I can remember a lesson was $3, but he was already at a high level. Daniel Gauthier: Digest that and to include all that information to your real playing. International Saxophone Competition 'Josip Nochta'. Is it possible that your idea of creating Alliage is because of your mix of cultures that you’ve had developing? I make application for a competition, a prestigious national competition which is in Canada is significant in five rounds. We had not decided to change the name for the quintet, but the first recording was for us significant. I met him 1990 at a Congress or something. The reaction is always quite good I must say. After two weeks, we were wind orchestra, but without a real teacher. Why are we musicians? 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 Alle Bearbeitungen werden dem Alliage Quintett auf den Leib geschrieben und entstehen in enger Zusammenarbeit zwischen dem Ensemble und dem jeweiligen Tonsetzer: z.B. Indeed, I learned that complete repertoire, and for me especially Denisov was a big deal, but at that age, I was probably 22, 23. 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. Try to find what you would like to do, and you will be the best in that way. I think that it was not a bad situation at the end that I had two years alone to work on that. That second year was for me so intense. 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. That’s why maybe I went onto the classical side. Daniel Gauthier: Yes, I think it might be interesting because I have a completely different way if I compare to my colleagues in Europe. 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? Three cultures are all part of my way to make music now. What’s something that you might like to be working over the next 10, 20 years? For me, I came a little late to what I wanted to do. Jean-Marie Londeix is the one who opened to a new dimension of the repertoire. On Wednesday was swimming. 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. It was the right time and the proper preparation to work with him. I began at 12. 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. Beim Welt-Saxophon Kongress in Ljubljana 2006 wurde Daniel Gauthier als herausragendes Mitglied des Internationalen Saxophon-Komitees gewählt. I’m so glad for them that it will be a different way. There’s something there. At some point, my teacher at the Conservatoire, my former teacher, was ill and they ask me to teach there. Very high. I was selling croissants during the day and in the evening learning Denisov by memory. Seit 2003 unterrichtet er als Professor an der Hochschule für Musik in Köln. 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. 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. Then there’s the communication between the musicians and between the groups as well. Thank you for your time. 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. You will not have to play a game. We had the feeling that it’s something interesting, but as we got to the recording. 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 erhielt 1997 die erste Professur für klassisches Saxophon in Deutschland an der Hochschule für Musik Detmold. After six years, I was more German. I was not so good as my friends probably who decide to go that side. Daniel Gauthier: What supports the music is the sound. Die koreanische Pianistin Jang Eun Bae komplettiert die Quintettbesetzung. We are not trying to imitate another ensemble. 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: Absolutely right. I was quite isolated and doing no concerts, almost none. C’est en 1991 que ce québecois d’origine s’installe en Allemagne où il s’engage au développement et […] Barry Cockcroft: If you just had one hour to practice, what would you do in that one hour? We never prepared a piece to go on the stage to play the piece. That second year was great because we could… I could understand. Daniel Gauthier: Oh yes. I got the job as the first saxophone professor in Germany. Daniel Gauthier: Outside of music. We are musicians because we want to go on stage and not play in our living room for ourselves. Daniel Gauthier Saxophone Michel Lethiec Clarinet Ralph Manno Clarinet Timothy McAllister Saxophone Frøydis Ree Wekre Horn 14th Aeolus For Trombone, Trumpet, … I’m old-fashioned. Sometimes I only sit and play and play notes. 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: Yes, yes, yes. Every year with exams. It was not possible for me to stay longer. 2006 erhielt er als Solist für die CD „Spirito latino" ebenfalls einen ECHO Klassik. 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 was very focused on new music, contemporary music because Londeix was very forceful about that. Nach ersten Preisen am „Conservatoire de Montréal" und am „Conservatoire de Bordeaux" erwarb er den Doktor für Interpretation an der „Université de Montréal". I understood, “Why do I do what somebody else wants me to do? 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. There are some composers that I would like very much to play, but they are very expensive. Daniel Gauthier: Actually, I did not choose. On Monday was the saxophone. The conductor, the teacher told us everything he knows, but he was the teacher for trumpet, trombone, clarinet, flute, he was no specialist. 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. I grow up, as I said, in a small village. The first time, I was learning to play the saxophone, and the second time I was learning to play music. For me, of course, it’s the ideal way to make music. A short time later, Asya Fateyeva moved to Cologne to study as a junior student under Daniel Gauthier. We had a quintet. Some of them are great jazz musicians. 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. Barry Cockcroft: I had a similar story in some ways that in I went to France. Daniel Gauthier: Quite early. 