Page 1

CHRISTOPHER MAYO

TO DISCARD ALL IMAGES FULL SCORE


INSTRUMENTATION Flute Clarinet Percussion

3 Sets of Clock Chime Rods Bass Drum

(sounding pitch)

œ ?

œ #œ

œ œ œ

œ œ œ

œ

œ

œ

œ #œ Clock Chime Rods

/ œ

œ

œ

œ

œ

œ

œ

œ

Piano Violin Cello 5-Channel Audio Playback

Duration: approx. 32"


Notes for Performance

I’m struck by the expression on the woman’s face, she looks so young.

Cue starts with beginning of boxed text.

I’m struck by the expression on the woman’s face, she looks so young.

Cue starts with ending of boxed text.

I

I I’m struck by the expression on the woman’s face, she looks so young.

Cue starts after beginning of boxed text.

I’m struck by the expression on the woman’s face, she looks so young.

Cue starts after ending of boxed text.

L

L

Belfast

Glasgow

London

#œ Sustained pitch stops and starts abruptly around the boxed text


To Discard All Images

Christopher Mayo

I. Prologue (Silence, errance) Flute

Clarinet in Bb

° &

¢&

Percussion

/

& Piano

?

{ I. Prologue (Silence, errance)

° Violin &

? Violoncello

¢

Serge Clément

°/

La photo inaugurale...

de la série,

de la séquance,

du livre.

6

6

6

6

[0:00]

[0:20.5]

[0:34.5]

[0:49]

Playback Noise

6 ¢/


2

Cette image

(S. Clément)

°/ 6 [1:03]

(Noise)

qui marche derrière un chien.

où l'on voir un enfant

Où il y a

d'abord

6

6

6

6

[1:09.5]

[1:16]

[1:24.5]

[1:32]

¢/

= un grand complicité, un niveau d'intimité entre

(S. Clément)

°/ 6 [1:39]

(Noise)

l'enfant et le chien.

Mais il y a aussi toutes sortes de...d'autres lectures. Il y a entre autres

le regard paternel, le regard du

de celui qui fait la photo, le regard de John qui regard son fils.

Il y a un lien d'intimité.

6

6

6

6

6

[1:46]

[1:50.5]

[2:00]

[2:06]

[2:12]

¢/

=

(S. Clément)

(Noise)

°/

un espace, il y a un lieux d'errance pour celui qui regard l'image.

Le lieux est indéfini.

Pi,

aussi, il y a du silence.

6

6

6

6

6

[2:21.5]

[2:27]

[2:35.5]

[2:42]

[2:49.5]

Il y a

Le lieux

6 [2:49.5]

¢/

=

(S. Clément)

(Noise)

°/

En quelques mots,

est

dans notre quotidien.

ouverture, enfance, proximité, rencontres,

6

6

6

6

6

[3:05]

[3:10]

[3:17.5]

[3:24.5]

[3:32]

expérience métaphysique.

¢/

= La photographie de John

(S. Clément)

°/ 6 [3:39.5]

(Noise)

une expérience métaphysique

Le regard de l'enfant envers le chien, blanc tacheté de noir.

6

6

6

[3:46]

[3:53.5]

[4:07.5]

c'est d'abord un rapport au monde, une expérience...

¢/

= Shin Sugino

(S. Clément)

(Noise)

°/

¢/

Image emblématique de ce que

le projet nous propose.

Silence, errance,

John Max.

Well, I don't know. I mean, just ask me.

6

6

6

6

6

[4:21.5]

[4:28]

[4:42.5]

[4:50]

[5:02.5]


3

II. A Thin Layer of a Hard Shadow

° Fl. &

Cl.

¢& Well, I don't know. I mean, just ask me.

I q = 72 Independently w/ dowling or mallet shaft, accross all 5 rods, freely shifting strike point to bring out different sounds

Clock Chime Rods Perc.

/

4 I¡ 4œ œ ¡

Œ œ ¡ Œ

œ ¡ Œ œ Ó

¡ œ Ó

¡ Œ

™ œ ¡ Œ œ í™Ó

¡ Œ

Œ œ ¡ Œ

F w/ mallet

p +/-

& Pno.

?

{ II. A Thin Layer of a Hard Shadow

° Vln. &

? Vc.

¢

Guillaume Simoneau Shelagh Keeley Mon nom est Guillaume Simoneau et, uh, voici mon commentaire sur un des photos du…uh...du photographe John Max du livre "Passeport Infini" pour le projet de musique de Christopher Mayo sur Arraymusic

And you want, like, one photo, right? Okay, I like, that. Okay.

6

6

[5:11]

[5:27]

° / Dianne Bos Edward Lyon Singer For Christopher Mayo, the John Max project. 14th December, 2018

Yeah, I thought you were going to pick—you pick one

6

6

[5:20.5]

[5:30]

/ Evergon

Rafael Goldchain

I'll let you take this because then you have who to send it to. Okay, this is um, ah, an interview for...a quickie, for Christopher Mayo

Talking about an image by John Max

6

6

[5:04.5]

[5:25]

¢/


4

I wonder why he sent me this.

Ha, another bad chapter in human relations.

I multiphonic

° Fl. &

L œœ ~ mf abrupt cutoff

ppp ZX sDF | HJL.;?'

Ha, another bad chapter in human relations.

L I

multiphonic Cl.

#œ µ œœ

¢&

ppp

mf abrupt cutoff

Ha, another bad chapter in human relations.

…I

(repeat if necessary)

/ Œ

Perc.

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œ Œ Œ ¡

Œ

œ Ó ¡

Œ

™î œ Œ ¡ œ™

Ó

abrupt cutoff

& Pno.

?

{ Ha, another bad chapter in human relations.

Oh, or should I do the other one? Ugh...

I L œ ° Vln. & mf abrupt cutoff

ppp

I wonder why he sent me this.

Ha, another bad chapter in human relations.

I L œ ? Vc.

¢ ppp

mf

Ruth Kaplan

Donigan Cumming

But, I mean, doesn't mean there's that much, you know, there's that much to actually say about it. I mean, I love this one. Does anyone talk about that one? Ok. I'm assuming...Ok, is it on?

I wonder why he sent me this.

abrupt cutoff

Ha, another bad chapter in human relations.

° 6

6

6

[5:34]

[5:44]

[5:48]

/

and then I'll pick one, how 'bout that? Alright, 'cause then I'll have the, 'cause I'll have the surprise element.

(D. Bos)

/ Naomi Harris Oh, or should I do the other one? Ugh...

I don't know. You can use my bag if you want to.

Actually, I think I'm going to do the other one. Where was it? Yeah, it's the

6

6

6

[5:40.5]

[5:45.5]

[5:52]

¢/


5

Fl.

Cl.

° &

¢&

Yeah, it's the next page. Yeah.

Perc.

q = 72 Independently

4L 4œ ¡

/

œ ¡

Ó ¡

Œ

Œ

œ ¡

Ó

Ó ¡

œ

¡

Œ

œ

p +/q = 72 Independently So, my first reaction when you sent me...

#œ nœ n œ nœ bœ

L #œ

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& 3 3 3

l.v. sempre Pno.

œ 3 3

œœ ?

#œ #œ

#œ nœ

{

nœ pp

mp

P

Um, can you choose anything else? Yeah. Yeah, it's the next page. Yeah.

rearticulate using improvised/imitative speech rhythms

I

3"

L #œ with very slight pitch deviations

° Vln. &

p +/-

o So, my first reaction when you sent me...

rearticulate using improvised/imitative speech rhythms with very slight pitch deviations

L #œ

? Vc.

¢ p +/-

Shin Sugino Funny thing is that I have least information about this one, you know? Um, can you choose anything else? Yeah.

° 6 / [6:01.5]

Rita Leistner So, my first reaction when you sent me a number of photographs to pick from,and I was sitting with a friend when I opened the photograph on my phone, and I said

6 / [6:08]

next page. Yeah.

6Mmm hm hm hmmmm (N. Harris)

¢/ [6:07]


6

Oh we already are. Ha-ha-ha... Yeah.

3"

L œ Fl.

° &

O O p

f

p

but I'm gonna go with

Ÿ~~~~~ L Cl.

¢&

œ µœ (trill register key w/ R.H.)

Œ œ

/ œ ¡

Perc.

6"

Ó

Œ

Œ

Œ

Oh, are we recording now?

L

œ ‚

Œ œ Œ ‚

pp

œ Œ

Œ ‚

nœ bœnœ nœ #œ

#œ & Pno.

œ ?

{

nœ œ

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ppp

Oh, are we recording now?

speech rhythm

L œ

° Vln. &

p +/-

Yeah, um

Ÿ~~~~ L œ~ ?

6"

Vc.

¢ p

f

p

"well, not this one," because I'm not interested in nudes, it's just not my thing.

° (R. Leistner)

/

I think...

6 (N. Harris)

Oh, are we recording now? Oh we already are. Ha-ha-ha...

Yeah, um, I'm having a hard time between the two because they're so remarkably, different, but I'm gonna go with this photo of the woman who is

6

6

¢/ [6:19.5]

[6:22.5]

[6:25]


7

um, where her buttocks would meet her legs,

2.5"

L œ ° Fl. &

O O p

Cl.

5"

#œ #O #O f

¢& œ p pp

/ Œ

Perc.

œ Ó

Œ

Ó

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Œ ‚

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Œ

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appearing to be pointing

L

œ #œœ

& 3

œœ™™ 3

Pno.

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#œœ

{ pp

œ

° Vln. &

there's this, um, anonymity

I

Ÿ~~~~ L ~~ ? Vc.

¢ p

appearing to be pointing to something on her back, and

(N. Harris)

° 6 ¢/ [6:35]

I don't know I love cropped it just before the curve um, where her buttocks and that there's this, anonymity to who the framing of it. I of would meet her legs, um, this person is love that he

6 [6:39.5]

6 [6:42.5]

6 [6:46.5]

6 [6:50]

6 [6:53]


8

° Fl. & p

It's a portrait of this woman that is not...

Ÿœ~~~

6"

L Cl.

¢&

œ Bœ (trill register key w/ R.H.)

Perc.

Œ ¡

/

Ó

œ ¡

Ó

p pp

pp

Ó ¡

Ó

œ Œ

œ

Œ ¡

Œ œ

It's a portrait of this woman that...

#œ L nœ œ bœ nœ

œ

& 3 3

3

Pno.

œ

3 3

#œ œ ?

{

nœ œ

#œ nœ

pp

mp

œ Vln.

° &

It's a portrait of this woman that...

6"

O

speech rhythm

L #œ

? Vc.

¢ p +/-

It's a portrait of this woman that is not about her being objectified.

It seems more coincidental that she's naked.

And partly it,

6

6

6

° (R. Leistner)

/ [7:01]

as well as, um,

(N. Harris)

[7:06]

[7:10]

even her age and whatnot because she's photographer Um... from behind.

There's also something kind of retro about her brassiere strap versus what they would look like

6

6

6

¢/ [6:57]

[7:02.5]

[7:05.5]


9

and, I don't know, all of these

10"

L œ ° Fl. & O O p

Cl.

f

p

¢&

Ó Perc.

Œ

Œ

Œ

Ó

Œ

Œ

/ ‚

œ

œ

œ

And partly it, it's the pose...

L #œ œ &

œ

œ #œ

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3 3 3

Pno.

œœ œ™ œ

?

{

œ œ™

pp

œ Vln.

° &

?

Vc.

¢

it's the pose, it's the way she's looking

directly into the camera into John

Max's eyes, through the lens,

and this is something that's striking about many of his portraits, but I really feel in

6

6

6

° (R. Leistner)

/ [7:15]

today

(N. Harris)

[7:18]

[7:20.5]

and, I don't know, all of these elements are just really appealing to me.

I think also just this gesture, it's more like, she's not rubbing her back, so if she does have a sore back or something like that,

6

6

¢/ [7:12.5]

[7:18]


10

It's a discussion she's having with him. A sensual,

Fl.

° &

3"

rearticulate using improvised/imitative speech rhythms with slight pitch deviation

L œ

L #œ O O p +/p

f

p

almost confrontational, a little bit.

