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We were in a group right at the beginning. It’s great to have the possibility to work on the equal musical level, and it’s a great feeling. Daniel Gauthier: It is a very good feeling. 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. Songs by Daniel Gauthier start at $0.99. We had a programme with a soprano, a singer; with a violin. I met Jean-Marie Londeix at a summer camp. 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 enjoyed that it like there were like two or three groups happening inside of one group. I am sure about that. 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. That second year was great because we could… I could understand. He was more of a great studio musician playing the flute, clarinet, oboe and an excellent jazz player as well. For me, the next huge step, I sold CDs in a music store. I’m a sound man. On Wednesday was swimming. 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. You will not have to play a game. That’s what I mean. Then with the time, I was never a big improviser. We had that programme with Sabine Meyer. 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. Barry Cockcroft: You’ve recorded quite a large number of albums. It took a very, very important part of my musical development. He came home. 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. Daniel Gauthier: I am sure. Im Mittelpunkt des Repertoires stehen berühmte Meisterwerke aller Epochen in kompositorisch fein ausgeloteten und raffinierten Arrangements für Saxophonquartett und Klavier. I don’t know if you say that in English? It was of course horrible. It’s more interesting for me to work in a group. It’s crucial to me. How important has recording been both to your career, but also for your musical development? 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. It is for me a little tricky because the instrument always reacts differently in a small room than on the stage. The reaction is always quite good I must say. 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. They wanted to see what I do. In that time, I began to play with piano with Jane Eun Bae, my wife. Who is somebody who has contributed a lot to the world of the saxophone with whom you have had contact? Daniel Gauthier: Actually, I did not choose. I wanted to go onstage. We were not very good because the motivation was not there. I mean the concept from somebody else. Barry Cockcroft: People can write you a letter somewhere? Barry Cockcroft: Outside of music? You have a lot in your head, but you have to take time after to… I don’t know how to say to, digérer. It’s not for free like in France, but you have to take everyone. Daniel Gauthier: Exactly. All my friends of that time are jazz musicians. 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 too late to change anything. That was what I wanted to do as I was young, to go onstage and to have the possibility to play. Barry Cockcroft: Not just in music, right? 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. We should go and enjoy some Melbourne sunshine. I got the job as the first saxophone professor in Germany. There are children there, but there are also real students with bachelor, master. I grow up, as I said, in a small village. 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 was the right time to do that. I’m old-fashioned. 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. But working hard is never wrong. Daniel Gauthier: Outside of music. I began at 12. He studied saxophone and piano. Barry Cockcroft: Did you find something to do with all of these skills and this knowledge when you went back to Canada? That’s a real point that you are touching on now because we are so convinced about that and we are so in. We are musicians because we want to go on stage and not play in our living room for ourselves. I went back to Canada after that second year. I’m pleased about that. In Germany, it’s a different system. 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. 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. I don’t know here in Australia how it is, but I began a little late with music. We realised how much the piano could change the way we play. 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. Daniel Gauthier: No, no. 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. You have to record a programme, and then you can propose it. 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. Zu seinem Repertoire zählen klassische Werke wie auch zeitgenössische Kompositionen, die zum Teil von ihm uraufgeführt und ihm gewidmet wurden. Daniel Gauthier erhielt 1997 die erste Professur für klassisches Saxophon in Deutschland an der Hochschule für Musik Detmold. Barry Cockcroft: Old school. Daniel Gauthier studierte in Kanada und Frankreich. On Monday was the saxophone. At that point, everyone gets in their hand an instrument, trumpet, clarinet. He gave me big motivation, and he prepared me for the Conservatoire in Montreal. It’s Hochschule Detmold, and Dortmund was the department of Detmold. Daniel Gauthier Bereits das Solo-Album "Miniature" mit Daniel Gauthier und der Pianistin Jang Eun Bae wurde für den ECHO Klassik nominiert. I have the feeling that he is the one who opened to a new dimension of the repertoire. I was 19. It happened, and I was ready, and that’s why I think I could get that job. They don’t see the saxophonist in the world. Einzigartig in seiner Besetzung lässt das mit einem ECHO Klassik ausgezeichnete Ensemble die Illusion eines großen Orchesters Wirklichkeit werden. For me, it is a very good situation to be able to have a programme to play many times. It was a school where actually everyone who wants to, can learn music. I hope that my students open to that aspect as well. Für die aktuelle CD „Dancing Paris“ arbeiteten die Musiker erstmalig mit dem Gypsy-Geiger József Lendvay zusammen und fingen mit Werken, u.a. The original repertoire for a saxophone quartet, for example, Desenclos and so on, was… We had no motivation to play that. 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. Do not try to do what I did or what somebody else did. Then studying in France with a real tradition, going back to Marcel Mule with Londeix, it added a new dimension to my playing. Later, he studied a Master of Saxophone with the teacher Daniel Gauthier at the Hochschule für Musik und Tanz in Cologne, Germany. 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 thought that it would be that kind of school where I can get even some older students, but it was not the case. It was the right time and the proper preparation to work with him. The way he made music was a very natural way, but actually, he was not a real classical musician. We had a quintet. Sometimes I only sit and play and play notes. The contact with Jean-Marie Londeix opened a door to a new world. We learned from those who were in that orchestra longer than us, but a real teacher was challenging to find. I can remember a lesson was $3, but he was already at a high level. I’m sure that the audience feels that. It was a shock in a very, very positive way. 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. I’m quite quiet. I have a website that I created probably 15 years ago, and I never, never update it, but not one time. Beim Welt-Saxophon Kongress in Ljubljana 2006 wurde Daniel Gauthier als herausragendes Mitglied des Internationalen Saxophon-Komitees gewählt. It’s an essential function. Daniel Gauthier: Yes, yes, yes. Daniel Gauthier: Absolutely. 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. 