{"id":154574,"date":"2026-03-16T10:48:51","date_gmt":"2026-03-16T14:48:51","guid":{"rendered":"https:\/\/panm360.com\/interviews-panm360\/5ilience-devinim-un-concert-sur-le-mouvement-post-semaine-du-neuf\/"},"modified":"2026-03-16T22:12:27","modified_gmt":"2026-03-17T02:12:27","slug":"5ilience-devinim-un-concert-sur-le-mouvement-post-semaine-du-neuf","status":"publish","type":"interviews","link":"https:\/\/panm360.com\/en\/interviews-panm360\/5ilience-devinim-un-concert-sur-le-mouvement-post-semaine-du-neuf\/","title":{"rendered":"5ilience | Devinim, When Sounds Move Through The Reeds"},"content":{"rendered":"\n

The 5ilience (pronounced \u201cSilience\u201d) woodwind quintet will perform \u201cDevinim\u201d this Wednesday, March 18, at Quai 5160 in Verdun\u2014a concert centered on the unique movement each piece evokes. PAN M 360 presents this interview with artistic director and saxophonist Thomas Gauthier-Lang to discuss the concert program.<\/strong><\/p>\n\n\n\n

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TICKETS AND INFO HERE<\/a><\/strong><\/p>\n\n\n\n

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PAN M 360: Hi Thomas, I\u2019m really happy to be here with you today. Could you tell me about 5ilience for someone who hasn\u2019t heard of it yet?<\/strong><\/p>\n\n\n\n

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Thomas Gauthier-Lang :<\/strong> 5ilience is a woodwind quintet\u2014the first of its kind in Quebec. Our primary focus is on performing and promoting music composed for woodwind quintets, which, although still a relatively new ensemble type, has its own distinct repertoire.<\/p>\n\n\n\n

The first reed quintet was called Calefax and was formed in the 1980s in the Netherlands. At first, they mainly performed arrangements, since there was no existing repertoire, but they launched a composition competition that still exists today, and works are now regularly composed for reed quintets; it is therefore a vibrant ensemble that is constantly evolving.<\/p>\n\n\n\n

Now, depending on where the quintet is in the world, it also finds its identity in relation to the composers it collaborates with, because this is something new and therefore closely tied to musical creation as well. That\u2019s why, as a saxophonist who plays contemporary music, I was really excited to create a project like this. Then there are two pieces in our repertoire for Wednesday\u2019s concert\u2014Devinim by Ufuk Bi\u00e7ak and Astro Errante by Abraham G\u00f3mez\u2014which were submitted to the Calefax composition competition. Since all submitted pieces are in the public domain so that other quintets can perform them, we were able to access this music thanks to the quintet\u2019s initiative.<\/p>\n\n\n\n

PAN M 360: If we take a quick look at the concert you\u2019ll be presenting on Wednesday, you\u2019ve chosen \u201cDevinim\u201d as the concert\u2019s title, which is also the name of one of the pieces in the program. What does that mean?<\/strong><\/p>\n\n\n\n

Thomas Gauthier-Lang : <\/strong>In Turkish, \u201cDevinim\u201d means \u201cmovement.\u201d I thought it was fitting to name the concert that, because the music in the program isn\u2019t exactly without themes. There are musical themes, actually, but they\u2019re much more rhythmic themes than, say, a melody. So, to refer more to movement than to an accompanied melody. To me, that made more sense.<\/p>\n\n\n\n

Then there might also be a little nod to La Semaine du Neuf, where the theme was movement, and since 5illience is also a group participating in a Vivier project, the P\u00f4le Rel\u00e8ve.<\/p>\n\n\n\n

PAN M 360: I was just about to mention \u201cSemaine du Neuf,\u201d where we had the chance to see how various ensembles interpret the theme in their own way\u2014how the movement is represented, so to speak, in your concert.<\/strong><\/p>\n\n\n\n

Thomas Gauthier-Lang :<\/strong> That\u2019s a very good question. I\u2019d say that the central theme of this concert is the way the composers approach the concept of melody. Rather than unfolding in a lyrical form, they appear as short motifs and rhythmic leitmotifs.<\/p>\n\n\n\n

PAN M 360: Let’s talk about the pieces you’ll be presenting next Wednesday.<\/strong><\/p>\n\n\n\n

Florence Tremblay \u2014 <\/strong>Gravit\u00e9s<\/em><\/strong> (2023)<\/strong><\/p>\n\n\n\n

Thomas Gauthier-Lang :<\/strong> This piece was composed for us in 2023, for our concert “Flore temporelle”. It was like a continuous concert. The goal was to stretch out time or create a sense that it was speeding up.<\/p>\n\n\n\n