Cl.

~~~~~ L Ÿœ #œ (trill top R.H. œ

¢&

6"

p side key)

∑ Perc.

Œ

Ó

Ó

pp

Œ ‚

/ œ

pp

Œ œ ‚

Œ

œ Œ Œ ‚

#œ A sensual,

nœ bœ œ nœ

#>œ L

œ

& Pno.

œ #œ œ nœ œ

?

{

#œ nœ

p

ppp

œ Vln.

° &

? #œ Vc.

¢

Joshua Jensen-Nagle

°/

A sensual,

quiet moment between

6

6lovers

[7:26]

this one that she has this,

(R. Leistner)

[7:32]

this agency

in the photograph and it's

almost confrontational, a little bit.

It's a discussion she's having with him. A mood, a moment she's having with him

that she could

6

6

6

6

6

/ [7:26.5]

it's almost as though she's saying

[7:31.5]

"Come here, I've moved my hair. I've pulled it aside, I want you to kiss me right here on this spot."

6 (N. Harris)

[7:28.5]

[7:34]

And that's what I'm gonna

6

[7:41]

I'm, I'm gonna use a lover that as my beckoning imagination, that this is

6

6

the photographer

6

¢/ [7:27]

[7:33]

[7:35]

[7:38]

[7:40.5]


11

Fl.

° &

rearticulate using improvised/imitative speech rhythms with slight pitch deviations

The image is a confrontation

L Cl.

¢& œ p +/-

/ œ Œ

Perc.

Ó

Œ

Ó ¡

œ Œ

Œ

Ó ¡

¡ œ

This head and shoulders portrait

#>œ

L #œ œ bœ œ nœ

The image is a confrontation

œœ

œ L

œ œ

#œ bœ

& 3 3

3

3

Pno. 3 3

œ nœ œ

?

{

3 3

œ

œ

3

#œ œœ

3

#œ œ #œ nœ

pp mf pp

This head and shoulders portrait

mp

(speech rhythm)

L #œ œ Vln.

° &

so that the nudity becomes, uh, tangential

3"

L ?

Vc.

¢ o

Jim Breukelman This head and shoulders of a woman is simple and direct but somehow it feels portrait profound.

°/

6 [7:43]

6 [7:45]

be wearing clothes or not wearing clothes. It, it actually, uh, surpasses her nudity,

It holds my attention even when I'm no longer looking at it.

Yes, she's beautiful, however this is not

6

6

[7:49]

[7:52.5]

so that the nudity becomes, uh, tangential

6 (R. Leistner)

/ [7:48]

Deanna Pizzitelli or the audience.

(N. Harris)

The image is a confrontation

It's the almost failed stare of a woman who

6

6

¢/ [7:50.5]

[7:53]


12

A raw image in which the figure is,

2.5"

5"

L œ ° Fl. &

O O

#O

#O

p

f A raw image in which the figure is, at the same time, quiet and in conversation

3"

I Cl.

¢& œ

o

Ó Perc.

Œ

Ó ¡

/ œ

Ó

Œ ¡

œ

This photograph of a woman invites me...

nœ œ œ bœ L

œ #œ

& Pno.

œ œ >œ

?

{

#œ #œ nœ nœ mp

pp

Vln.

° &

This photograph of a woman invites me...

speech rhythm

L œ ? Vc.

¢ p +/-

the reason why this image is so fascinating and perhaps even a bit unsettling for me.

(J. Breukelman)

Max has recognized and monumentalizedthis wonderful, intense moment and rendered it unforgetable.

°/

6 [8:00.5]

Fausta Facciponte This photograph of a woman invites me to project myself onto it.

And I see

6

6

/ [8:03]

watches you from inside the frame.

(D. Pizzitelli)

This dark light, the deep blacks.

A raw image in which the figure is, at the same time, quiet and in conversation

6

6

¢/ [7:57.5]

[8:00]

[8:07.5]


13

° Fl. & p

Cl.

¢&

ΠPerc.

Œ

Œ

Œ

Œ

Ó

Œ

Ó

/ ‚

œ

œ

œ

& Pno.

?

{ #œ

Vln.

° &

?œ Vc.

¢

(J. Breukelman)

°/

What could she be thinking as she stares back at Max, or me, or anyone else who looks at this picture?

Her liquid, unfathomable gaze is neither judgmental, provocative, or disengaged.

Rather, one feels that her mind is focused.

She is listening intently,

6

6

6

6

[8:08]

myself in her.

(F. Facciponte)

[8:14.5]

[8:20]

[8:23.5]

The way I close my eyes and step into a silent and safe I see myself place.

in the way she seals her lips and holds secrets under her tongue.

And I see myself in the way she hides under a thin layer

6

6

6

6

/ [8:09.5]

¢/

[8:15.5]

[8:17]

[8:21.5]


14

a thin layer of a hard shadow.

10"

L œ ° Fl. & O O p

f p

What did I do?

speech rhythm

L Cl.

¢& œ p +/-

/ Œ œ

Perc.

Œ

Œ

Œ

Ó ‚

œ

Œ œ

Ó

Œ ¡

Œ œ Œ ¡

#œ What did I do?

nœ œ œ bœ L

œ #œ

& Pno. 3

3

3

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3

#œ œ ?

{

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pp

mf

looking at you, wondering, and weighing it all.

3"

L #œ

Vln.

° & o a thin layer of a hard shadow.

His woman perhaps?

3"

L #Ÿœ~~~O L

6"

Vc.

¢ o p

f

looking at you, wondering, and weighing it all.

°/ (J. Breukelman)

of a hard shadow.

(F. Facciponte)

/

John Lucas

¢/

What did I do?

Am I the offender deserving to be chastised?

Had I made unwelcome eye contact with the woman behind?

His woman perhaps?

6 6

6

6

6

[8:26]

6 [8:27.5]

6 [8:31]

6 [8:35]

Did I push ahead of him in a Or invade his space with concert ticket line?

6 6 [8:36.5]

6 6 [8:40]


15

Photographing people must be the most

speech rhythm

L Fl.

° &

#œ p +/-

Cl.

¢& œ

/ Ó

Perc.

Œ

Ó ¡

Œ

œ Œ

œ

Photographing people must be the most

œœ L

Ó

Œ ¡

Ó

Œ

Œ ¡

œ

#œ œ

œ #œ bœ & #œ Pno.

œ 7 7

?

{

nœ œ

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ppp

and you can get a violent response

° Vln. &

q = 84 Independently strike with bow hair, at the tip

L knœœœœœœœœœœœœœœ œœ œœœœœœœœœœœœ ff

?

p

Vc.

¢ p

°/

Chris Buck and you can get a violent response

Photographing people must be the most dangerous type of photography

6

6

or be socially outcast.

There is a

6

6

/ [8:42]

[8:51]

If there was an offender it was probably the photographer a lens?

who did what photographers do:

6 (J. Lucas)

¢/

6 [8:43.5]

snatch a moment and move on,

6 6 [8:47]

[8:53.5]

likely, in this case, with alacrity.

6 6 [8:49.5]

[8:58]

But the dark, shaded eyes threaten me.

6 6 [8:52]

6 6 [8:55]


16

There is a social bravery in taking photographs of other people.

3"

° Fl. & #œ I

o

John Max contrived, rather successfully, to cast me as the proxy for a moment of agression directed at himself.

3"

I Cl.

¢& œ o

/ Ó

Perc.

Œ œ

Œ ‚

Œ œ

There is a social bravery in taking photographs

Œ ‚

Ó

œ Œ Ó

She, um, stares at some point in a...

L L

Œ œ ‚

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bœ nœ

#œ & ##œœ 3 3 3 3

Pno. 3

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3

?

{

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mf

pp

She, um, stares at some point in a...

speech rhythm

Vln.

° &

L œ p +/-

John Max contrived, rather successfully

Ÿ~~~ L œ~

6"

? Vc.

¢ p

f

p

Angela Grauerholz social bravery in taking photographs of other people.

(C. Buck)

°/

She, um, stares at some point in a kind of determined way.

Uh, her mouth is also, it's not necessarily clenched but it's,

6

6

[9:04]

John Max contrived, rather successfully, to cast me as the proxy for a moment of agression directed at himself.

6 (J. Lucas)

¢/

6 [8:59.5]

[9:11.5]


17

clenched but it's,

It's a portrait of a young woman,

3" speech rhythm

Lœ ° O Fl. & O

L œ p +/-

Cl.

¢&

/ Œ œ Ó

Perc.

Ó

Œ ‚

Ó

Œ

Œ ¡

Ó

œ

It's a portrait of a young woman,

Œ œ Œ ¡

Ó

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L >œ œ œ

bœ nœ

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{

nœ œ

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Vln.

ppp

° œ &

photographed very close up.

I Ÿ~~~~ ~ ~ L

6"

p

f

? Vc.

¢ p

um, it...it shows a kind of determination.

(A. Grauerholz)

°/

She's wearing a very strange, funny hat that always kind of amused me and at the same time, um, made me sad.

The look on her face made...makes me sad and...

and, uh, intrigues me. I...I really have a hard

6

6

6

[9:19]

[9:28]

[9:31.5]

Rafael Goldchain It's a portrait of a young woman,

wearing an interesting shaped hat,

photographed very close up.

and the shape that the woman's head and the hat make together is quite sculptural.

6

6

6

6

¢/ [9:20.5]

[9:23.5]

[9:26.5]

[9:29]


18

œ Fl.

° &

The woman appears to be,

Ÿ~~~~ U L ¢& œ µœ (register key)

6"

Cl.

p pp

pp

∑ Perc.

¡ œ Ó

/

Ó

‚ Œ

Œ œ Ó

Ó

‚ Œ

Œ

œ Ó

...quite sculptural. The woman...

L

œ #œœ œœ™™

& 3 3

Pno.

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#œœ

{ pp

Vln.

° œ &

she has a pronounced dimple on her chin.

Ÿ~~~ L #œ ~

?

6"

Vc.

¢ f p

time to really, um, read the emotion of the sitter.

Um...

and I think that's probably why I really like it. It, uh, it's that ambiguiety of uh...

um, what her face really wants to tell us.

What John saw in the photograph when he

6

6

6

6

° (A. Grauerholz)

/ [9:40.5]

The woman appears to be, um, abstracted in thought, looking somewhere beyond the camera and below the lens.

(R. Goldchain)

¢/ 6 [9:35]

[9:43]

[9:49]

[9:54.5]

Her, um,

features are quite striking. Uh, she has, uh, full lips, and, uh,

she has a pronounced dimple on her chin.

Her nose is, uh, straight and definitive,

6

6

6

6

[9:44]

[9:46]

[9:52]

[9:55]


19

œ Fl.

° &

Um, the hat is quite eccentric in...in it's shape,

6"

L U œ

L Cl.

¢&

It looks so familiar.

I think I was in this photo before.

Ÿ~~~ Uœ

speech rhythm

I

œ (register key)

p +/p

pp

pp

/ ‚ œ Ó

Perc.

¡ Œ Ó

Œ œ Ó ¡

Œ Œ œ ¡ Œ Œ

œ Ó

Œ ‚

‚ Ó

œ

I think I was in this photo before.

nœ > bœ nœ nœ

œ L œ #œ &

3 3

3 3

Pno.

œ

3

#œ œ ?

nœ œ

{

œ pp

mf

reproduce it in the, in the, uh, book.

3"

I

° œ Vln. &

o

Greek, uh, fisherman's hat.

Ÿ~~~~~ ~ L œ ?

Vc.

¢ p p

Sally Davies chose it to, uh, reproduce it in the, in the, uh, book.

I think I was in this photo before.

It looks so familiar.

6

6

° (A. Grauerholz)

/ [10:13.5]

quite beautiful, actually, and her eyes are dark

(R. Goldchain)

[10:19]

and intense her eyebrows have been sculpted.

Um, the hat is quite eccentric in... in it's shape, and, um,

with a flat top and almost like, um, a rounded corners,

Greek, uh, fisherman's hat.

The, uh,

6

6

6

6

6

6

¢/ [10:01.5]

[10:05]

[10:10]

[10:13]

[10:16.5]

[10:20]


20

œ

° Fl. &

3"

œ Cl.

¢& o

/ Ó

Perc.

Œ œ

í ™™ ¡

I am looking at the grainy black and white photo of John Max.

œ Œ

Ó

œ Œ

Œ ¡

œ Œ

#œ nœ bœnœ nœ

œ L #œ & 7

Pno.

œ #œ ?

{

nœ œ

œ7 œ

mp

ppp

I am looking at the grainy black and white photo of John Max.

speech rhythm

Vln.

L

° &

#œ p +/-

6"

?œ Vc.

¢ f

p

Shelley Niro 1 I am looking at the grainy black and white photo of John Max.

This is the one where a woman is walking down a hall in a building with nothing around her.

She is wearing a big floppy hat

6

6

° 6 / [10:25]

[10:30]

[10:36]

Shelley Niro 2 I am looking at the grainy black and white photo of John Max.

This is the one where a woman is walking down a hall in a building with nothing around her.

She is wearing a big floppy hat

6

6

6

/ [10:28]

assemblage, the woman and the hat are...are, she's posed against a backdrop which is quite close behind her,

(R. Goldchain)

[10:32]

[10:36.5]

and the light coming from the model's left,

uh, casts a shadow on that background, on her right,

and, um,

6

6

6

¢/ [10:29]

[10:32.5]

[10:36.5]


21

while the left of her face... side of her face is quite brightly lit.

Her face is hidden

2.5"

3"

I

5"

L œ

° œ Fl. &

O O

#O #O

p

f

o p

with a scarf on it.

Cl.

