INTERVIEW WITH TOMÁS ALONSO

One of the most important people in the early years of Lítore was undoubtedly Tomás Alonso. Back then, between 2019 and 2021, we were incredibly fortunate to learn from this young musician, pedagogue, and conductor from Valladares (Vigo, Galicia). With a training trajectory very similar to ours, Tomás has been a clear reference for us, and he has always supported us in one way or another.

Today, we bring you an interview we did with Tomás after our experience as teachers and guest artists at the festival he directs and organizes every year: the Vigo Sax Forum. We hope you enjoy it!

1. Your musical education has been very diverse and has led you to learn from other cultures and ways of conceiving art. Like us, you grew up in your hometown, then studied a higher degree in Mallorca, and finally completed your master's studies abroad. Tell us about some of the lessons, people, or experiences that marked a turning point in your career during these three stages.

   
   

When I look back, I feel that each stage has left a different mark on me. In my hometown, I learned the root, the essential: music as something alive, close, that comes from the community. There, I was lucky to meet my first teacher at the music school of the Unión Musical de Valladares, Álvaro Iglesias, who inspired me with his humility and the self-discipline with which he lived music. This foundation of listening and commitment is still at the core of what I do today.

In Mallorca, during the higher degree, a new world opened up. My teacher Rodrigo Vila was key to my development, both for the way he guided me and for the rigor and depth he conveyed to me. Meeting so many great teachers who passed through the conservatory allowed me to enrich myself technically and musically in ways I had never experienced before. And beyond academics, living with classmates from all over Spain left me with fun and unforgettable memories.

In the master's program in Finland, working with Joonatan Rautiola and the rest of the excellent faculty I was lucky to encounter took me to a whole new level of artistic and personal demands. Their teachings forced me to rethink the way I play and to explore new ways of communicating. Also, living immersed in Finnish culture, so different from the one I knew, evolved my perception of music and life. The calm, the connection to nature, and the slower pace of life definitely allowed me to recognize and value my personal voice.

2. At the Conservatori Superior de les Illes Balears, you were our teacher for two years. We all remember you as a close, charismatic, and effective pedagogue. Currently, pedagogy is your main professional activity as a teacher at the Conservatorio Profesional de Música de Valladares. What do you enjoy most about pedagogy? What key concepts or ideas do you try to transmit to your students?

   
   

Over the years, I've learned that all students are looking for the same thing: to enjoy and be happy with music. From my perspective, this comes from understanding our own strengths, accepting our weaknesses, and above all, learning to love ourselves and trust in what we can achieve. On the other hand, it also comes from our relationships with others: being kind, respecting our peers, and understanding that richness lies in differences, not in competition.

In addition to these values, I consider technique and discipline to be essential. They are the tools that allow you to express yourself freely and make reality what you desire through music. I love watching how each student grows, not just as a musician but as a person, gaining confidence, security, and their own way of playing. For me, being able to accompany them on that journey is what makes pedagogy so rewarding.

3. Besides pedagogy, your interpretive identity has been reflected in projects such as your album Vieiros, in which you recorded works from the contemporary saxophone repertoire. Tell us what this project has meant for your career. Will you record another album in the future?

   
   

The Vieiros project has been very important in my career, and I learned a lot from making it. All the works on the album are based on different cultures from various parts of the world, so I had to dive deeply into each of them and learn to value and respect them in my interpretation. This process allowed me not only to grow as an interpreter but also to broaden my understanding of music and cultural diversity.

A project that excites me a lot is the Poulenc Trio, formed by María García on bassoon, Berta Fresco on piano, and myself on soprano saxophone. With them, everything works very naturally and fluidly, and I would like to capture that chemistry and energy we have when we play together in a recording. I’d like to take this project into the studio in the near future.

4. During our time in Mallorca, you also conducted the Mallorca Saxophone Orchestra, of which Lítore was a part. Currently, you conduct the Banda de Música de Arbo and the MiSXtura saxophone ensemble. What does conducting mean in your professional and artistic life?

