was fortunate because I come from a tiny village, maybe 150 kilometres from Montreal. I knew exactly what was coming and I was so well prepared with what Londeix wants from us. After that first CD, it went much faster. The conductor, the teacher told us everything he knows, but he was the teacher for trumpet, trombone, clarinet, flute, he was no specialist. Er zählt zu den prägendsten Dozenten seines Faches, was sich unter anderem in zahlreichen Preisen seiner Studenten bei nationalen und internationalen Wettbewerben widerspiegelt. I improvise actually. Yes, it was not my CDs. You have a lot in your head, but you have to take time after to… I don’t know how to say to, digérer. After six years, I was more German. In Germany, it’s a different system. Daniel Gauthier: Probably something from Bach. At that time came the opportunity to go to 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. For me, I think I teach more on the musical side, and it’s our way to reach the technique. Barry Cockcroft: Did you find something to do with all of these skills and this knowledge when you went back to Canada? Because for me, saxophone, when I was young, was so important. I went there. Later, he studied a Master of Saxophone with the teacher Daniel Gauthier at the Hochschule für Musik und Tanz in Cologne, Germany. That was very, very difficult in Canada. He gave me big motivation, and he prepared me for the Conservatoire in Montreal. For me, of course, it’s the ideal way to make music. It was something else, something more extensive, but with smaller things as well. 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. There are some composers that I would like very much to play, but they are very expensive. 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’m pleased about that. It was the real beginning for me. 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. 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. Sein SONY CLASSICAL - Debüt hat das Alliage Quintett 2008 mit einer Rekomposition der „Vier Jahreszeiten“ von Antonio Vivaldi und einigen Arrangements von Johann Sebastian Bach unter dem Titel „Masquerade“ vorgelegt. Barry Cockcroft: So twice so far in your life… First, you moved to France as a student and secondly for work; you moved to Germany. It took time. The contact with Jean-Marie Londeix opened a door to a new world. Daniel Gauthier Bereits das Solo-Album "Miniature" mit Daniel Gauthier und der Pianistin Jang Eun Bae wurde für den ECHO Klassik nominiert. We are not trying to imitate another ensemble. I think that it was not a bad situation at the end that I had two years alone to work on that. Die melodisch und zugleich expressiv klingenden Saxophone treffen hier auf die orchestrale Fülle eines Klaviers und erzeugen somit ein neues Hörerlebnis höchster Qualität. Mostly, we make recordings before we go on tour with the programme. DANIEL GAUTHIER. 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. I was 19. Thank you. At age 17, the highly gifted student Der Gründer des Alliage Quintetts schreibt 2006 die Erfolgsgeschichte des klassischen Saxophons fort. 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. I grow up, as I said, in a small village. 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. 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. 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 had lessons from him. Daniel Gauthier: Absolutely. I had some teaching possibilities right and left, two hours here, two hours there. It might take times, but you will have the chance to say it. There’s something there. Why are we musicians? I make application for a competition, a prestigious national competition which is in Canada is significant in five rounds. Gründer ist der Kanadier Daniel Gauthier, Primarius am Sopransaxophon. I was 12 in school. Barry Cockcroft: Last night, you had a big performance in front of a large audience in a beautiful hall.
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