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. Daniel Gauthier is the professor of classical saxophone at the Cologne Academy of Music. I had lessons from him. It was too late to change anything. 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? Barry Cockcroft: He needs a friend. Find album reviews, stream songs, credits and award information for Miniatures: Music for Saxophone and Piano - Jang Eun Bae, Daniel Gauthier on AllMusic - 2002 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. 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. 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. I sold croissants. For me, it was a little longer. 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. Then there was the money problem. Delivery country is United States. How important has recording been both to your career, but also for your musical development? It’s a great city, and we are so happy to be here. It’s a pleasure to answer every letter. We should get more active and work more on looking for help, and I’m sure we will find it. Daniel Gauthier: No, no. 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. Daniel Gauthier (saxophone), Jang Eun Bae (piano) Skip to main content Wishlist My account Currency is US dollars. Barry Cockcroft: Is there one piece of advice you could give to your younger self who’s just starting out? It took time. 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. Then we had the choice after that one year to choose to go on with music or to go to arts, painting and everything. 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. 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. 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. 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. 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. 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. It’s not a very interesting answer, but for me to find the reed, to see the position of the reed. Gauthier received the first classical saxophone professorship in Germany in 1997; since 2003 he has taught at the Hochschule für Musik in 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). You are not alone. 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. 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 were not very good because the motivation was not there. 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. Er ist Gründer des Alliage Quintetts, das 2005 mit einem ECHO Klassik ausgezeichnet wurde. Songs by Daniel Gauthier start at $0.99. Barry Cockcroft: 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. I try to give them as much musical information as possible. He said to me, “Now, in Germany, there are not so many people who are qualified for that job. It took a very, very important part of my musical development. Daniel Gauthier: Don’t doubt. Try to find what you are and what you want to do. Daniel Gauthier: That was very difficult. You can show us what you are doing, and we will decide.” They gave me a call a couple of months later. It is for me a little tricky because the instrument always reacts differently in a small room than on the stage. You’re all at the same time, but smaller things were going on. We tried to get some help from the cultural found. 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. Daniel Gauthier Bereits das Solo-Album "Miniature" mit Daniel Gauthier und der Pianistin Jang Eun Bae wurde für den ECHO Klassik nominiert. Die Saxophonisten des Alliage Quintetts spielen Saxophone von Henri SELMER, Paris und Rohrblätter der Firma Vandoren / Paris. Yes, yes, yes, yes. There was a little prize money, a prize, but also some concerts. Then with the time, I was never a big improviser. Daniel Gauthier: Probably something from Bach. DANIEL GAUTHIER. Learn how your comment data is processed. As I won that competition, I stopped to work on other jobs. I remember that almost every week we had to bring something new or every two weeks, but we never had, for example, a concert. Have a look today! Daniel Gauthier: Yes. Einzigartig in seiner Besetzung lässt das mit einem ECHO Klassik ausgezeichnete Ensemble die Illusion eines großen Orchesters Wirklichkeit werden. After a couple of years with him, I met Jean-Marie Londeix at a summer camp. It’s an essential function. It is our work, and it grows up all the time when we get new arrangements. http://media.blubrry.com/barry_sax_show/content.blubrry.com/barry_sax_show/Daniel-Gauthier.mp3. Daniel Gauthier: It’s a good question. 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… 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 … 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. We go in a city, every year in the different city. It would be great, but it’s not so easy. Der Gründer des Alliage Quintetts schreibt 2006 die Erfolgsgeschichte des klassischen Saxophons fort. It’s fantastic to have the possibility to react, to be free enough every night to try different things. My best friend at the Conservatoire in Montreal, who came exactly in the same time as me, we went to Bordeaux together. You have to record a programme, and then you can propose it. Barry Cockcroft: You’ve recorded quite a large number of albums. After that first CD, it went much faster. Die melodisch und zugleich expressiv klingenden Saxophone treffen hier auf die orchestrale Fülle eines Klaviers und erzeugen somit ein neues Hörerlebnis höchster Qualität. He gave me big motivation, and he prepared me for the Conservatoire in Montreal. He is now famous in Montreal as a very great jazz piano teacher. It is the first work for saxophone … Exactly right. 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. 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. We realise in the last years that it is very exciting to work with guests. 