   
   

Conducting the Mallorca Saxophone Orchestra, the Banda de Música de Arbo, and the MiSXtura ensemble has taught me that each group has its own identity and requires a different approach. This diversity forces me to adapt, to listen carefully, and always seek the best way for each musician to contribute their best to the ensemble. Also, I greatly enjoy the creative aspect: exploring repertoires, proposing projects, and seeing how ideas come to life in the group. Conducting also represents constant learning for me because it requires me to improve as a musician and communicator, manage group dynamics, and find a balance between demand and motivation.

5. We have great memories from our time in Mallorca as students and of all the projects we did with you. How do you remember this stage of your life? What were Sira, Miquel, Hugo, and Jaime like back in 2019?

   
   

I remember that period with great affection because it was a time of personal and professional growth. It was an intense period that allowed me to consolidate my way of understanding teaching and discover the value of accompanying the student from closeness and rigor. For me, it was an opportunity to put into practice what I had learned, face new challenges, and strengthen my own style as a teacher.

Sira, Miquel, Hugo, and Jaime were young saxophonists full of curiosity, enthusiasm, and with contagious energy. Each of you had your own way of contributing, and that diversity was what made the group dynamic so special. From my perspective, what was valuable was not just the result of the projects, but the process and the way you all got involved. That experience marked me, and it’s still a very vivid and positive memory.

6. Define the current Lítore Quartet in three words. 

   Talent, Character, and Professionalism.

7. Recently, in July, we had the privilege of being part of the sixth edition of the Vigo Sax Forum, which you have organized since 2019 in Valladares. We believe this project is of great educational and cultural value, and it creates a space where generations of saxophonists come together for a few days to share their experiences, learn from each other, and enjoy our small but wonderful community. What made you decide to organize a saxophone course in your hometown?

   
   

The idea of creating a saxophone festival and course in my hometown came from a mixture of personal motivation and commitment to my environment. On the one hand, I wanted to offer young saxophonists a meeting space where they could learn, share, and grow together, beyond the usual classes. On the other hand, it seemed important to give back to Valladares part of what I received in the early stages of my education: the opportunity to experience quality musical moments without having to travel far.

From the start, I was clear that I didn’t want it to just be a technical course, but a space for coexistence, generational exchange, and community, as well as offering Valladares and Vigo a concert program with artists of great trajectory.

For me, the VigoSaxForum is a place where musicians of different ages, backgrounds, and realities can come together, and where we all learn from each other. That was, and still is, the main reason I decided to start it.

8. The Vigo Sax Forum is already an international event, bringing artists, pedagogues, and students from various countries to Galicia. Without a doubt, your work makes it possible for the level of saxophone to continue growing in Galicia and for local students to have access to renowned experts. Where would you like to see the Vigo Sax Forum go in the future? What would you like to stay the same, and what could improve?

   
   

My goal for the VigoSaxForum is for it to keep growing, but always maintaining its close and family-like spirit. I would like it to continue being a place where younger players can learn from renowned artists, but also where professionals can exchange ideas and experiences, generating a constant dialogue that enriches the entire community.

As I mentioned earlier, in addition to a training course, the Vigo Sax Forum functions as a festival that offers a varied concert program. This allows participants and the audience to enjoy live music, discover different styles, and connect with the creativity of the invited artists. I think this combination of learning and live musical experience is one of the aspects that makes the project truly special.

Looking ahead, I’d like to establish the festival as an international meeting point, expanding the diversity of styles and workshops, and incorporating collaborative projects that involve different generations of saxophonists. I also want to continue strengthening the interaction between participants and artists, so that learning and inspiration continue beyond the days of the course and festival, making the VigoSaxForum a lively, dynamic space in constant evolution.

9. As has been evident throughout this interview, you are a very active professional and promoter of educational and cultural initiatives. What other professional goals or dreams would you like to achieve in the future?

   
   

I believe I am already living a dream: dedicating myself passionately to what I love, working alongside great musicians and people, and having the opportunity to play, create, and enjoy music in projects that constantly challenge and enrich me.

For me, the most important thing is to keep learning, sharing, and bringing the best of myself to each project.

Thank you so much, Tomás. See you soon!