Daniel Gauthier is
the professor of classical saxophone
at the Cologne Academy of Music. With
his saxophone ensemble, the Alliage
Quartet, he has recorded a disc of arrangements
as well as a disc of miniatures for
saxophone and piano (both issued on
Dabringhaus und Grimm).
On this disc he addresses
himself to some more substantial works,
not only arrangements but some of the
few weighty classical pieces written
specifically for the instrument. The
title of the disc is Spirito Latino
but if you can get beyond this bit of
marketing-speak, you will find that
Gauthier has assembled a rather interesting
programme.
He opens with a Carmen
transcription; the Fantasie Brillante
sur des airs de Carmen. This was
written in 1900 by Francois Borne, a
composer about whom little is known.
The original, popularised by James Galway,
is for solo flute; here it has been
adapted for saxophone. The result is
a real pot-pourri, mixing and matching
themes and snatches of melody as if
Borne (or his arrangers) were determined
to be different. But all the major themes
are there and one of the arrangement’s
strengths is the way all of the familiar
melodies build up in succession towards
the end. Borne does not necessarily
present Bizet’s themes straight, there
is much variation and decoration which
gives Gauthier a chance to show off
his superb technique. I was particularly
taken with the Chanson Bohème,
where Gauthier plays an arpeggiated
variation on the tune, highlighting
the melody notes in a way which almost
has you believing that there are two
saxophone players – quite magical.
If the Carmen transcription
displays Gauthier’s easy virtuosity,
then his own arrangement of de Falla’s
Popular Spanish Songs enables him to
showcase his fine, singing tone. Though
he spins some wonderfully long lines
in these songs and produces a rich creamy
saxophone sound, I rather miss the words;
perhaps the arrangement is a little
too respectful. Still, Gauthier’s technique
is fabulous. He makes it all sound so
easy.
This is followed by
a substantial original work by Debussy.
The Rapsodie was originally written
for saxophone and orchestra. According
to the notes this version lends ‘even
greater weight to the saxophone part’,
though whether this means that Debussy’s
saxophone part has been rewritten, I’m
not sure. We definitely enter a different
musical world here. The opening section
with its haunting harmonies and nuanced
saxophone writing is reminiscent of
the twilight world of Jeux, written
three years after the Rapsodie.
The instrumental writing gradually develops
increasing brilliance and both Gauthier
and his pianist, Jang Eun Bae, show
both technical virtuosity and musicality.
They follow this with
a charming adaptation of a Bizet song,
Ouvre ton coeur. The rather Spanish
colouring enables Gauthier to give it
under its sub-title Spanish Serenade.
More real Spanish music is provided
by a surprisingly effective arrangement
of the Goyescas Intermezzo by
Granados. This makes you forget that
the original was intended for different
forces entirely.
Another work written
specifically for saxophone is Bal
pour Baptiste by the French composer
Christian Guilloneau. The Baptiste in
question is his young son and the two
movements are based on two of the dances
popular at French folk balls. The first
is a jazz-influenced slow number and
the second an infectious tango; a thoroughly
entertaining, if undemanding work. Something
of more substance is Milhaud’s early
Scaramouche. Though ostensibly
light-hearted and audience pleasing,
Milhaud’s melodic gifts hint at deeper
feelings, particularly in the melancholy
middle movement. Gauthier’s performance
is nicely judged and if you don’t already
have this infectious piece I can thoroughly
recommend you buy this disc to get it.
Finally, Gauthier and
Bae finish with another contemporary
item, by the Ukrainian Vadim Neselovskyi.
Though classically trained, Neselovskyi
now works exclusively as a jazz performer.
San Felio is inspired by the
composer’s summer stay in the Italian
town of the same name. It is an effective
piece, very much in the spirit of John
Adams. How you appreciate it will depend
on how you react to music written in
Adams-esque style.
This is an imaginative
and well thought out programme, enabling
us to savour Gauthier’s technique and
to hear some of the few pieces written
for solo saxophone. It makes for charming
and sometimes thoughtful listening.
Robert Hugill
Daniel Gauthier (saxophone) 