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. Daniel Gauthier: What supports the music is the sound. Actually, no. On Tuesday was horse riding. Canadian Daniel Gauthier has performed throughout the world as a concerto soloist and as soprano saxophonist with the internationally acclaimed group, Alliage Quintet. Barry Cockcroft: Is improvising part of your music making? It is our work, and it grows up all the time when we get new arrangements. Barry Cockcroft: To digest. Barry Cockcroft: This was the University of Dortmund? He is now famous in Montreal as a very great jazz piano teacher. At that time came the opportunity to go to Germany. Learn how your comment data is processed. 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. Yes, it was not my CDs. He had a full-time job, an outstanding job, but they changed the offer, and that was not such a great situation for me. Yes, yes, yes, yes. 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 12 in school. I was age 20. If we don’t take the time to process the information, then it’s lost. 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: You were their first professor of saxophone, and the job was given essentially to a foreigner, not to a German? Barry Cockcroft: Then the poor alto all by himself in the middle. Gründer ist der Kanadier Daniel Gauthier, Primarius am Sopransaxophon. Geboren bei Montréal (Kanada), studierte Daniel Gauthier in Kanada und Frankreich. 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 great city, and we are so happy to be here. It’s fantastic to have the possibility to react, to be free enough every night to try different things. 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. Barry Cockcroft: It’s mixed based on the level of music, not on age. I don’t know anymore. Daniel Gauthier: Right. Have a look today! He was a very, very, talented musician. 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 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. Of course, many, many people applied, of course. Mit ihm spielen einige der derzeit besten Solisten des klassischen Saxophons: Hayrapet Arakelyan, Altsaxophon, Simon Hanrath, Tenorsaxophon, und Sebastian Pottmeier, Baritonsaxophon. It was not possible for me to stay longer. 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 was selling croissants during the day and in the evening learning Denisov by memory. Then we had the idea to combine those two project, Alliage Quartet and with my pianist. I remember that almost every week we had to bring something new or every two weeks, but we never had, for example, a concert. 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 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. It might take times, but you will have the chance to say it. 2011 begab sich das Quintett auf eine märchenhafte Reise durch Russland mit Tschaikowskys Nussknacker-Suite und „Scheherazade“ von Rimski-Korsakow. Physically, the tenor and the baritone on the other side of the stage are a group as well. 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. It was clear to me that new music was not the music that I will bring on the stage. Find album reviews, stream songs, credits and award information for Spirito Latino: Music for Saxophone and Piano - Jang Eun Bae, Daniel Gauthier on AllMusic - 2005 Daniel Gauthier: Don’t doubt. 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. 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: Of course, of course. 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. 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. If you have something to say, be patient enough to wait until that time comes, and it will happen. There was a little prize money, a prize, but also some concerts. Daniel Gauthier: Yes, I think it might be interesting because I have a completely different way if I compare to my colleagues in Europe. 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. It is, for me, to bring us to the stage because the stage is what we want to do. 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. It’s a good question. There’s a potential.” 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 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. Every class was a band. ‎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. C’est en 1991 que ce québecois d’origine s’installe en Allemagne où il s’engage au développement et […] Why are we musicians? It was not an option for me to repeat what other peoples have done. Daniel Gauthier Saxophone Michel Lethiec Clarinet Ralph Manno Clarinet Timothy McAllister Saxophone Frøydis Ree Wekre Horn 14th Aeolus For Trombone, Trumpet, … Daniel Gauthier: He has to go from one to the other. After two weeks, we were wind orchestra, but without a real teacher. 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. 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: 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? All, they are jazz musicians. The first time, I was learning to play the saxophone, and the second time I was learning to play music. When I have the feeling in my mouth, that’s how it should be right to be able to play on the stage. 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 Barry Cockcroft: Taking time, not rushing even though, as you said, the music goes by so fast. It was a pleasant surprise, a good situation for us with that ensemble. I’m so glad for them that it will be a different way. Sound fetishist in German. You’re all at the same time, but smaller things were going on. I never wanted to be more in the front than anybody else. 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. 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: Back to croissants? We played Poulenc Trio. „Alliage“ ist die wohl charmanteste Legierung (franz. It was clear to me that I wanted to create something new because after you have done that, it’s you. For me, I think I teach more on the musical side, and it’s our way to reach the technique. It was founded by Canadian saxophonist Daniel Gauthier, who plays soprano saxophone. 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. It is a very good feeling, and it is a good feeling knowing that we had prepared a better situation for the next generation. 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. Barry Cockcroft: Great. Daniel Gauthier (saxophone), Jang Eun Bae (piano) Skip to main content Wishlist My account Currency is US dollars. von Milhaud, Satie und Gershwin, die musikalische Faszination Frankreichs um die Jahrhundertwende ein. 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. There’s big financial help from the city, but the parents have to pay a lot as well. I knew exactly what was coming and I was so well prepared with what Londeix wants from us. Daniel Gauthier: Yes. 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 a very interesting answer, but for me to find the reed, to see the position of the reed. I moved to France for one year. Gauthier received the first classical saxophone professorship in Germany in 1997; since 2003 he has taught at the Hochschule für Musik in 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. It is each time a great pleasure to be there. Then there’s the communication between the musicians and between the groups as well. Daniel Gauthier: Absolutely right. alliage) von vier Saxophonen und Klavier. With his saxophone ensemble, the Alliage Quartet, he has recorded a disc of I could perhaps relate to that same idea that you need time to absorb the information and make it work for you. Thank you. It might be, but let me tell you a little how I came to that idea of that group. Barry Cockcroft: Why Germany? Jean-Marie Londeix is the one who opened to a new dimension of the repertoire. 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. 【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。

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