~~~~~~~ L Ÿœ #œ œ

¢&

6"

p

pp

pp

(top R.H. side key)

(repeat if necessary)

∑ Perc.

/ ‚

Œ œ

Œ

Œ ¡

Ó

Œ

Ó

Ó

Œ

Ó

œ

™î œ Œ ™

I don't know where I am or when this was taken.

L#œ œ

œ #œ

œœ

& 3

3 3

Pno.

œœ œ™ œ œ™

?

{

œ

pp

Vln.

° & #œ The photo makes me feel like I'm in a dream.

I

Ÿ~~~~~~~ L ~~

6"

? Vc.

¢ p

with a scarf on it.

She's also wearing a white dress, maybe it's a wedding dress.

f

p

The photo makes me I don't know where I am or feel like I'm in a dream. when this was taken.

Her face is hidden and her black hair sticks out from underneath the hat.

I want her turn...I want her to turn towards me so I can see her face.

6

6

° 6 (S. Niro 1)

[10:39.5]

with a scarf on it.

(S. Niro 2)

6

6

/ [10:43]

[10:46.5]

[10:55]

She's also wearing a white dress, maybe it's a wedding dress.

The photo I don't know where I am or makes me feel when this was taken. like I'm in a dream.

Her face is hidden and her black hair sticks out from underneath the hat.

I want her to turn around towards me so I can see her face to see if she is happy.

6

6

6

6

6

/ [10:39.5]

[10:43.5]

[10:45.5]

leaving the, also, the...the right of her face, uh, in shadow while the left of her face...side of her face is quite brightly lit.

6 (R. Goldchain)

[10:50.5]

¢/ [10:38.5]

[10:59.5]

[10:53.5]


22

III. That Particular Gaze like great masters

the woman’s face,

8"

7"

L

L

œ œ

° Fl. &

œ œ

~

~

ppp

p

ppp ppp

ZX sDF | HJL.;?'

being asked about.

Cl.

5"

L #œ µœ œ

¢&

ppp

p ppp

I’m struck by the expression on the woman’s face, she looks so young.

I l.v. Perc.

/ III. That Particular Gaze I’m struck by the expression on the woman’s face, she looks so young.

q = 72 Independently 2"

pizz.

10"

I

° Vln. &

í ™™ 47

Œ

Œ

# œ—

o

p q = 72 Independently pizz. Vc.

repeat until cue

? í ™11 #œ– ¢ ™4

Œ

Ó

Ó™

™™î

p Laura Letinsky

(L. Letinsky)

° ¢/

I’m struck by the expression on the woman’s face,

she looks so young.

She looks like she’s not sure what she’s being asked about.

There’s some photographs on the wall that look like great masters

A musician with a beard.

6

6

6

6

6

[11:00]

[11:02]

[11:05]

[11:07]

[11:12.5]

= Handel or something.

sterotypical about

it is the vulnerabilty

7"

7"

L

° œœ Fl. & O

L

œ œ

~ p

~

ppp

p

ppp ppp

ppp

p

ZXQasDF | cVbnHJL.;?'

past the man.

5"

L #œ µ œœ

œœ

¢&

ZX sDF | HJL.;?'

ZXQasDF | cVbnHJL.;?'

towards her.

L Cl.

p

ppp

5"

œ œ

~

ppp

ppp

I imagine it’s Chopin

L

œ œ

5"

L œœ

ppp

p

ppp

ppp

p

ppp

ppp

repeat until cue

° Vln. &

™™î

? Vc.

¢ A man holding his throat I imagine it’s Chopin

(L. Letinsky)

° ¢/

6 [11:14.5]

and Handel or something. There’s a man. There’s The camera looks something past the man, a little bit towards her.

6 [11:18]

6 [11:22]

6 [11:26]

stereotypical about that particular

gaze, where we’re always looking at the woman’s face past the man.

6

6

[11:28.5]

[11:31]

But there’s also something different about this. Maybe it is the vulnerability on her face,

6 [11:33.5]


23

that comes off the the man,

8"

8" 8"

L

° œœ Fl. & O

L #œ

œ œ

œ

~ ~ p

ppp

p

ppp

ppp

¢&

little line

3"

the curtain

5"

L #œ µ œœ

L œœ

ZXQasDF | cVbnHJL.;?'

man’s eyes

5"

L #œ µ œœ

ZX sDF | HJL.;?'

Cl.

zXqASDF | HJL.;?'

ZX sDF | HJL.;?'

viewer with?

p

ppp

L œœ

p ppp

p

ppp

ppp

ppp

Vln.

p

ppp

ppp

ppp

° &

? Vc.

¢

Not really the viewer, the man, but

and the expectation that she addresses the viewer with?

(L. Letinsky)

° ¢/ 6

6

[11:40.5]

I guess we’re being asked to look at her through the man’s eyes

6

[11:45.5]

[11:49]

and to wonder what she’s going to say.

There’s a little line that comes off of the wall that is

6

6

[11:53.5]

at the same height as her eyes

6

[11:56.5]

that leads into the curtain

6

[12:00.5]

[12:03]

=

a little bit like

2"

14"

8"

L #œ

° œœ Fl. & O

#œ œ

œ

~

~

ppp

p

ppp

ppp

ppp

zXqASDF | HJL.;?'

and really, really young.

5" Cl.

ppp

3"

Lœ œ

¢& œœ

p p

ppp ppp

ppp and really, really young.

Vln.

° & L and really, really young.

L

? Vc.

¢

° (L. Letinsky) ¢ /

that holds her there, kind of frozen, a little bit like a butterfly.

She’s really, really and really, beautiful really young.

6

6

[12:05.5]

[12:11]

6 [12:13]

p


24

roam

IV. Stride stroll roam patrol

° œœ Fl. & O

I #œo

La proximité des corps,

Cl.

le désir,

la chair,

l'érotisme

¢& #œ o

#œ o

#œ o p

mp

pp

walk

Perc.

/

q = 72 Independently Bass Drum (head/rim)

í ™™ L 44 œ ¿ ¿ ¿ ≈ ¿ ¿

¿¿ ¿‰

¿ ¿ ì ‰ ¿ ¿ ¿ ¿ ‰ ¿œ J J

≈ ¿ ¿ì ≈ ¿ ¿ ¿

≈ ¿ ≈ ¿ ‰ ¿ ì ¿œ

œ

œ

& walk

Pno.

pp

walk

walk

step

stride

#œ #œ

?

{

stroll

#œ #œ

roam

patrol

#œ #œ

#œ #œ

P sempre

IV. Stride stroll roam patrol walk roam

I arco #œo

° Vln. &

I p

? Vc.

¢

Marlene Creates

°/

walk

walk

walk

step

stride

stroll

roam

patrol

6

6

6

6

6

6

6

6

[12:31]

[12:32.5]

[12:34]

[12:35]

[12:37]

[12:38.5] [12:39]

[12:40.5]

Michel Campeau La proximité

6des corps,

la chair,

le désir,

l'érotisme

6

6

6

/ [12:35.5]

/

¢/

[12:37.5]

[12:39.5]

[12:41]


25

stall turning

° Fl. & #œ I p

Cl.

¢& #œ o

repeat until cue (or similar rhythms ad lib.)

¿ ¿ ≈ ¿¿ ¿ Perc.

‰ œ ¿ ì≈ ¿ R

/

‰ ¿ ¿ ‰ œ ¿ ¿ ‰ ¿œ ™™î J

#œ œ

œ

œ

& slow

Pno.

stall

stall

stall

#œ #œ

?

{

amble

ramble

#œ #œ

shamble

dawdle

#œ #œ

#œ #œ

dawdle

stall

° Vln. & I

ææI #œ

#œ o

p

still

feeling

moving

landscape

arco

? Vc.

#œ o

¢

#œ o

#œ o

pp

(M. Creates)

°/

mp

slow

stall

stall

stall

amble

ramble

shamble

dawdle

6

6

6

6

6

6

6

6

[12:41.5]

(M. Campeau)

p

#œ o

[12:43]

[12:45]

[12:47]

[12:49]

[12:50.5]

[12:51]

[12:52]

/

Robert Burley still

moving

feeling

landscape

6

6

6

6

/ [12:43.5]

[12:46]

[12:48]

[12:49.5]

Althea Thauberg turning

6 ¢/ [12:52.5]


26

œ Fl.

spinning

œ

turning with a hide

o

o

o

pp

p

la solitude

Cl.

la famille élargie

¢& #œ o

mf

#œ o mp

Perc.

/

#œ œ

œ

œ

& waddle

Pno.

toddle

?

{

hobble

hop

#œ #œ #œ

idle

hike

#œ #œ

idle

idle

#œ #œ

#œ #œ #œ

hop

idle

I

I

° Vln. & #œ

œo mf

idle from a car

# œI I

? #œ

Vc.

¢ o mf

waddle

(M. Creates)

°/

6

toddle

hobble

6 6

hop

hike

idle

idle

idle

6

6

6

6

6

[12:53] [12:53.5] [12:54] [12:55]

(M. Campeau)

[12:56]

[12:57.5]

[12:59]

la solitude

la famille élargie

6

6

[13:01]

/ [12:56.5]

[12:59.5]

from a car

6 (R. Burley)

/ [12:55.5]

(A. Thauberg)

œ

° &

spinning

turning with a hide

6

6

¢/ [12:58.5]

[13:02]


27

œ Fl.

Cl.

° &

¢&# œ

Perc.

/

#œ œ

œ

œ

& mosey

Pno.

wander

meander

saunter

?

{

totter

loiter

#œ #œ

#œ #œ #œ

loiter

#œ #œ

Belfast

Glasgow

#œ Vln.

creep

veer

#œ #œ

London

Paris

Budapest

New York

° & o

o pp

o p

o mp

o p

pp

totter

creep

œI

# œI

ææ

? Vc.

¢ o p

mosey

(M. Creates)

°/

6 [13:04]

(M. Campeau)

meander

wander

saunter

totter

loiter

loiter

veer

creep

6

6

6

6

6

6

6

6

[13:05]

[13:06]

[13:07]

[13:08]

[13:09]

[13:11]

[13:13]

[13:14]

/

Sylvia Grace Borda Belfast

Glasgow

London

Paris

Budapest

New York

6

6

6

6

6

6

/ [13:08.5]

(A. Thauberg)

¢/

[13:09.5] [13:10.5]

[13:12]

[13:13.5]

[13:14.5]


28

œ

œ it is cold

Fl.

° & o mp

les rencontres inopinées,

Cl.

¢& #œ o

#œ mf

Perc.

/

#œ œ & follow

crawl

Pno.

faulter

{

Rio

#œ Vln.

halt

#œ #œ

#œ #œ

?

a child with string and ball

Montreal

° & o

o

o

p

mp

mf

? Vc.

¢

(M. Creates)

°/

crawl

follow

faulter

halt

6

6

6

6

[13:15]

[13:16.5]

[13:18]

[13:19]

les rencontres inopinées,

6 (M. Campeau)

/ [13:15.5]

Rio

Montreal

6

6

a child with string and ball

(S. G. Borda)

6

/ [13:17]

[13:18.5]

[13:21]

it is cold

6 (A. Thauberg)

¢/ [13:19.5]


29

how to do this

œ she knows

Fl.

I

œ

° & o mf

le fils,

Cl.

f

l'autobiographie,

¢& #œ o

#œ o

mp mf

Perc.

/

#œ œ

œ

œ

& trudge

Pno.

tread

traipse

{

prance

pause

prowl

#œ #œ

#œ #œ

?

pause

pause

#œ #œ

#œ #œ

child's play on the streets posing for the camera

I

° Vln. & o

o f

trudge

prowl

# œI ææ

? Vc.

ff

# œI

¢ o mf

(M. Creates)

°/

trudge

tread

traipse

prance

prowl

pause

pause

pause

6

6

6

6

6

6

6

6

[13:22] [13:23] [13:23.5] [13:24.5] [13:25] [13:26]

(M. Campeau)

le fils,

l'autobiographie,

6

6

[13:28]

[13:30.5]

/ [13:22.5]

[13:25.5]

posing for the camera child's play on the streets

6 (S. G. Borda)

6

/ [13:26.5]

(A. Thauberg)

[13:31.5]

she knows

how to do this

6

6

¢/ [13:28.5]

[13:31]


30

lollygag

° Fl. &

dally

I #œ o

I mf

être ensemble,

la folie,

Cl.

la musique,

les yeux,

les voix,

la performance,

¢& œ o

#œ o pp

#œ o

#œ o

p

#œ o

mp

mf

f

mf

Perc.

/

#œ œ

œ

& galivant

lollygag

Pno.

dillydally

dally

{

dally

dally

#œ #œ

#œ #œ

?

