To Discard All Images
2019 | 32'
Commissioned by Arraymusic
for flute, clarinet, percussion, piano, violin, violoncello and 5-channel playback
I. Prologue (Silence, errance)
II. A Thin Layer of a Hard Shadow
III. That Particular Gaze
IV. Stide Stroll Roam Patrol
V. Sounds Difficult to Repeat
VI. Un mauvais présage, une mauvaise augure
VIII. Parallel to the Picture Plane
IX. Epilogue (Come Back, Stay Longer)
John Max (1936-2011) was a Canadian photographer from Montreal best known for his 1972 exhibition Open Passport.
His work, celebrated at the time, has been somewhat forgotten, perhaps as a result of Max’s reluctance in later life to develop his film or to show new work. Some of his close friends estimated that at the time of his death he had upwards of 2000 rolls of undeveloped film, others suggested that for several years he had been taking photographs without any film in his camera.
To Discard All Images presents new recordings of forty-six Canadian photographers each describing one image from Open Passport. Many of these recordings are of close personal friends of Max, but just as many are of photographers who were not previously aware of his work.
The title is taken from a poem by Max which he wrote as an epigraph for Open Passport:
To discard all images
Leaving their impressions behind
Of burning hearts
And tortured souls
And soft silent tears
Smouldering . . .
Without passport . . . . . .
To Discard All Images features the voices of Raymonde April, Benoit Aquin, Robert Bean, Sylvia Grace Borda, Dianne Bos, Jim Breukelman, Annie Briard, Chris Buck, Robert Burley, Michel Campeau, Bertrand Carrière, Serge Clément, Burt Covit, Marlene Creates, Donigan Cumming, Sally Davies, William Eakin & Lulu Akhanamoya, David Evans, Evergon, Fausta Facciponte, Michael Flomen, Will Gill, Elisa Julia Gilmour, Rafael Goldchain, Terence Gower, Angela Grauerholz, Naomi Harris, Joseph Hartman, April Hickox, Clive Holden, Joshua Jensen-Nagle, Ruth Kaplan, Shelagh Keeley, Rita Leistner, Laura Letinsky, John Lucas, Shelley Niro, Deanna Pizzitelli, Normand Rajotte, Guillaume Simoneau, Edward Singer, Shin Sugino, Althea Thauberger, Christopher Wahl, Robert Walker and Carl Zimmerman.
Oh Come Now! There is a Beautiful Place!
2018 | 9'
Commissioned by Standing Wave
for alto flute, bass clarinet, percussion, piano (doubling melodica), violin and violoncello
Premiered in March 1912, Reinhold Glière’s Symphony 3 in B minor is a work of mammoth proportions. Depicting the epic tale of Kievan Rus’ folk hero Ilya Muromets, the symphony lasts upwards of eighty minutes and is scored for a large orchestra including quadruple winds and eight horns.
Oh Come Now! There is a Beautiful Place! is an arrangement of Glière’s symphony on a relatively miniature scale. The title is drawn from a painted poem by Kenneth Patchen which reads in its entirety “Oh Come Now! There is a Beautiful Place! What do you think we’re all looking out of”.
Oh Come Now! There is a Beautiful Place! was commissioned by Standing Wave as part of their 20c Remix project.
In the Flight Gallery at the Science Museum, dwarfed by the scale of the many full-sized planes hanging from the ceiling above and the vast wall of airplane engines, a life-sized statue of a lone figure stares out of a display case. The statue, made from over 400,000 pieces of Welsh slate, carefully stacked, depicts the British aeronautical engineer R. J. Mitchell. Mitchell, a prolific designer, worked for Supermarine Aviation Works for whom he designed the Sea Eagle, the Sea King, the Walrus, the Stranraer and a series of racing aircraft including the Supermarine S.6B, winner of the Schneider Trophy in 1931 and one-time holder of the world air speed record (The Supermarine S.6B is also on display in the Science Museum’s Flight Gallery).
Mitchell was most famous, however, for designing the Supermarine Spitfire, the innovative and revolutionary fighter aircraft which played such a prominent role in the Battle of Britain. Mitchell did not live to see the Spitfire play its key war-time role; Mitchell died of cancer in 1937, aged 42.
The Spitfire achieved legendary status during the war, and in 1942 The First of the Few was released, a biographical film starring Leslie Howard as R. J. Mitchell. The film told the story of the Spitfire’s development and Mitchell’s illness and death and served to further mythologize both the plane and its designer in the eyes of the public.