In *Gravit\u00e9*, Florence focuses on creating soft forms, so to speak. There are moments when we\u2019re all very aligned\u2014there\u2019s something very vertical\u2014and at every point where we come back together, that shape emerges anew. Musically, she achieves this through lines that are constantly shifting, either upward or downward, with the instruments entering one after another.<\/p>\n\n\n\n

There is always this form in constant motion, flowing downward or upward. Then, since this piece was specifically composed for another concert, she was interested in rewriting the beginning. Because in the Flore temporelle concert, the pieces flow into one another. So she was able to go back to that piece and rewrite a beginning that would be more consistent with the context in which we were going to present Gravit\u00e9.<\/p>\n\n\n\n

Theresa Wong \u2014 <\/strong>Letters to a Friend<\/em><\/strong> (2017)<\/strong><\/p>\n\n\n\n

Thomas Gauthier-Lang :<\/strong> It\u2019s a piece that, on first listen, has something about it that I find very cheerful. But in the piece, Theresa Wong learns a poem from her best friend, who has sadly passed away. So she takes that poem and translates it into Morse code. And that Morse code is the rhythms. It is therefore performed by the woodwind quintet. So everything you hear is the Morse code version of the poem.<\/p>\n\n\n\n

Ufuk Bi\u00e7ak \u2014 <\/strong>Devinim<\/em><\/strong> (2022)<\/strong><\/p>\n\n\n\n

Thomas Gauthier-Lang :<\/strong> Devinim, there\u2019s something really funny about this score. At the beginning of *The Lord of the Rings*, I think it\u2019s Galadriel who says, \u201cI feel it in the earth,\u201d or something like that. So all the sections of the piece are named after that first kind of monologue we hear in *The Lord of the Rings*.<\/p>\n\n\n\n

But as the piece progresses, something about that text undergoes a transformation. Because the composer was interested in highlighting humanity\u2019s impact on nature. It\u2019s constantly in a state of transformation, but it\u2019s also perhaps something we take for granted and will never have again in the same way. Because we may not be taking care of it, and in terms of form, there\u2019s a continuous element. It\u2019s a subject or motif that\u2019s constantly transformed right up to the end.<\/p>\n\n\n\n

Arvo P\u00e4rt, arr Thomas Gauthier-Lang\u2014 <\/strong>Summa<\/em><\/strong> (1977,202\u20094)<\/strong><\/p>\n\n\n\n

Thomas Gauthier-Lang : <\/strong>\u201cSumma,\u201d which we also performed at the \u201cFlore temporelle\u201d concert by the Estonian composer Arvo P\u00e4rt\u2014a piece I arranged myself. In fact, I think it\u2019s fitting to include it in this program as well. For me, it further underscores this idea of something continuous. Even if we aren\u2019t actually hearing it, there\u2019s something eternal about this music to me. There\u2019s a beginning, there\u2019s an end, but it could play for ten hours.<\/p>\n\n\n\n

The composer himself explains that this is the most complex work he has ever composed. But for someone hearing it for the first time, one might say that there is actually something very simple about it, because it consists of a succession of fourths, fifths, and thirds. These are simple, consonant chords, but within his system, he considered it the most complex piece. It is stripped of artifice because it needs nothing more to exist; he takes the time to let us hear the beauty or purity of the recurrence of a fourth or a fifth for about 6\u20137 minutes of music.<\/p>\n\n\n\n

Abraham G\u00f3mez \u2014 <\/strong>Astro Errante<\/em><\/strong> (2021)<\/strong><\/p>\n\n\n\n

Thomas Gauthier-Lang : <\/strong>The play *Atro Errante* takes its title from a painting by the Spanish artist Remedios Varo, who spent part of her life in Mexico. She was a painter associated with the Surrealist movement, and in her paintings she depicted these kinds of anthropomorphic celestial bodies. These are bodies in which one can discern a human form, but depending on how they are dressed or on their head, there is something that reflects celestial bodies, something cosmic, if you will. Astro Errante is one of her paintings in which we see a body with a sun-like head that seems to be traveling through a corridor\u2014an eternal one, if you will\u2014though, of course, the interpretation is open to everyone.<\/p>\n\n\n\n

Abraham Gomez wanted to translate that painting into music. This piece leans a bit more toward \u201cprogram music,\u201d where the form adheres more closely to classical conventions. The first movement is slower, followed by a second movement that\u2019s more groovy.<\/p>\n\n\n\n

Thomas Gauthier-Lang \u2014 <\/strong>Pauline<\/em><\/strong> (2026) *Cr\u00e9ation<\/strong><\/p>\n\n\n\n

