Young, promising and ambitious. That's Kebyart, the Catalan saxophone quartet formed by Pere Méndez, Víctor Serra, Robert Seara and Daniel Miguel. Formed at ESMUC, Kebyart is reaping the rewards of the work sown since 2014, the year it was founded. Since then, it has never ceased to amaze audiences and critics alike. Jörg Widmann has said that the saxophone quartet was foreign to him, until he met Kebyart. That's quite something. As if the instrument were an extension of their bodies, these musicians reveal their talent, virtuosity and synchronism. Winners of several prizes, their brilliant careers are consolidating step by step, in Europe's finest concert halls, such as the Philharmonie de Paris on March 7.
Kebyart is passionate about chamber music. 

 

Tell me how Kebyart, this saxophone quartet, came into being. I'm intrigued.
It was born in the heart of the Escola Superior de Música de Catalunya (ESMUC). We all studied with the same teacher, Nacho Gascón, even though each of us had our own chamber music group. We were friends and wanted to play together. Kebyart was born in 2014 out of our interest in chamber music and the desire to spend more time together. Since then, even though many things have changed, the friendship and pleasure of playing remain intact. We still keep certain pillars.

And what are these pillars?
The curiosity to discover new repertoire, the desire to transcend oneself. We're a saxophone quartet, which is perhaps still a rather atypical formation today, even if it dates back to the 19th century. Our intention is to make the quartet a pioneering chamber music ensemble in the 21st century, expanding the repertoire through national and international commissions and projects.

Are you primarily interested in musical excellence?
Yes, we're looking for it, starting from tradition, because since our years at the ESMUC, we've trained with teachers who weren't specialists in our instrument. The process of putting down roots in tradition has been a gradual one. I'm referring to the time when we studied at the European Chamber Music Academy (ECMA) and met the Hagen Quartet.

What do you mean by transcendence?
We try to ensure that our shows contain a message, that they are not just a collection of pleasant or unpleasant sounds, but sounds that can explain and tell stories. And, furthermore, for the quartet to become a leading ensemble of our time.

What inspires you?
We play high-quality music whose stories have already been written. In the end, we evoke a musical discourse that moves from moments of great intensity to moments of great serenity, creating a contrast, a space for a narrative that doesn't need to be translated into images or musical stories, but is sustained by a force.  

You're a highly synchronized quartet. There's a lot of strength in that.
Yes, there is! Although, of course, technical perfection knows no bounds. We started playing at the age of eight and, after so much time spent practicing with the instrument, we end up melting into it, trying to achieve that perfection which, although never attained, is sought after, because the more you know, the more you want to know. 

What's the current state of the quartet?
We've been reaping the rewards of our efforts for seven years now. We're in a pleasant moment of internationalization, and at the same time very intense: we've been selected in the European Concert Hall Organization (ECHO), a support that has enabled us to play in some of the most important halls on the European scene, such as the Philharmonie de Paris or the Elbphilharmonie in Hamburg.

You're undoubtedly in a period of consolidation. And in Catalonia?
In a way, we're already more established. We've won prizes like the 2016 Palau Prize or the XII Monsterrat Alavedra-BBVA Chamber Music Prize, which have helped us. 

How do you see the current music scene?
We play contemporary music, but not only. We play in these circuits, such as the MIXTUR festival in Barcelona or other contemporary programs, but we play across a wide range of styles, where all interact and are compatible. When we play in cycles or festivals devoted exclusively to contemporary music, we always feel that this music can be more difficult to understand, because the public has prejudices; but we believe that if we work well and the musicians make the effort to offer the keys to understanding the works, contemporary music ends up being high-quality music that can move everyone.

How would you define Kebyart's style?
Eclectic. We play everything from baroque to neo-classical to contemporary music. What we believe in is excellence, anything that communicates and brings quality.
We trust in pieces that, although seemingly unrelated to each other, end up knitting together on the basis of an idea that connects them all. And what's more, that idea serves as a guide for the listener, enabling him or her to make additional musical bridges. A bit like going to a museum and contemplating a collection of paintings or sculptures that revolve around a theme or aesthetic. They may not evoke anything in isolation, but they do if you link them together in a common discourse.

What are your musical references?
One of our references is the Casals Quartet in Barcelona. And Jörg Widmann, a musician we admire and respect in all his artistic facets. He's not just a musician, but also a composer, a conductor and a clarinettist. He strives to be a total musician, distinguishing himself in all disciplines with great talent.

And are you inspired by the same idea?
Yes, we are saxophonists, but we make our own arrangements. We believe in a more complete vision of the musician, who is not limited to being a performer. The 19th century was the century of specialization, but long before that, many musicians of the stature of Mozart, Bach or Mendelssohn were already improvisers, composers or musicologists, artists linked to music as an art and not simply as a specialization. 

How do you approach the major concerts that await you in those famous venues you mentioned earlier?
They're impressive venues, with a lot of character, and you certainly feel a bit small. But when the music is playing and giving you strength, the environment helps. That first thrill is anecdotal.
What we want to do is create music in the most beautiful venues, and we're excited about it! We try to live it with absolute naturalness.  

And in Barcelona?
We're currently involved in a chamber music program. After that, we'll be playing a program of contemporary music in Girona. We're also collaborating on a piece for saxophone quartet and orchestra by Philip Glass, which I think will be performed for the first time in Catalonia. A very exciting program.

One last question: where does your ambition take you?
We'd like to assimilate as many styles as possible and delve deeper into all these languages. We're a saxophone quartet, but we're trying to get closer to tradition; for example, if we play Mozart (even though he didn't write for a saxophone), we could play Mozart in the style he played himself. This, yes, takes time and ambition. 

You also play Bach.
Yes, and we try to approach his style with the greatest respect, trying to bring a new light or an authentic sound, understanding his harmony. 

Interview by Txema Seglers

Upcoming concerts:
* Philharmonie de Paris, 7/03
* Palau de la Musica, Barcelona 21/03