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. Mit ihm spielen einige der derzeit besten Solisten des klassischen Saxophons: , und Sebastian Pottmeier, Baritonsaxophon. I’m sure that the audience feels that. Daniel Gauthier: Depends. Mit ihm spielen einige der derzeit besten Solisten des klassischen Saxophons: Hayrapet Arakelyan, Altsaxophon, Simon Hanrath, Tenorsaxophon, und Sebastian Pottmeier, Baritonsaxophon. Mostly, we make recordings before we go on tour with the programme. We were much better. Barry Cockcroft: Where can people find out more specifically about you? It was not interesting for me to try to play Desenclos better than Londeix or anything done before. I went back to Canada after that second year. Daniel Gauthier: It is a very good feeling. It was the real beginning for me. Later, he studied a Master of Saxophone with the teacher Daniel Gauthier at the Hochschule für Musik und Tanz in Cologne, Germany. International Music Exams 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. I was fortunate because I come from a tiny village, maybe 150 kilometres from Montreal. That’s the sense of an artist. It is, for me, to bring us to the stage because the stage is what we want to do. 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. For me, the next huge step, I sold CDs in a music store. You must leave the stage feeling good. 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. He studied saxophone and piano. 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. It might take times, but you will have the chance to say it. After maybe two years with him, I went to the audition for the entrance exam at the Conservatoire. I knew exactly what was coming and I was so well prepared with what Londeix wants from us. I’m a sound man. I don’t play that much right before the concert. He came to Canada. It’s a big problem. I would like very much to get some original repertoire for the quintet. After studying with Londeix, I was very focused on new music, contemporary music because Londeix was very forceful about that. There’s big financial help from the city, but the parents have to pay a lot as well. He founded this ensemble in 2004, and together they have recorded seven … 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. I moved to France for one year. 2011 begab sich das Quintett auf eine märchenhafte Reise durch Russland mit Tschaikowskys Nussknacker-Suite und „Scheherazade“ von Rimski-Korsakow. by Barry | May 7, 2018 | The Barry Sax Show | 0 comments. Daniel Gauthier studierte in Kanada und Frankreich. I don’t know if you say that in English? The contact with Jean-Marie Londeix opened a door to a new world. That was what I wanted to do as I was young, to go onstage and to have the possibility to play. All my friends of that time are jazz musicians. 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. Barry's new project — International Music Exams — visit today! Some players need to warm up very heavily, blowing, blowing, blowing, blowing and baff on the stage. There’s a potential.” Er zählt zu den prägendsten Dozenten seines Faches, was sich unter anderem in zahlreichen Preisen seiner Studenten bei nationalen und internationalen Wettbewerben widerspiegelt. You exchange and talking and exchanging; then you come to some ideas that you would never have alone. It happened, and I was ready, and that’s why I think I could get that job. I thought that it would be that kind of school where I can get even some older students, but it was not the case. They don’t see the saxophonist in the world. Absolutely. We learned from each other and Londeix. On Tuesday was horse riding. 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. The first recording that we have made with Alliage Quintet… At that time, it was Alliage Quartet Plus Piano. We understood quite fast that we were better realising our ideas. Daniel Gauthier: Absolutely. Daniel Gauthier: Yes, yes, yes. I’m not good at that. At that point, everyone gets in their hand an instrument, trumpet, clarinet. It’s not the way that I would prefer to go. 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. I spent one year, and four years later, I went back for the second year. I don’t know how it is here in Australia, but in Montreal, the Conservatoire is similar to the system in France. I improvise actually. That piano is the centre of the group. They have to work seriously; otherwise, they have to go. This site uses Akismet to reduce spam. It’s crazy because if we got a piece from a composer that we like, we would play that a hundred times. 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 erhielt 1997 die erste Professur für klassisches Saxophon in Deutschland an der Hochschule für Musik Detmold. 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. I hope that my students open to that aspect as well. We were in a group right at the beginning. Daniel Gauthier: No. Yes, it was not my CDs. It’s not for free like in France, but you have to take everyone. That teacher was essential to me. I had to choose at some point what I would do, jazz or classic because I was not talented enough to do both on the high level. At that time came the opportunity to go to Germany. 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. Then we had the idea to combine those two project, Alliage Quartet and with my pianist. 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’s Hochschule Detmold, and Dortmund was the department of Detmold. 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. It would be played maybe ten years later because somebody else is interested. He has a particular way to teach. I would say to be patient. I have here a big window, and I see the city, the Sun. 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. Daniel Gauthier: I am sure. Typically it’s because we wanted to go on stage and not play in our living room for ourselves.