Thomas Gauthier-Lang : <\/strong>While I was composing, I knew I wanted to write a piece for 5ilience, for that concert, because I\u2019d never done it before. I had done it before, but for five melodicas, and those weren\u2019t our instruments.<\/p>\n\n\n\n

I thought the timing was right: \u201cOkay, let\u2019s go\u2014let\u2019s write a song for 5illience!\u201d<\/p>\n\n\n\n

Out of the blue, my uncle showed up to tell me he was in town to give me my inheritance from my grandparents\u2014my grandmother having passed away about fifteen years ago. So he gave me my inheritance and three violins. These violins belonged to my grandmother, whom I didn\u2019t know played.<\/p>\n\n\n\n

I went to try them out. Two of them didn\u2019t work very well. That\u2019s to be expected after sitting unused for fifteen years, but one of them actually produced a sound. It was out of tune, of course, but on the four strings, it played \u201cF G,\u201d and then, an octave higher, \u201cG F.\u201d In my music, the intervals I like best are octaves and seconds.<\/p>\n\n\n\n

I\u2019ve always found this interval to be full of possibilities. That violin, with its four frequencies, really helped me structure my piece. So my piece is structured around the sounds that my grandmother\u2019s violin made when I received it.<\/p>\n\n\n\n

The first part is in our usual style. The second part is a bit slower and more rhythmic. I\u2019m really looking forward to hearing how it sounds in the Quai\u2019s hall. In rehearsals, we\u2019re used to playing in spaces where the sound doesn\u2019t really come alive. But here at the Quai, it\u2019s quite reverberant.<\/p>\n\n\n\n

PAN M 360: One last question: you started out as a classically trained performer\u2014what led you to want to compose?<\/strong><\/p>\n\n\n\n

Thomas Gauthier-Lang : <\/strong>By trade, I\u2019m an interpreter. In my role as an interpreter, what really interests me is collaborating with people to create music. It was through these collaborations that my desire to improvise emerged.<\/p>\n\n\n\n

Many of the pieces created were based on \u201ccomprovisations,\u201d a blend of improvisation and composition. A composer might say, \u201cOkay, give me two minutes of that effect.\u201d We\u2019d record it, and eventually it would become part of the piece. From improvisation came the desire, one day, to compose. This happened especially after attending the Bang on a Can camp two years ago.<\/p>\n\n\n\n

After attending that contemporary music and collaboration workshop, I felt validated in my decision to take on the role of composer. At the same time, I don\u2019t take myself too seriously, because I see myself as still discovering my own musical language and how I want to convey it through a score or to an audience, but I\u2019m very pleased with the final result of the pieces I compose.<\/p>\n\n\n\n

I compose for my ensembles, the projects I\u2019m involved in. Until now, I\u2019ve been obsessed with the multiplicity of a single instrument\u2014whether it\u2019s four alto saxophones or five melodicas\u2014so this is the first time I\u2019ve composed for five different instruments. It\u2019s quite an interesting challenge. I know the saxophone well, but the oboe is a creature in its own right. The bassoon is a creature in its own right. It reacts differently. It\u2019s always a learning process, always a process of playing.<\/p>\n","protected":false},"excerpt":{"rendered":"

The 5ilience (pronounced \u201cSilience\u201d) woodwind quintet will perform \u201cDevinim\u201d this Wednesday, March 18, at Quai 5160 in Verdun\u2014a concert centered on the unique movement each piece evokes. PAN M 360 presents this interview with artistic director and saxophonist Thomas Gauthier-Lang to discuss the concert program. TICKETS AND INFO HERE PAN M 360: Hi Thomas, I\u2019m […]<\/p>\n","protected":false},"author":1503,"featured_media":154550,"menu_order":0,"template":"","format":"standard","meta":{"_acf_changed":false,"_crdt_document":""},"categories":[4628],"tags":[],"genre":[9772],"class_list":["post-154574","interviews","type-interviews","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews-en","genre-musique-de-creation-en"],"acf":[],"yoast_head":"\n5ilience | Devinim, When Sounds Move Through The Reeds - PAN M 360<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/panm360.com\/en\/interviews-panm360\/5ilience-devinim-un-concert-sur-le-mouvement-post-semaine-du-neuf\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"5ilience | Devinim, When Sounds Move Through The Reeds - PAN M 360\" \/>\n<meta property=\"og:description\" content=\"The 5ilience (pronounced \u201cSilience\u201d) woodwind quintet will perform \u201cDevinim\u201d this Wednesday, March 18, at Quai 5160 in Verdun\u2014a concert centered on the unique movement each piece evokes. 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