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 Some players need to warm up very heavily, blowing, blowing, blowing, blowing and baff on the stage. 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. It was clear to me that new music was not the music that I will bring on the stage. Daniel Gauthier: Exactly. Then there’s the communication between the musicians and between the groups as well. We understood quite fast that we were better realising our ideas. My best friend at the Conservatoire in Montreal, who came exactly in the same time as me, we went to Bordeaux together. Some of them are great jazz musicians. The way he made music was a very natural way, but actually, he was not a real classical musician. Even if I like very much new music, I must say people don’t know. by Barry | May 7, 2018 | The Barry Sax Show | 0 comments. 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. On Tuesday was horse riding. With his saxophone ensemble, the Alliage Quartet, he has recorded a disc of 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. It will be you. 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. I was not only focused on classical. We realise in the last years that it is very exciting to work with guests. 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. If we don’t take the time to process the information, then it’s lost. You can show us what you are doing, and we will decide.” They gave me a call a couple of months later. I had some teaching possibilities right and left, two hours here, two hours there. I would say to be patient. At some point, my teacher at the Conservatoire, my former teacher, was ill and they ask me to teach there. Then we had the idea to combine those two project, Alliage Quartet and with my pianist. Mittlerweile konzertiert Gauthier in den internationalen Musikzentren in Deutschland, Europa, Nordamerika und Asien. We had nothing to do. For me, it is a very good situation to be able to have a programme to play many times. After six years, I was more German. Very high. I try to give them as much musical information as possible. Barry Cockcroft: I would love to know how you first got started. Find album reviews, stream songs, credits and award information for Miniatures: Music for Saxophone and Piano - Jang Eun Bae, Daniel Gauthier on AllMusic - 2002 Er ist Gründer des Alliage Quintetts, das 2005 mit einem ECHO Klassik ausgezeichnet wurde. I’m a sound man. I could perhaps relate to that same idea that you need time to absorb the information and make it work for you. Then playing the original repertoire, the tonal repertoire, Dubois and so on was not an option. You exchange and talking and exchanging; then you come to some ideas that you would never have alone. They wanted to see what I do. I went back to Canada after that second year. I wanted to go onstage. 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. Barry Cockcroft: You have created a group that is unique not just in instrumentation, but in style. Barry Cockcroft: Why Germany? On Wednesday was swimming. Firstly, because you will be the only one at the beginning and, secondly because you will be so convincing. It’s not a very interesting answer, but for me to find the reed, to see the position of the reed. 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. I had the opportunity to stay one more year because the money was not a problem anymore. We had a programme with a soprano, a singer; with a violin. 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 was quite isolated and doing no concerts, almost none. Is there a website that you update? Zu seinem Repertoire zählen klassische Werke wie auch zeitgenössische Kompositionen, die zum Teil von ihm uraufgeführt und ihm gewidmet wurden. Is it possible that your idea of creating Alliage is because of your mix of cultures that you’ve had developing? I was not so good as my friends probably who decide to go that side. 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 managed to get in that orchestra. After that first CD, it went much faster. It is each time a great pleasure to be there. Then with the time, I was never a big improviser. Yes, it was not my CDs. Daniel Gauthier: Yeah, of Detmold. Because for me, saxophone, when I was young, was so important. Im Mittelpunkt des Repertoires stehen berühmte Meisterwerke aller Epochen in kompositorisch fein ausgeloteten und raffinierten Arrangements für Saxophonquartett und Klavier. 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. I don’t know here in Australia how it is, but I began a little late with music. Then we had the choice after that one year to choose to go on with music or to go to arts, painting and everything. Delivery country is United States. It’s Hochschule Detmold, and Dortmund was the department of Detmold. 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. There are some composers that I would like very much to play, but they are very expensive. It was the right time and the proper preparation to work with him. 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. He is now famous in Montreal as a very great jazz piano teacher. It’s not the best situation, I must say, but today it is like that. I teach, and I played, and I got that job. 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 can remember as I was in Bordeaux there were some students from Spain or. 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. Barry Cockcroft: Back to croissants? I decided to go back to Canada and to maybe even quit the music. 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. International Saxophone Competition 'Josip Nochta'. 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. Daniel Gauthier: Absolutely. 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. 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 don’t know if you say that in English? Canadian Daniel Gauthier has performed throughout the world as a concerto soloist and as soprano saxophonist with the internationally acclaimed group, Alliage Quintet. 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. 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 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. Daniel Gauthier: It might be. He was a very, very, talented musician. That was very, very difficult in Canada. I don’t know anymore. Those who decided music learned a wind instrument. You will not have to play a game. For me, I think I teach more on the musical side, and it’s our way to reach the technique. Der Gründer des Alliage Quintetts schreibt 2006 die Erfolgsgeschichte des klassischen Saxophons fort. I think that this experience of the North American way to play the saxophone with a bigger sound is in me still now. When I have the feeling in my mouth, that’s how it should be right to be able to play on the stage. Daniel Gauthier: Don’t doubt. We had that programme with Sabine Meyer. I was selling croissants during the day and in the evening learning Denisov by memory. We have played in the most significant festivals, and they, and they don’t have to explain what is the classical saxophone. Mit ihm spielen einige der derzeit besten Solisten des klassischen Saxophons: , und Sebastian Pottmeier, Baritonsaxophon. I make application for a competition, a prestigious national competition which is in Canada is significant in five rounds. You are not alone. Barry Cockcroft: It would seem Sabine Meyer would agree with that because she has been a soloist for many years. Er erhielt 1997 die erste Professur für klassisches Saxophon in Deutschland und unterrichtet seit 2003 als Professor an der Hochschule für Musik in Köln. Try to find what you are and what you want to do. It is always very, very interesting because it forced us to adapt our way to play, to change a little our way to play. Daniel Gauthier: Oh yes. 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 …