Leslie Howard was killed less than a year after the film’s release when BOAC Flight 777 from Lisbon to Bristol was shot down by eight German Junkers Ju 88 fighters. The attack on Flight 777 prompted numerous conspiracy theories surrounding Howard, most suggesting that he was a spy on a secret mission to liaise with Francisco Franco on behalf of Churchill. However, it was also suggested that, due to the film, German agents had mistaken Howard for R. J. Mitchell himself and had ordered the plan shot down to eliminate him.
Supermarine is written for cello, double bass and four keyboards controlling software samplers. The samples used were created from audio recordings of airplane engines. The work is a response to the meticulous and intricate construction of the Welsh-slate statue, the mythologizing aspects of the Leslie Howard film and the conspiracy theories surrounding the attack on BOAC Flight 777.
Twentieth Century Ikon
2015 | 12'
Commissioned by The Women's Musical Club of Toronto for Ensemble Made in Canada
for piano quartet
In a 2011 interview, Christopher Mayo said, “there’s a lot of intuition in my approach to composing, but it’s always instigated by some sort of interaction with a systematic conceit. It’s always a game – a way of coaxing yourself towards materials and structures that you couldn’t possibly imagine through conventional means.” The instigation for the work on today’s programme is British artist Bob Law’s “Twentieth Century Ikon” series. As the composer tells us, this “consists of nine pencil drawings all completed on August 8th 1967. The drawings each take a similar austere form—a large, roughly drawn rectangle subdivided by a “T” into 3 smaller rectangles. Over the course of these nine drawings, the proportion and orientation of these elements change, giving the impression of being snapshots of a gradually evolving process. By changing a variable as simple as where this “T” is placed within the larger rectangle, Law creates a sense of movement, progression and duration from the most minimal of materials. On the surface, my piano quartet, Twentieth Century Ikon seems aesthetically quite far removed from the resolute, hard-line minimalism of Law’s pencil drawings. However, the key similarities are there—a narrow gamut of materials manipulated in proportion and orientation to create an implied narrative, dramatic arc.
Very little perhaps nothing
2009 | 9'
Commissioned by le Nouvel Ensemble Moderne for Domaine Forget
for flute, clarinet, piano, violin and cello
Very little perhaps nothing was written for le Nouvel Ensemble Moderne for the new music course at Domaine Forget. The tile comes from the poem Known knowns by Michael Robbins.
Very little perhaps nothing
is known about boats.
I was never bitten
by a radioactive pony.
I believe we lack
a public health system
The world’s tallest freestanding smokestack
is in Sudbury, Ontario.
Lights at the top make it
scrutable to aircraft.
We’re waiting to de-fern.
— Michael Robbins
Passed the Last River
2006 | 12'
Commissioned by the Royal Philharmonic Society for Michael Collins and the Dante Quartet
for clarinet quintet
Passed the Last River was commissioned by the Royal Philharmonic Society for Michael Collins and the Dante Quartet and was first performed as part of the Cheltenham Festival, July 12, 2006. The commission was awarded as part of the 2005 RPS Young Composers Award.
Passed the Last River was inspired by the Scottish explorer Alexander Mackenzie and his crossing of the North American continent in 1792-93.
List 2; never been so easy
2006 | 6'
Commissioned by the Diesel Lounge Boys
for mandolin, banjo, guitar and double bass
List 2; never been so easy was written for the contemporary music bluegrass quartet, The Diesel Lounge Boys. It is a work about lists, goals, and self-defeatism. It is a work that is in constant denial of its own structure and which is trying to elevate itself beyond its central systematic restrictions.
2005 | 12'
Commissioned by the Elysian Quartet
for string quartet
This String Quartet was written for the Elysian Quartet and first performed as part of the Dartington International Summer School on August 26th, 2005 at The Great Hall, Dartington, UK.
The Evening-Being Device
2005 | 10'
Commissioned by Arraymusic
for bass clarinet, vibraphone, piano and double bass
The Evening-Being Device was commissioned and premiered by Arraymusic as part of their Young Composers Workshop in 2005. It is a work that is concerned with beginnings. It is also a work about starting over. The opening phrase is repeated five times and each repetition is more insistent than the previous. But there is little sense of progression; each iteration of the material feels less like development and more like going over old ground, searching for something buried deep in the music. In this way, it is a hopeful piece. It answers failure by trying again, and trying harder, but never deviates from its original plan.
In Those Apple Trees
2005 | 7'
Commissioned by the Bang on a Can Summer Music Institute
for three electric guitars and amplified dutar (or four electric guitars)
In Those Apple Trees was written for the 2005 Bang on a Can Summer Music Institute. It was first performed by Mark Stewart, Ross Lafleur, and James Moore (guitars), and Shavkat Matyakubov (dutar), on July 28, 2005 at MASS MoCA, North Adams, MA, USA.