#œ #œ

dally

° Vln. &

I #œ o

lollygag

I

? Vc.

¢ mf

lollygag

galivant

dillydally

dally

dally

dally

6

6

6

° 6 (M. Creates)

6

6

/ [13:33]

[13:34.5]

[13:35.5]

[13:36.5]

[13:38]

[13:39]

être ensemble, la folie,

6 (M. Campeau)

6

la musique,

les yeux,

les voix,

la performance,

6

6

6

6

[13:36]

[13:37]

¢/ [13:33.5]

[13:35]

[13:38.5]

[13:39.5]


31

skip

° Fl. &

I #œo

la beauté des femmes,

Cl.

la confiance aveugle dans l'avenir,

l'insolence,

l'éclat de la jeunesse,

Charles Gagnon,

Lorraine Monk,

la solitude,

¢& #œ o

#œ o

#œ o

pp

Perc.

#œ o mp

#œ o

#œ o

mf

f

#œ o pp

p

p

/

#œ œ

œ

œ

œ

& sleepwalk

Pno.

stumble

stomp

#œ #œ

?

{

strut

stagger

#œ #œ

swagger

sashay

#œ #œ

stray

slink

skip

limp

#œ #œ

#œ #œ #œ

#œ #œ

stagger

° Vln. & #œ I mp

skip

stagger

I

# œI ? Vc.

¢ o p

sleepwalk

stumble

stomp

strut

6

6

6

stagger

swagger

sashay

stray

slink

skip

limp

6

6

6

6

6

6

° 6 (M. Creates)

[13:40.5]

(M. Campeau)

6

/ [13:41.5] [13:42.5] [13:43.5]

[13:44] [13:45] [13:46]

[13:47]

[13:48]

[13:49.5]

[13:51]

la beauté des femmes,

l'éclat de la jeunesse,

l'insolence,

la confiance aveugle dans l'avenir,

la solitude,

Lorraine Monk,

Charles Gagnon,

6

6

6

6

6

6

6

¢/ [13:41]

[13:43.5]

[13:45.5]

[13:46.5]

[13:48.5]

[13:50.5]

[13:51.5]


32

wait

° Fl. & #œ I p

Janis Joplin,

Cl.

Penelope Cousineau,

Sam Tata,

¢& #œ o

#œ o

#œ o

mp

Perc.

mf

f

/

œ

œ

& drift

Pno.

wait

wait

wait

#œ #œ

?

{

#œ #œ

wait

° Vln. &

I #œo wait

ææI #œ o

? Vc.

¢

(M. Creates)

°/

drift

wait

wait

wait

6

6

6

6

[13:52.5]

(M. Campeau)

[13:53.5]

[13:55]

Janis Joplin,

Sam Tata,

6

6

[13:57]

Penelope

6Cousineau,

/ [13:53]

[13:54]

[13:58]

Michael Flomen 1 caught living

6

6

/ [13:56]

¢/

[13:57.5]


33

scamper

° Fl. &

I #œ o beaucoup d'êtres croisés et photographiés au rendez-vous de l'existence.

I Cl.

¢& #œ o

Perc.

ff

/

#œ œ

œ

œ

& run

Pno.

shuffle

rush

dash

#œ #œ

?

{

scamper

scurry

#œ #œ

hurry

hesitate

hesitate

#œ #œ

#œ #œ

scamper

° Vln. & #œ I mp

? #œ

Vc.

¢

(M. Creates)

°/

run

rush

shuffle

6

6

6

[13:59]

[14:00.5] [14:01]

dash

scamper

6

6

[14:02]

[14:03]

scurry

hurry

hesitate

hesitate

6

6

6

6

[14:03.5]

[14:04.5]

[14:05.5]

[14:07.5]

beaucoup d'êtres croisés et photographiés

6 (M. Campeau)

/ [14:06]

(M. Flomen 1)

naked

alive

free

spirit

6

6

6

6

/ [14:00.5]

[14:02.5]

[14:05]

[14:07.5]

Michael Flomen 2

(M. Flomen 2)

caught

living

naked

and alive

free

spirit

friend

6

6

6

6

6

6

6

¢/ [13:59]

[14:01]

[14:02.5]

[14:03.5]

[14:06]

[14:07]

[14:09.5]


34

wend

° Fl. & #œ I

mf

Cl.

¢&

Perc.

/

#œ œ

œ

œ

& wend

Pno.

tread

trek

#œ #œ

?

{

trample

track

tiptoe

#œ #œ #œ

turn

#œ #œ

tiptoe

wend

° Vln. &

trail

#œ #œ

I #œ o

Iæ æ #œ mf

wend

Iææ œ

? #œ

Vc.

¢ f

(M. Creates)

°/

wend

trek

tread

trample

tiptoe

track

trail

turn

6

6

6

6

6

6

6

6

[14:10]

[14:11.5] [14:12.5]

[14:13]

[14:14]

[14:15.5] [14:16]

[14:17.5]

au rendez-vous de l'existence.

(M. Campeau)

/

(M. Flomen 1)

/

friend

mentor

times

passed

6

6

6

6

[14:10]

(M. Flomen 2)

[14:11]

[14:15]

[14:17]

mentor

times

passed

memories

held

6

6

6

6

6

¢/ [14:10.5]

[14:13.5] [14:14.5]

[14:17]

[14:18]


35

Fl.

Cl.

° &

¢&

return

I Perc.

/

#œ œ & return

retrace

Pno.

return

#œ #œ

?

{

#œ #œ #œ

return

° Vln. & I œ

o

return

I ? #œ

Vc.

¢ o

(M. Creates)

°/

retrace

return

return

return

6

6

6

6

[14:18.5]

(M. Campeau)

/

(M. Flomen 1)

/

[14:21]

[14:24.5]

memories

held

love

6

6

6

[14:19]

[14:21.5]

love

6 (M. Flomen 2)

[14:22.5]

¢/ [14:20.5]

[14:23.5]


36

V. Sounds Difficult to Repeat

° Fl. &

Um, it was in John’s apartment. We’d be sitting having a conversation

L Cl.

¢& œ ppp

Um, it was in John’s apartment. We’d be sitting having a conversation

q = 72 Independently

L œ œ œ™ œ œ ™ œ Perc.

/ p3

I don’t remember exactly when this photograph was taken. It was probably in the early 70s.

q = 72 Independently

L #œ œ &

3

and, uh, he would interrupt at one point and...

L œœ œ #œ 3 3 3

pp Pno.

œœ œ™ œ œ™

?

{

œ

P

and, uh, he would interrupt at one point and...

V. Sounds Difficult to Repeat Vln.

L

° &

I don’t remember exactly when this photograph was taken. It was probably in the early 70s.

and, uh, he would interrupt at one point and...

?

L

I œ

con sord.

L IIœ Vc.

¢ ppp

David Evans I don’t remember exactly when this photograph was taken. It was probably in the early 70s.

Um, it was in John’s apartment. We’d be sitting having a conversation

and, uh, he would interrupt at one point and...

6

6

6

° / [14:32.5]

[14:38.5]

[14:43.5]

Benoit Aquin J'avais qu'un bel amitié avec John Max.

On a été…on se côtoyait pendant plusieurs années. J’ai connu John a la fin des années quatre vingt dix.

Et John m’a communiqué quelques notions artistiques

6

6

6

[14:34.5]

[14:37.5]

[14:45]

¢/


37

Fl.

° &

and, uh, ask me if, uh, he could take a photograph. And so I said, “sure,” and

L I

L Cl.

¢& œ o

ppp

he would, uh, ask me to go stand, uh, by the wall, in front of the wall,

and, uh, ask me if, uh, he could take a photograph.

L œ œ œ™ œ œ™ œ Perc.

L

/ 3 3

#œ #œ œ #œ ™

And so I said, “sure,” and

#œ L #œ & œ

L

œ #œ

œœ

œ #œœ œœ™™

3 3 3 3 3

Pno. 3

œ œ™

œ œœ

?

{

œ #œœ œ

And so I said, “sure,” and

he would, uh, ask me to go stand, uh, by the wall, in front of the wall,

L 1o I

L

m. har

° L Vln. & œ

œ

ppp

o he would, uh, ask me to go stand, uh, by the wall, in front of the wall,

and, uh, ask me if, uh, he could take a photograph.

L1 L L

IV

œ ? Vc.

¢ o ppp

And so I said, “sure,” and

he would, uh, ask me to go stand, uh, by the wall, in front of the wall,

6

6

[14:53]

[14:55]

and, uh, ask me if, uh, he could take a photograph.

° (D. Evans)

/ 6 [14:47.5]

importants que…que j’ai integré a ma pratique personnelle, ma pratique photographique

(B. Aquin)

Je me rappelle un jour entre autres…on discutait,

et je lui ai posé cette question,

6

6

[14:54.5]

[14:58.5]

¢/


38

Fl.

° &

um, and he’d move in quite close with the camera.

He’d, uh, begin framing and focusing and as he did,

L I

L Cl.

¢& œ

œ

o

ppp

He’d, uh, begin framing and focusing and as he did,

3

L œ œ œ™ œ œ™ œ L

Perc.

œ œ™ œ œ œ

/

3

3

um, and he’d move in quite close with the camera.

he became very intense and would make sounds,

L #œ œ &

L

œ #œ

œœ 3 3 3

Pno.

œœ œ™ œ œ™

?

{

œ

He’d, uh, begin framing and focusing and as he did,

he became very intense and would make sounds,

L Vln.

L I

° &

L

œ o ppp

he became very intense and would make sounds, um, and he’d move in quite close with the camera.

L œo ?

L 1o

I œo

III

L

harm.

Vc.

¢ œo

o ppp

um, and he’d move in quite close with the camera.

(D. Evans)

°/

he became very intense and would make sounds,

6

6

6

[15:01]

[15:05]

[15:10]

j’ai dit "John, t’as jamais de problème avec les gens qui…

(B. Aquin)

He’d, uh, begin framing and focusing and as he did,

qui sourient, quand tu les photographies, qui regardent la caméra et qui…qui…

qui réagissent de...comme de...c’est un

6

6

[15:05]

[15:11]

¢/


39

Fl.

° &

repeat, but they were kind of like [wind sounds]. Sounds like wind, almost

uh, difficult to...

L I

L Cl.

¢& œ

œ

o

ppp

as he focused

uh, difficult to...

3

L L Perc.

œ œ ™œ œ œ

/

#œ#œ

#œ ™

repeat, but they were kind of like [wind sounds]. Sounds like wind, almost

L

œ

L ##œœ

#œœ & 3

3

Pno. 3

3 3œ J œ œ œ ™#œ œ

œ ?

#œœ

{

ha....difficult to, uh,

Vln.

° &

as he focused

L 1o I

L

. rm ha

L œ

œ o

ppp

as he focused uh, difficult to...

L I

Lœ ? Vc.

¢ ppp

o

(D. Evans)

°/

uh, difficult to...

ha....difficult to, uh,

repeat, but they were kind of like [wind sounds].Sounds like wind, almost

as he focused

6

6

6

6

[15:14]

[15:17.5]

[15:21]

[15:29]

réflex de sourire, tout ça," puis euh…

(B. Aquin)

Parce que moi, j’avais la difficulté: je savais pas…souvent je savais pas comment

comment interprèter ou comment résoudre Et puis John m’a répondu, “Pas cette problématique la. du tout, Benoit,” et il

6

6

6

[15:16.5]

[15:22]

[15:27.5]

¢/


40

Fl.

° &

and, um, concentrated on...

and then he would just kind of close his eyes as if he was coming out of a trance almost

on framing and he would, uh, click the shutter,

L I

L I

L Cl.

¢& œ

œ

o

ppp

o and then he would just kind of close his eyes as if he was coming out of a trance almost

on framing and he would, uh, click the shutter,

L œœ œ ™œ œ J

3

L Perc.

/

L

œ œ ™œ 3 3

and, um, concentrated on...

take, uh, five or six exposures. He would click the shutter, advance the, uh, film, and then click the shutter again five or six times,

#œ #œ œ #œ ™ #œ L #œ œ

&

œ #œ

œœ

#œœ œœ™™ œ L

3 3

3 3 3

Pno. 3 œœ œ œ

?

{

œ œ™ œ #œœ

take, uh, five or six exposures. He would click the shutter, advance the, uh, film, and then click the shutter again five or six times,

on framing and he would, uh, click the shutter,

L Vln.

° &

I L

L œ

œ

ppp

o take, uh, five or six exposures. He would click the shutter, advance the, uh, film, and then click the shutter again five or six times,

and, um, concentrated on...

and then he would just kind of close his eyes as if he was coming out of a trance almost

L 1

II

I

L L œ ?

œ

Vc.

¢ o ppp

(D. Evans)

°/

and, um, concentrated on...

on framing and he would, uh, click the shutter,

take, uh, five or six exposures. He would click the shutter, advance the, uh, film, and then click the shutter again five or six times,

6

6

6

6

[15:31]

[15:35]

[15:40]

[15:50]

dit “l’importance c’est que ce clin, l’expression, soit authentique.”

(B. Aquin)

Et Jean avait raison, il venait de résoudre pour moi

un problème auquel j’étais confronté depuis plusieurs années, depuis toujours même.

and then he would just kind of close his eyes as if he was coming out of a trance almost

Uh...Et aussi ce que j’aimais beaucoup dans la photographie de Jean, c’est qu’on…j’avais l’impression que il allait souvent

6

6

6

[15:36]

[15:40.5]

[15:47.5]

¢/


41

Fl.

° &

and then we’d just go back and return to the conversation.

and he’d lower the camera

L Cl.

L I

¢& œ o

ppp

and be kind of still for a moment and he would say “thank you,”

3

L Perc.

L œœ œ™œ œ ™ œ œ œ™œ œ œ

/

3 3

and he’d lower the camera

L #œ œ &

œœ œ #œ 3

3

3

Pno.

œœ œ™ œ œ™

?

{

œ

and he’d lower the camera

L 1o I

Vln.

° &

and then we’d just go back and return to the conversation.

2"

Independently q = 84 strike with bow hair

.

L í ™™

rm ha

™™î knœœœœœœœœ

œ

œ

mf

and be kind of still for a moment and he would say “thank you,”

IV

L I

?

L œ

œ

Vc.

¢ œo

(D. Evans)

°/

and he’d lower the camera

and be kind of still for a moment and he would say “thank you,”

and then we’d just go back and return to the conversation.

6

6

6

[15:56]

[15:58]

[16:06]

a l’essence des choses

(B. Aquin)

dans la...plus grande simplicité.

Alors, merci beaucoup John.

6

6

[15:58]

[16:03]

¢/


42

VI. Un mauvaise présage, une mauvaise augure really haunting of a child cornered into a

Independently q = 72 The photograph is

6

5

l.v. sempre

L L

Perc.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

/

mf

Vln.

° & Independently q = 72 The photograph is

vaguely imitating the leaf blowers on the playback

L í ™™ 47 bœ ææ

? Vc.

¢

w™ ææ

ì

mf Shelagh Keeley really haunting of a child cornered into a

The photograph is

° ¢/

6

6

[16:16]

[16:19]

=

The strength of images sometimes lie in their ability to leave you wondering.

Cl.

L Ÿ~~~ n

° ¢&

L

œ p

f can't really even see his pupils. He's just

and it's slightly blurry

Perc.

Vln.

L œ œ 6 œ œ œ 6 œ œ œ5 œ œ œ / œ œ œ œ œ œ œ œ œ œ

6

5

L L œœœœœœœœœœœœ œ œ œ

° & repeat varying starting pitch of gliss (always below the F)

Vc.

? 5 bœ ¢ 4 ææ

w æ æ

ì 43 bœ æ˙ ææ æ

and it's slightly blurry

room

(S. Keeley)

°/

ì 45 bœ ææ

w æ æ

but it's so beautiful. Um,

™™î

can't really even see his pupils. He's just

6

6

6

6

[16:25]

[16:28]

[16:31]

[16:34.5]

Will Gill The strength of images sometimes lie in their ability to leave you wondering.

6 ¢/ [16:25.5]


43

And I'm haunted or moved by the

6

6

cornering of the two walls and this child

5

6

5

L / œœœœœœœœœœœœœœœœœœ œ œ œ

Perc.

Vln.

L œœœœœœœœœœœœ œ œ œ

° &

? Vc.

¢

(S. Keeley)

° ¢/

staring but he stares right through you.

And I'm haunted or moved by the

6

6

6

[16:37.5]

[16:41]

[16:45.5]

cornering of the two walls and this child

=

Strange things happen at the crossroads of darkness and light.

Cl.

L Ÿ~~ n

° ¢&

L

œ p

f um, in that corner.

6

6

5

6

5 3

Perc.

/

Vln.

° &

œœœœœœœœœœœœœœœœœœ œ œ œ

œœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ

? Vc.

¢

um, in that corner.

It's sort of hard to explain but [sniff] um,

° (S. Keeley)

6

6

[16:52.5]

[16:56.5]

/ Strange things happen at the crossroads of darkness and light.

6 (W. Gill)

3

L L

¢/ [16:50]


44

Independently q = 72

Piccolo

Picc.

Um, well when I see this...

. . . . . . . . ° í ™ 7L œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ ∑ & ™4 3

3

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . . . . . . . . . . 5 ì4 œ œ œ œ œ œ œ œ œ œ œ. Œ

5

3

mf

pp

3

3

5

mf

this sort of refuge or he's squished in the corner, but

Cl.

3

™™î

pp

Independently q = 72

L í ™™ 114

¢&

™™î

∑ w ™™

ppp

f openess or space the way he's looking at

5

6

6

6

5

L Perc.

/

Vln.

° &

œ œ œ œ œ œ œ œ œ œœœœœœ

œœœœœœœœœœœœœœœœœœ œ œ œ

? Vc.

¢

(S. Keeley)

°/

this sort of refuge or he's squished in the corner but he has this total

openess or space the way he's looking at

[sniff] you the viewer.

6

6

6

[17:02]

[17:07.5]

[17:10.5]

April Hickox

(A. Hickox)

Um, well when I see this, a photograph like this and this photograph in particular, I, um, instantly intimacy, inti...

and many people have the experience of

caring for a child.

6

6

6

[17:00.5]

[17:09]

[17:12]

¢/

=

Picc.

Cl.

° &

¢& Kinda goes inside you, his gaze.

poking out. It's really very, um, he looks like a small Buddha, or

6

5

L œ œ6 œ œ œ6 œ œ œ5 œ œ œ œ œ œ œ œ œ œ œ œ œ

L Perc.

/

Vln.

° &

œœœœœœœ œ œ œ œ œ œ œ œ

? Vc.

¢

(S. Keeley)

°/

Um,

(A. Hickox)

Kinda goes inside you, his gaze.

And his two ears

poking out. It's really very, um, he looks like a small Buddha, or

Buddha-like. And then

6

6

6

6

[17:13.5]

[17:18]

[17:19.5]

[17:26]

what I really am amazed in the photograph is how the...

the eye contact of the child is... is viewing the camera yet

the eye contact of the carer or the mother

is looking at the child.

6

6

6

6

[17:15]

[17:18.5]

[17:22]

[17:25.5]

¢/


45

Likely his child, I would think. But, perhaps not.

Picc.

° & L

I can't remember who this

coming forward with...

Ÿ~~~~ L

L #œ Cl.

¢&

œ µœ (trill register key w/ R.H.)

p

his clothes are just black. So it's just this face

6

5

L Perc.

œœœœœœœ œ œœ œ œ œ œ œ

/

I can't remember who this

Independently q = 72

L & pp Pno.

?

{ #w w w

Vln.

° &

? Vc.

¢

his clothes are just black. So it's just this face

coming forward with...

coming out of the blackness of his clothes. And then, um

a line coming out of his head which is the

corner of the two walls meeting.

° (S. Keeley)

Um,

(A. Hickox)

6

6

6

6

6

[17:28]

[17:32.5]

[17:35]

[17:39]

[17:42]

/

and, you know, you can't see her, uh, the whole face, but, uh, you know what that look is and how that look feels.

Likely his child, I would think. But, perhaps not.

6

6

[17:28.5]

[17:35.5]

/

Shin Sugino I can't remember who this

uh, gentleman was. You know, is it his father,

6

6

[17:38.5]

[17:41]

¢/


46

Independently q = 90 So, I'm assuming this picture is of his mother

L Picc.

° &

. # œ. #œ. #œ. œ. . #œ. #œ. # œ. . # œ # œ . J ‰ #œ í ™™ 44 #œ ‰™ ìÓ

# œ. .œ ‰ Œ ì Œ ≈#™ œ. ‰#œ. œ. ‰ì œ. ‰ J JJ J

. # œ. . # œ ì Œ#œ ‰ Œ Œ ≈™ J

p sempre

And then the, uh, that, looking straight into the, uh, camera.

L Cl.

¢& œ

the sloppy cake and the candles and,

L Perc.

/

the sloppy cake and the candles and,

L & Pno.

?

{ the sloppy cake and the candles and,

Vln.

L

° &

And I don't know if it's his son, or who it is, but...

L ? Vc.

&

¢

And I don't know if it's his son, or who it is, but...

(S. Keeley)

°/

6 [17:46]

Ruth Kaplan So, I'm assuming this picture is of his mother but I don't, it...it could be...I could be wrong.

(R. Kaplan)

/ 6 [17:44]

you know, tender about

the sloppy cake and the candles and,

6

6

6

[17:49]

[17:53]

[17:55.5]

And then the, uh, that, looking straight into the, uh, camera.

His, uh, somethinghe's related to?

But the, uh, that I think it's really significant image for him, obviously.

6

6

6

[17:45]

[17:47.5]

[17:52]

you know?

(S. Sugino)

But there's something really beautiful and, um,

/

¢/


47

Picc.

° &Ó

™™î

I see a quiet joy in sharing

Cl.

L Ÿ~~~~~ b œ

¢&

pp

moving freely around 5-rod, hitting more than 1 at a time is fine 6 6 5

you know, her trying to get it right. It's just, there's something about that moment

But the...the glow from the cake is really beautiful and it illuminates her face.

ord. 6

L Perc.

6

5

L L

VœVœVœVœVœVœV œVœ Vœ V œ V

œœœœœœœœœœœœœœœœ œœ œ œ œ

f

mf

/

you know, her trying to get it right. It's just, there's something about that moment

L

But the...the glow from the cake is really beautiful and it illuminates her face.

L L

& mf Pno.

?

{

w w w w w “‘

#w w w “‘ you know, her trying to get it right. It's just, there's something about that moment

Vln.

But the...the glow from the cake is really beautiful and it illuminates her face.

L

° í ™knL œœ œœ œœ œœ ™î ™ & ™

L

í ™™

™™î knœœ œœ œœ œœ

f mf Un gâteau d'anniversaire semble être fait à la dernière minute.

L

Independently q = 72

#w Vc.

6 4 #˙

¢&

#w ì #˙

p

mf

ì

p

mf

p

Annie Briard

°/ (A. Briard)

(R. Kaplan)

Un gâteau d'anniversaire semble être fait à la dernière minute.

Une mauvaise présage, une mauvaise augure.

6

6

[17:58]

[18:03.5]

you know, her trying to get it right. It's just, there's something about that moment

that again is very quick to capture that he did.

But the...the glow from the cake is really beautiful and it illuminates her face.

6

6

6

[17:59.5]

[18:04]

[18:06.5]

/

William Eakin 1 I see a quiet joy in sharing

I feel optimistic

6

6

[18:06]

[18:09]

/

William Eakin 2 (Lulu Akhanamoya) I see a quiet joy in sharing

I feel

6

6

[18:06]

[18:10]

¢/


48

But it's a...there's a...such a generosity that comes from her and it's partly through the action of what we're seeing and it's partly in her face.

Picc.

L

° &

I feel optimistic

L Cl.

¢& mf

But it's a...there's a...such a generosity that comes from her and it's partly through the action of what we're seeing and it's partly in her face.

Um, and her body gesture's so open.

sim. 6

ord.

6 5

Perc.

V œV œV œV œV œV œV œ V œ V œ V œ V

/

L

L œ œ3 œ œ œ3 œ œ œ5 œ œ œ œ œ œ œ œ œ œ œ œ œ

L f

mf

But it's a...there's a...such a generosity that comes from her and it's partly through the action of what we're seeing and it's partly in her face.

Um, and her body gesture's so open.

L L

L

& mp Pno.

?

{

w w w w w

#w w w

loco

But it's a...there's a...such a generosity that comes from her and it's partly through the action of what we're seeing and it's partly in her face.

Um, and her body gesture's so open.

L L í ™™

° ™ kL nœœ œœ œœ œœ ™î ™ Vln. & í ™

™™î knœœ œœ œœ œœ

f mf

Cette image la m'avait frappé parce que

L Vc.

Independently q = 72

w í ™™ 46 ˙

¢&

p

™™î f

p

Raymonde April

(R. April)

(R. Kaplan)

°/

Um,

Evidemment ce… mes parents ne ressemblaient

6

6

6

6

[18:13.5]

[18:16.5]

[18:21]

[18:22.5]

en la voyant j’avais cru

6 [18:11]

But it's a...there's a...such a generosity that comes from her and it's partly through the action of what we're seeing and it's partly in her face.

But it's almost like a religious icon in the way it's presented.

Um, and her body gesture's so open.

6

6

6

[18:10.5]

[18:14]

[18:18]

/

optimistic

(W. Eakin 2)

comme voir mes parents, comme voir un photo de mes parents.

Cette image la m'avait frappé parce que

¢/


49

il y avait quelque chose que j’aimais dans l’effet que les deux mondes étaient vraiment séparés,

sim. 6

6

ord.

5 6

6

5

L Perc.

L œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

V œV œV œV œV œV œV œ V œ V œ V œ V

/

f

mf il y avait quelque chose que j’aimais dans l’effet que les deux mondes étaient vraiment séparés,

L L & p Pno.

?

{

w w w w w‘ “

#w w w “‘ il y avait quelque chose que j’aimais dans l’effet que les deux mondes étaient vraiment séparés,

Vln.

L í ™™

° ™knL œœ œœ œœ œœ ™î ™ & í™

™™î knœœ œœ œœ œœ

f mf

Vc.

¢&

pas du tout a Arthur Lipsett et son...sa conjointe, mais, uh...

(R. April)

° ¢/

il y avait quelque chose que j’aimais dans l’effet que les deux mondes étaient vraiment séparés,

le sien

lui puis le sien à elle,

avec les fleurs qui étaient comme

6

6

6

6

[18:30.5]

[18:35.5]

[18:37]

[18:39]

=

des paravents ou des…des écrans derrière

Perc.

L œ œ6 œ œ œ6 œ œ œ5 œ œ œ œ œ œ œ œ œ œ œ œ œ

/

p

des paravents ou des…des écrans derrière

L & pp Pno.

?

{

w w ww w loco

puis les deux univers étaient vraiment séparés.

des paravents ou des…des écrans derrière

L í ™™ knœœ œœ œœ œœ ™™î

° Vln. &

7.5"

L o

f puis les deux univers étaient vraiment séparés.

L Vc.

¢& ils me regardaient. Lui il me regardait, puis elle regardait les fleurs,

puis les deux univers étaient vraiment séparés.

6

6

6

[18:45]

[18:46.5]

[18:51]

des paravents ou des…des lesquelles ils y étaient écrans derrière comme…

(R. April)

° 6 ¢/

[18:41.5]


50

You must be busy.

VII. Purgatory Picc.

L œ. í ™™ 47 Œ Œ ∑

° &

™™î

pp Hey, kiddo.

í ™™ 114L

∑ Cl.

¢&

Œ Œ ∑

™™î

œ. pp I jus...I just wanted to say that I've been thinking about your new place

pizz.

VII. Purgatory

° Vln. &

í ™™ L45 œ

™™î

Œ Ó™

pp You must be busy.

pizz espress. l.v. sempre

L œœ œ

∏∏∏∏∏

¢&

∏∏∏∏∏

L œ œœ

? Vc.

and there's a scroll of reasons for you to be there but...I guess I

I jus...I just wanted to say that I've been thinking about your new place

L

p Elisa Julia Gilmour

° ¢/

Hey, kiddo.

6 [19:03.5]

It's me.

You must be busy.

I jus...I just wanted to say that I've been thinking about your new place

and there's a scroll of reasons for you to be there but...I guess I

6

6

6

6

[19:05.5]

[19:07.5]

[19:11.5]

[19:17]

=

Picc.

Cl.

Vln.

° & ¢& ° & This is a left and I guess you'll just have to find your right.

I just wanted to tell you that I can see that it's purgatory.

(E. J. Gilmour)

° ¢/

Lœ œœ ∏∏∏∏∏

? L œœœ ¢ ∏∏∏∏∏

L ∏∏∏

Vc.

But you really got to clean up that plate with the green peas and the spilt wine and that cigarette butt, it's been there for a really long time.

# œœ

L

I just wanted to tell you that I can see that it's purgatory.

This is a left and I guess you'll just have to find your right.

But you really got to clean up that plate with the green peas and the spilt wine and that cigarette butt, it's been there for a really long time.

6

6

6

[19:22.5]

[19:29.5]

[19:36]

=

Picc.

Cl.

Vln.

° & ¢& ° & and your pants on the floor,

When I close my eyes, I picture you with your eyes closed,

∏∏∏

L

¢

(E. J. Gilmour)

° ¢/

and your bath water running,

L œ œœ ∏∏∏∏∏

∏∏∏∏

? Vc.

L #œœ œ

L

# œœ

When I close my eyes, I picture you with your eyes closed,

and your pants on the floor,

and your bath water running,

6

6

6

[19:47]

[19:52]

[19:55]


51

Picc.

Cl.

Vln.

° & ¢& ° & and your furnace pounding.

to picture you like that

And it's so nice

L œœ œ

∏∏∏

∏∏∏∏∏

∏∏∏∏

Vc.

L ? #œœœ ¢

And it's so nice

to picture you like that

6

6

6

[19:58.5]

[20:04]

[20:07.5]

and your furnace pounding.

(E. J. Gilmour)

° ¢/

L

L # œœ

= Love you.

I Picc.

° & Love you.

I Cl.

¢& Love you.

° Vln. & I Anway, call your pop,

(E. J. Gilmour)

° ¢/

Cl.

Vln.

Anway, call your pop,

or tell me what I could tell him.

Love you.

6

6

6

6

[20:10.5]

[20:13.5]

[20:15.5]

[20:18.5]

° & ¢&

° & ?

Vc.

¢ [recording background noise continues]

° ¢/

L œœ œ

even in your purgatory.

=

Picc.

Lœ œœ

#L œœœ

∏∏∏∏∏

∏∏∏∏

L ? œœœ ¢ ∏∏∏∏∏

Vc.

or tell me what I could tell him.

∏∏∏∏∏

even in your purgatory.


52

VIII. Parallel to the Picture Plane [1]

[2]

Flute Bass drum

q Picc.

q

Independently q = 126 L í ™ œ. œ. œ. œ. ™î ™ ™

° &

. . . . íL ™™ œ™ œ œ™ œ ™™î

p

f

[1]

p [2]

Independently q = 120 Bass drum

q q 3 3 íL ™™ #œ œj œ œj ™™î . . . .

L Cl.

¢&

f

L L

L Perc.

La scène se déroule dans un studio de musique

The setting seems to be a music studio

Independently q = 72 Chime rods + Bass Drum

It's a horizontal picture

/ œ™ œ

œ

Ϫ

Ϫ

œ

¿

¿™

f [1]

[2]

Independently q = 72 Bass drum

q

q

í ™™ L #œœ œœ í í 3 3 í ™™ œ œ

& Pno.

?

{

í ™™ L #œœ œœ ™™î í îî í í ™™ œ œ ™™î

™™î îî ™™î

p

VIII. Parallel to the Picture Plane [1]

[2]

q

q

° Vln. & L

L

[1]

[2]

q

q arco

L ?

L

?

Vc.

¢ œ f

p

Bertrand Carrière 1 & 2 (English)

°/

It's a horizontal picture

The setting seems to be a music studio

66

66

[20:35.5]

[20:41]

Bertrand Carrière 3 & 4 (Français) La scène se déroule dans un studio de musique

6 6

/

[20:45.5]

Evergon A solitary figure, worm-like no background,

6outfit,

6

/ [20:36]

[20:42.5]

Guillaume Simoneau C’est une photo horizontale, fait

en 35mm, noir et blanc comme...comme le rest des photos de...

6vraisemblablement

6du livre

[20:38]

[20:43]

/ Clive Holden What I like most in this

6 / [20:47]

¢/


53

[4]

[3]

[5]

q q

q

Lí ™ œ. œ. œ. œ. ™î ™ ™

° Fl. & L

f

p

f

[4]

[5]

q

q

q

íL ™™ #œ œ œ œ ™™î . . . .

¢& p

f

p

des lutrins, des tabourets sont en arrière plan,

œ

œ

A giant boom for a microphone

L L

L

f

L

There are lecturns and stools in the background

Perc.

p

[3]

L Cl.

. . . . íL ™™ œ™ œ œ™ œ ™™î

L

œ

/ œ œ™ ¿

& Pno.

?

{

Ϫ

¿™

œ

¿

[3]

[4]

[5]

q

q

q

í ™™ L #œœ œœ í í 3 3 í ™™ œ œ œ œ

í ™™ L #œœ œœ ™™î í îî í í ™™ œ œ ™™î

™™î îî ™™î

œ

Ϫ

í ™™ L #œœ œœ ™™î í í 3 3 îî ™™î í ™™ #œœ œœ [5]

q [3]

[4]

q

q

# œo L

. Vln.

° & L

rm ha

L œ p

[3]

[4]

q

q

L

f [5]

q

L

L

? Vc.

œ ¢ f A giant boom for a microphone There are lecturns and stools in the background

°/ (B. Carrière 1&2)

A giant microphone

66boom

66 [20:50.5]

[21:00] des lutrins, des tabourets sont en arrière plan,

(B. Carrière 3&4)

6 6

/

[20:55.5]

(Evergon)

(G. Simoneau)

crotch level,

shooting upward but no crotch,

6

6

[20:50]

[20:58.5]

/

On regard un jeune artist,

peut être de la

6

6

[20:52.5]

[21:01]

/

Where the land meets the sky, of course,

photo is the double horizon line.

6 (C. Holden)

/ [20:57]

Dianne Bos There's a point of land. It's like a...

6 ¢/ [20:53.5]


54

[6]

[7]

[8]

q

q

q

L í ™ œ. œ. œ. œ. ™î ™ ™

° Fl. &

. .. . íL ™™ œ™ œ œ™ œ ™™î L

p

Cl.

f

[6]

[7]

[8]

q

q

q

3 3 íL ™™#œ œj œ œj ™™î . . . .

¢&

p

L

íL ™™ #œ œ œ œ ™™î . . . .

f

p

f

in the background dividing the frame in half.

There's a sound panel there.

une grande perche micro semble diviser le cadre en deux.

L L L œ Perc.

f

L

œ œ

/ ¿™ œ ™

& Pno.

?

{

Ϫ Ϫ 
œ™ ¿™

[6]

[7]

[8]

q

q

q

í ™™ L #œœ í í í ™™ # œ œ œ œ

í ™™ L #œœ œœ ™™î í í 3 3 îî í ™™# œœ œœ ™™î œ œ

œ ™™î œ îî ™™î

Ϫ Ϫ

í ™™ L #œœ œœ ™™î í îî í í ™™ ##œœœ œœœ ™™î

[6]

q o #œ

[7]

[8]

q

q

L

° Vln. & L

L #œ

p

p

f

[6]

[8]

[7]

q

q

q

L Vc.

L L

?œ ¢

œ p f dividing the frame. There's a sound panel there.

in the background dividing the frame in half.

(B. Carrière 1&2)

°/

6 6

66

[21:04]

[21:17] une grande perche micro semble diviser le cadre en deux.

(B. Carrière 3&4)

66

/

[21:08.5]

(Evergon)

strange focus.

It is so 60s or early 70s.

6

6

[21:07.5]

[21:14.5]

/ qu’on me dit

mi-vingtaine--début trentaine,

6 (G. Simoneau)

/ [21:18]

(C. Holden)

and the top of the shadow, the road surface.

These dominant horizontals and several subtle diagonals make for a

6

6

[21:06]

[21:11]

/ it's like a concrete

6 (D. Bos)

/ [21:02.5]

Joseph Hartman There's a man

6 ¢/ [21:09.5]


55

[9]

q

Lí ™ œ. ™

° Fl. &

œ.

œ.

œ. ™™î

p [9]

q as fast as possible

L Cl.

¢& œ #œ

œ # œ #œ #œ œ # œ œ # œ œ œ œ œ œ œ # œ œ # œ œ œ œ œ œ œ# œ œ # œ œ œ

p

f Au centre de l’image un couple est enlacé.

L Perc.

/ œ ¿

œ

œ

[9]

q

í ™™ L í í í ™™ ##œœœ

& Pno.

?

{

œ #œ œœœ

œ ™™î œ îî ™™î

[9]

q as fast as possible

° Vln. &

L œ œ œ œ œ#œ œ œ œ œ œ#œ œ œ œ œ œ œ#œ œ œ œ #œ œ

p

f

[9]

q

L

? Vc.

¢ œ p

(B. Carrière 1&2)

°/ Au centre de l’image un couple est enlacé.

(B. Carrière 3&4)

66

/

[21:23]

(Evergon)

/

(G. Simoneau)

/

(C. Holden)

/

(D. Bos)

/

être Henri Cousineau

pier going out, but it's...the tide's out so the rocks are visible on each side of this pier.

6 [21:19]

in the

6 (J. Hartman)

¢/ [21:25]


56

[10]

q

as fast as possible

L #œ #œ œ

° Fl. &

#œ œ #œ œ

œ œ

œ œ

œ œ œ œ

œ œ œ œ œ

f

p

[10]

q

L Cl.

¢&

In the middle of the frame, a couple are embracing.

L L Perc.

/ œ™ ¿™

Ϫ

Ϫ

[10]

q

í ™™ L í í í ™™##œœœ

& Pno.

?

{

œ #œ 3

3

œœœ

œ ™™î œ îî ™™î

[10]

q

° Vln. &

L œ œ

œ œ œ #œ #œ œ

œ œ œ #œ

œ œ œ œ

œ œ

#œ œ œ œ f

#œ œ p

[10]

q

L ? Vc.

œ ¢ f

In the middle of the frame, a couple are embracing. In the centre of the frame, a couple is embracing.

(B. Carrière 1&2)

°/

66 [21:26]

(B. Carrière 3&4)

/

(Evergon)

/

One wants to be on LSD

6 [21:28]

(G. Simoneau)

/

(C. Holden)

/

strong sense of movement.

6 [21:25.5]

(D. Bos)

/

(J. Hartman)

¢/

photograph


57

[11]

q

° Fl. & L

[11]

q = 120

q 3

Cl.

íL ™™ #œ .

¢&

3

j œ.

j œ.

œ.

™™î

f

The man, dressed in black

L L Perc.

/ œ

œ

œ

¿ [11]

q

í ™™ L í í í ™™ ##œœœ

& Pno.

?

{

œ #œ

œ œ œœœ

™™î îî ™™î

[11]

q

° Vln. & L

œœ #œ œ

œ œ œ #œ œ œ œ œ œ #œ #œ œ œ œ œ œ #œ œ œ œ

p

f

[11]

q

L ? Vc.

œ

¢ œ p

f

The man dressed in black clothes

(B. Carrière 1&2)

66The man, dressed in black

°/

[21:33.5]

(B. Carrière 3&4)

/

(Evergon)

/

(G. Simoneau)

/

to join the photographer and model to appreciate this portrait.

Alors, je crois qu’il est dans son atelier ou dans l’atelier d’un ami. On...on voit,

6 [21:29]

(C. Holden)

/ And as it goes into the distance,

6 (D. Bos)

/ [21:31.5]

with a concerned

6 (J. Hartman)

¢/ [21:35]


58

[12]

q

° Fl. & L [12]

as fast as possible

q

L Cl.

¢&

#œ#œ# œ œ

œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

p

f Vêtu de noir, vu de dos, l’homme,

L L

Perc.

/ Ϫ

Ϫ

Ϫ

¿™ [12]

q

í ™™ L í í í ™™ # œœ œ

& Pno.

?

{

œ #œ 3

3

œœ œ

œ ™î œ ™ îî ™™î

[12]

q

° Vln. & L

[12]

q

L ? Vc.

œ ¢ œ p f

(B. Carrière 1&2)

°/ L’homme, vu de dos, vêtu de noir, Vêtu de noir, vu de dos, l’homme,

(B. Carrière 3&4)

66

/

[21:41] It is the antithesis of the commercial photography taken at this time

6 (Evergon)

/ [21:37]

(G. Simoneau)

/ The photo has a sweeping motion, moving towards the left of course, but then there's this thing that

6 (C. Holden)

/ [21:39]

(D. Bos)

/

(J. Hartman)

/

look on his face.

Burt Covit Even though, at that time

6 / [21:39]

/

¢/


59

[13]

[14]

q = 126

q q

. . . . íL ™™ œ™ œ œ™ œ ™™î

° Fl. & L

p [13]

[14]

q q

L Cl.

q = 120

íL ™™ #œ œ œ œ ™™î . . . .

¢&

f pose un main affectueuse sur la joue gauche de la femme.

seen from behind

L

L L

œ Perc.

œ

œ

/ Ϫ 
?

{ Vln.

q

nœ í ™™ L #œœ í í 3 í ™™ # œœ œœ œ œ

í ™™ L #œœ œœ ™™î í îî í í ™™ # œ œ ™™î œ œ

Pno.

[13]

[14]

q

q

° &

Ϫ

[14]

q

&

Ϫ

¿™ [13]

L

3

œœ ™ œ ™î îî ™™î

#œ #œ L pp

[13]

[14]

q

q q = 72 (e. = 96)

L

íL ™™ #œ.

? Vc.

œ. œ.

œ. ™™î

œ

¢ œ p

f

p

seen from behind

°/ (B. Carrière 1&2)

66 [21:49.5] pose un main affectueuse sur la joue gauche de la femme.

(B. Carrière 3&4)

66

/

[21:53] but just as kitsch.

6 (Evergon)

/ [21:51.5] uh, on voit des...des...des

6éléments qui (G. Simoneau)

/ [21:54] happens

(C. Holden)

(D. Bos)

/ because of the perspective, it creates this point. So it almost looks like a...

a stone pyramid.

6

6

[21:44.5]

[21:50.5]

/ The image is

6 (J. Hartman)

/ Christopher Wahl

Come stand against this wall, let's get a shot of that beard.

6 / [21:48]

Robert Bean

There is a large white wall parallel to the picture plane

6 / [21:46.5]

Carl Zimmerman For me

6 ¢/ [21:49.5]

[21:51]


60

[15]

as fast as possible

q

° Fl. & L

#œ #œnœ #œ #œ #œ

#œ #œ œ œ œ œ #œ œ œ œ

f

p

[15]

as fast as possible

q

L Cl.

¢& œ #œ œ

# œ #œ#œ œ œ œ œ n œ b œ bœ bœ nœbœ œ b œ œ # œ n œ œ #œ#œ œ # œ œ # œ œ nœ

p

has his hand, affectionately, on the woman's right cheek.

f

L L

Perc.

/ œ ¿

œ

œ

[15]

q

nœœ #œ

í ™™ L í í í ™™ ##œœœ

& Pno.

?

{

œœœ

œœ ™ œ ™î îî ™™î

[15]

q as fast as possible

#œ #œ Vln.

L

° &

nœ#œ

œœ œ œœœ#œ œœœœ#œ œœœ œ œ œ #œnœ œ #œ œ œnœ œ œ #œ œ œ œ œ œ œ #œ œ œ œ œœ œœ œœ nœ œ

p

f

[15]

q

L ? Vc.

œ ¢ f has his hand, affectionately, on the woman's right cheek.

(B. Carrière 1&2)

°/

66 [21:58.5]

(B. Carrière 3&4)

/

(Evergon)

/

Black band of

6 [22:01.5] nous portent à croire qu’il y a un création

(G. Simoneau)

/

(C. Holden)

/

in some

6 [21:56.5] And, uh,

6 (D. Bos)

/ [21:59] dark,

6 (J. Hartman)

/ Burt Covit [22:00] John Max was familiar with most of Sam Tata's photgraphs,

6 / [21:57.5] that fills the photograph.

6 (R. Bean)

/ [21:59.5] this feels cinematic,

6 (C. Zimmerman)

/ Robert Walker [21:57] John Max was a lover of jazz from an early age.

6 ¢/ [21:58]


61

[16]

q

L #œ #œ œ #œ #œ #œ #œ

° Fl. &

œ œ nœ œ œ œ œ #œ œ

f

p

[16]

q

L Cl.

¢& Il l’embrasse sur la joue droite.

L L

Perc.

/ œ™ ¿™

Ϫ

Ϫ

[16]

q

í ™™ L í í í ™™ # œœ œ

& Pno.

?

{

nnœœœ #œ 3

3

œœ œ

œœœ ™™î œ îî ™™î

[16]

q

° Vln. &

L œœ #œ œ nœ œ

œœ œ#œ #œ

œ

œ œœnœ nœ

œœ

nœ œœ#œ œ œ œœ

œ œœ œ œ œœ#œ œœ # œ œ n œ œ œœ œœ œœ œ

f

p

[16]

q

L ? Vc.

œ

¢ œ p f

(B. Carrière 1&2)

°/ Il l’embrasse sur la joue droite.

(B. Carrière 3&4)

66

/

[22:08] secrecy within the hair and chest and upper arms

(Evergon)

/

(G. Simoneau)

/

quelconque qui se passe dans ces lieux la.

6 [22:05]

(C. Holden)

/ there's water in the distance. There's a horizon. It's just a sliver on the...

6 (D. Bos)

/ [22:06]

(J. Hartman)

/ he chose for this portrait to show

6 (B. Covit)

/ [22:08.5]

(R. Bean)

/ like a still from one

6 (C. Zimmerman)

/ [22:10]

(R. Walker)

¢/


62

[17]

q = 126

œ.

œ.

œ.

q

œ. L

° Fl. &

# œ.

œ.

œ.

#œ.

3 3

f 3 [17]

q = 120

q 3

Cl.

3

L í ™™ #œ.

¢&

j œ.

j œ.

œ.

™™î

f

She,

L L Perc.

/ œ

œ

œ

¿ [17]

q

í ™™ L í í í ™™##œœœ

& Pno.

?

{

[17]

nnœœœ #œ

œœœ ™™î œ îî ™™î

œœœ

q = 72 3

pizz.

3

q

œ nœ nœ

° Vln. &

#œ L

‰ œ œ œ #œ 3

f [17]

q

L ? Vc.

œ ¢ œ p

f

She,

(B. Carrière 1&2)

°/

66 [22:13.5]

(B. Carrière 3&4)

/

(Evergon)

/

being in

6 [22:14]

(G. Simoneau)

/

(C. Holden)

/

photographs of movement

6 [22:11.5]

(D. Bos)

/

(J. Hartman)

/

(B. Covit)

/

(R. Bean)

/

Sam

On the floor are tools,

6 [22:12.5] of those old hammer films.

(C. Zimmerman)

/

(R. Walker)

¢/


63

[18]

q

° Fl. & L [18]

q

as fast as possible

L Cl.

¢&

#œ #œ# œ œ nœ bœ bœb œ œ #œ #œ œ n œ #œ œ œ œ œ œ nœ nœ œ œ œ #œ œ œ œ œ œ p

f La femme quand elle regarde hors-champ

L L Perc.

/ œ™ ¿™

Ϫ

Ϫ

[18]

q

œœœ #œ

í ™™ L í í í ™™

& Pno.

?

{

œœœ ™™î œ îî ™™î

œ

œ

[18]

œ q 3 3

° Vln. & L

œ œ

œ #œ œ nœ

3 [18]

q

L ? Vc.

œ

¢ œ p

(B. Carrière 1&2)

f

°/ La femme quand elle regarde hors-champ

(B. Carrière 3&4)

66

/

[22:18.5] total blackness,

(Evergon)

/

(G. Simoneau)

/

C’est un éclairage plafonnier donc on perd les yeux

6 [22:16]

(C. Holden)

/ on the top of the image,

6 (D. Bos)

/ [22:19.5] somewhat haunting.

6 (J. Hartman)

/ [22:15.5] with his eyes closed.

6 (B. Covit)

/ [22:16]

(R. Bean)

/

(C. Zimmerman)

/ He would often play hooky from high school

6 (R. Walker)

¢/ [22:18]


64

[19]

q

° Fl. & L

[19]

q = 120 3

q

3

. L nœ

3

œ.

nœ.

#œ. Œ

Cl.

¢&

nœ.

nœ.

œ.

# œ.

f

is looking off camera.

L L œ Perc.

œ

œ

/ ¿ [19]

q

nnœœœ L í™ ™ #œ í í 3 í ™™##œœœ

& Pno.

?

{

œœœ ™™î œ îî ™™î

3

œœœ

[19]

3 3

q

œ ° Vln. &

œ nœ #œ L

‰ œ œ œ #œ [19]

3

q

íL ™™ #œ. ™

? Vc.

œ. ™

œ. ™

œ. ™ ™™î

¢ œ p

is looking off camera.

(B. Carrière 1&2)

°/

66 [22:23.5]

(B. Carrière 3&4)

/

(Evergon)

/

total darkness.

6 [22:24.5]

(G. Simoneau)

/

(C. Holden)

/

(D. Bos)

/

(J. Hartman)

/

(R. Bean)

/

so most of it is this triangular...

strips of metal

6 [22:23] Everything is opressive.

6 (C. Zimmerman)

/ [22:22]

(R. Walker)

¢/


65

[20]

[21]

q q

. . . . íL ™™ œ œ œ œ ™™î

° Fl. & L

p [20]

[21]

q q

L Cl.

íL ™™ #œ œ œ œ ™™î . . . .

¢&

f Elle semble un peu submergée par la passion de son étreint.

L L

Perc.

She's got her arm around his neck.

L

/ œ™ ¿™

Ϫ Ϫ

Pno.

?

{

œ

œ

[21]

q

&

œ ¿

[20]

q

n œ œ í ™™ L nœ#œœ œœœ ™™î í îî í í ™™ # œ œ ™™î œ œ

n œ œ í ™™ L nœ#œœ œœœ í í 3 3 í ™™ # œœ œœ œ œ

[20]

™™î îî ™™î

[21]

q

q

° Vln. & L

L

[20]

[21]

q

q

L

L

? Vc.

œ ¢ œ f

p

f

She seems to be a little overwhelmed by the passion of his embrace.

(B. Carrière 1&2)

°/

66

6 Elle semble un peu submergée par la passion de son étreint.

[22:27]

(B. Carrière 3&4)

She's got her arm around his neck.

[22:40.5]

66

/

[22:31] Photographer as prophet, prophet

6 (Evergon)

/ [22:41.5] d’Henri un petit peu dans un certain pénombre.

6 (G. Simoneau)

/ [22:33] where I suddenly stop

from

6 (C. Holden)

6

/ [22:25]

[22:42] this... this...

6 (D. Bos)

/ [22:30.5] It's very

6direct. (J. Hartman)

/ [22:30]

(R. Bean)

and open cans of paint.

In the centre of the wall is a push-broom and two vertical, rectangular sculptures made from reflective metal,

6

6

/ [22:28.5]

The black of the sky at the top,

[22:35.5]

6 (C. Zimmerman)

/ [22:32.5]

(R. Walker)

to catch a matinee performance by Duke Ellington

or Louis Armstrong.

6

6

[22:34.5]

[22:41]

¢/


66

[22]

as fast as possible

q

° Fl. &

#œ #œ œ œ œ œ œ œ n œ # œ # œ œ œ #œ #œ #œ L

f

p

[22]

as fast as possible

q

L Cl.

¢&

# œ #œ#œ œ œ œ œ n œ b œ bœbœ nœbœ œ b œ œ # œ n œ œ #œ#œ œ# œ œ # œ œ # œ œ œ nœ p

They know each other.

f

L L

Perc.

/ Ϫ

Ϫ

Ϫ

¿™ [22]

q

í ™™ L í í í ™™##œœœ

& Pno.

?

{

nnœœœ #œ œœœ

œœœ ™™î œ îî ™™î

[22]

q arco

° Vln. &

L œ #œ mf [22]

q

L í ™#œ. ™

? Vc.

œ.

œ.

œ. ™™î

¢ œ p

They know each other.

(B. Carrière 1&2)

°/

6 [22:47]

Il est reculé dans un coin un peu comme “he got cornered, kind of, feeling,”

6 (G. Simoneau)

/ [22:43]

there it's the land that's moving instead of

(C. Holden)

/

(D. Bos)

/

(J. Hartman)

/

(B. Covit)

/

(R. Bean)

/

perhaps

6 [22:48]

(C. Zimmerman)

¢/


67

[23]

q

° Fl. &

œ #œ #œ œ #œ #œ #œ L

œ nœ œ œ #œ #œ œ œ œ

f

p

[23]

q = 120

q

. L nœ

3 3

3

nœ. Œ

Cl.

œ.

¢&

nœ. n œ.

f

# œ.

œ.

# œ.

It must have been raining that day outside.

L L

Perc.

/ œ

œ

œ

¿ [23]

q

& Pno.

?

{

nnœœœ í ™™ L #œ í í œœœ í ™™ ##œœœ

œœœ ™™î œ îî ™™î

[23]

q as fast as possible

L ° œ Vln. & #œ

œ#œ œ œœ œ œ œ#œ œ œ#œ œ œnœnœ œ œ œ œ#œ #œ œ œ œ œ œ#œ œ œ œ œœœ œœ #œ œ œ œ œœ œœ œœ nœ œ p

f

[23]

q

L ? Vc.

œ ¢ f It must have been raining that day outside. She is carrying an umbrella

(B. Carrière 1&2)

°/

66 [22:52]

(G. Simoneau)

/

(C. Holden)

/

(D. Bos)

/

walkway of

6 [22:53]

You start to wonder

6 (J. Hartman)

/ [22:48.5]

Fascinating.

6 (B. Covit)

/ [22:51]

they are chrome.

(R. Bean)

/

(C. Zimmerman)

¢/

the mass of the wall on the bottom that is more shadow than wall.

6 [22:49.5]


68

[24]

q = 126

œ. n œ. n œ. œ .

q

L

° Fl. &

. #œ. œ

3

‰ nœ. #œ.

3

3

f [24]

q Cl.

íL ™™ #œ .

¢&

œ.

™ œ. ™î

œ.

f

Il devait pleuvoir, cette journée la.

L L

Perc.

/ œ™ ¿™

Ϫ

Ϫ

[24]

q

& Pno.

?

{

í ™™ L í í í ™™ ##œœœ

nnœœœ #œ

œœœ ™™î œ îî ™™î

3

3

œœœ

[24]

q

° Vln. &

L œœ œ œ œ#œ œ œ œnœ nœ œ œ#œ œœœœ œ œ œ#œ œœ #œ œ #œ œ nœ œ œ œ # œ œ n œ œ nœ œ œœ œœ œœ œœ œœ f

p

[19]

q

? Vc.

íL ™™ #œ. ™

œ. ™

œ. ™

œ. ™ ™™î

¢ p

(B. Carrière 1&2)

°/ Il devait pleuvoir, cette journée la.

(B. Carrière 3&4)

6 6

/

[22:57.5]

(Evergon)

as model.

Glasses make bug eyes for

6

6

[22:54.5]

[22:58.5]

/

(G. Simoneau)

/

(C. Holden)

/

(D. Bos)

/

(R. Bean)

/

stone

To the right of the two sculptures, pinned to the wall

6 [22:55]

(C. Zimmerman)

/

(R. Walker)

¢/

At sixteen, he was lucky enough to meet the legendary alto saxophonist Charlie Parker.

6 [22:55.5]


69

[25]

as fast as possible

. . . . . œ. œ. # œ n œ . . œ # œ n œ . . #œ b œ nœ œ. œ

q Fl.

° & L

p

f

[25]

q

as fast as possible

L Cl.

¢&

#œ #œ# œ œ œ nœ bœ bœ b œ œ œ #œ #œ œ n œ œ #œ œ œ œ œ nœ nœ œ œ #œ œ œ œ œ p

f in her handbag. Must have been raining that day.

L Perc.

L

/ œ ¿

œ

œ

[25]

q

& Pno.

?

{

í ™™ L í í í ™™ ##œœœ

[25]

nnœœœ #œ

œœœ ™™î œ îî ™™î

œœœ

q = 72 pizz.

œ q 3 3

° Vln. & L

œ œ

nœ #œ œ œ

3

f [25]

q

? Vc.

¢

L

œ ææ

œ ææ

#œ ææ

#œ ææ

#œ ææ

#œ ææ

#œ ææ

œ ææ

f

She's carrying an umbrella. in her handbag. Must have been raining that day.

(B. Carrière 1&2)

°/

6 6 [23:02.5]

(B. Carrière 3&4)

/

(Evergon)

/

(G. Simoneau)

/

slug or fat-cat caterpillar

par le photographe, mais je suis sur que c’était fait...

6 [23:00.5] myself.

6 (C. Holden)

/ [23:00]

(D. Bos)

/

(R. Bean)

/

is a small snapshot of a

6 [23:04]

(C. Zimmerman)

/

(R. Walker)

¢/

Parker.


70

[26]

q Fl.

° &

. . œ. n œ. . # œ. # œ b œ. . n œ. n œ œ. œ. œ. #œ nœ L p

f

[26]

q = 120 3

q

3

. L nœ

3

œ.

nœ.

#œ. Œ

Cl.

¢&

nœ.

nœ.

œ.

# œ.

f

Elle porte un parapluie.

L L Perc.

/ Ϫ

Ϫ

Ϫ

¿™ [26]

q

œœœ #œ

í ™™L í í í ™™

& Pno.

?

{

œœœ ™™î œ îî ™™î

œ

œ

[26]

3 3

q

œ ° Vln. &

œ nœ #œ L

‰ œ œ œ #œ 3 [26]

q

? Vc.

í ™™L #œ.

œ.

œ.

œ. ™™î

¢ p

(B. Carrière 1&2)

°/ Elle porte un parapluie.

(B. Carrière 3&4)

66

/

[23:10]

(Evergon)

/

(G. Simoneau)

/

(C. Holden)

/

(D. Bos)

/

I love the sea,

6 [23:11] about the man.

6 (J. Hartman)

/ [23:09.5] person standing in a yard.

(R. Bean)

/

(C. Zimmerman)

/

Trapped in between is the ragged silhouette of some treetops.

6 [23:07]

(R. Walker)

¢/


71

[27]

. # œ. # œ. . b œ. n œ. n œ. . œ. œ œ. . n œ #œ nœ L œ.

q Fl.

° &

p

f

[27]

q

as fast as possible

L Cl.

¢&

œ # œ #œ#œ œ œ œ œ n œ b œ bœbœnœbœ œ b œ œ # œ n œ œ #œ#œ œ# œ œ # œ # œ œ œ nœ p

f It must have been raining that day, she's carrying an umbrella.

L L Perc.

/ œ

œ

œ

¿ [27]

q

& Pno.

?

{

n œ œ í ™™ L nœ#œœ œœœ ™™î í îî í ™™î œœœ í ™™ ##œœœ

[27]

œ q 3

° Vln. &

3

L

œ œ

œ #œ œ 3

[27]

q

L ? Vc.

¢ œ f

It must have been raining that day, she's carrying an umbrella.

(B. Carrière 1&2)

°/

6 [23:17.5]

(B. Carrière 3&4)

/ I forgot the touching In my memory, and also, they are the centre of focus

(Evergon)

6

6hands pushed

[23:13.5]

[23:18.5]

/ c’était fait

6 (G. Simoneau)

/ [23:20] I'm

6 (C. Holden)

/ [23:20.5] sea, and I love these kind of tidal pools that are on either side of this...

(D. Bos)

/

(J. Hartman)

/ There is a house in the background.

6 (R. Bean)

/ [23:16]

(C. Zimmerman)

/

(R. Walker)

¢/

Parker was affectionately known to his followers as "Bird".

6 [23:12]


72

[28]

q

° Fl. & L

[28]

q = 120

q 3

Cl.

íL ™™ #œ .

¢&

j 3 j œ. œ. œ. ™™î

f Elle porte son bras autour de son cou.

L L

Perc.

/ œ™ ¿™

Ϫ

Ϫ

[28]

q

n œ í ™™ L nœ#œœ í í 3 í ™™ # œœ œœ œ œ

& Pno.

?

{

œœœ ™™î œ îî 3 ™™î

arco “” œ q L ææ

[28]

Vln.

° &

pp [28]

q

? Vc.

œ L ææ

œ ææ

#œ #œ ææ æ æ

¢

#œ #œ æ ææ æ

#œ #œ ææ æ æ

œ nœ æ ææ æ

œ p

f

Is she arriving or leaving?

(B. Carrière 1&2)

°/

66 Elle porte son bras autour de son cou.

[23:22]

(B. Carrière 3&4)

66

/

[23:30] upward

(Evergon)

/

(G. Simoneau)

/

(C. Holden)

/

(D. Bos)

/

en amitié, dans l’intent

still.

this long walkway of

6 [23:31] Who is he?

6 (J. Hartman)

/ [23:27.5]

/ Perhaps the most conspicuous feature of the photograph is the arms of a man in a white shirt

6 (R. Bean)

/ [23:23] The image leads us to the extreme left of the view,

6 (C. Zimmerman)

/ [23:28.5] I would like to imagine that John was thinking of "Bird" when he made this photograph.

6 (R. Walker)

¢/ [23:22]


73

[29]

q = 126

q

. íL ™™ œ™

° Fl. &

. œ. œ™

œ. ™™î

p [29]

q as fast as possible

L Cl.

¢&

#œ#œ# œ

nœ #œ œ # œ œ œ œ œ œ bœbœb œ n œ n œ œ œ œ œ #œ œ n œ # œ œ œ œ œ œ

p

f Is this a reunion or a farewell?

L L œ

Perc.

œ

œ

/ ¿ [29]

q

nnœœœ í ™™ L #œ í í í ™™ # œ œ œ œ

& Pno.

?

{

œœœ œ

™™î îî ™™î

[29]

q :“; œ Vln.

L

° & mf

pp

[29]

q

? Vc.

íL ™™ #œ. ™

œ. ™

œ. ™

œ. ™ ™™î

¢ p

Is this a reunion or a farewell?

°/ (B. Carrière 1&2)

66 [23:37.5]

(B. Carrière 3&4)

/

(Evergon)

/

and forming

6 [23:37] Mois j’ai un feeling, quand je regard cette photo la, de regarder un jeune Ian McKay

6 (G. Simoneau)

/ [23:33] The world's now

6 (C. Holden)

/ [23:39.5] cement.

(D. Bos)

/

(J. Hartman)

/ Normand Rajotte Ce que je vois dans cette photo

c'est l'intensité

6

6

[23:33.5]

[23:38.5]

/ (R. Bean)

/

(C. Zimmerman)

/

(R. Walker)

¢/


74

[30]

[31]

as fast as possible

q

q

. íL ™™ œ

° Fl. & f

œ. œ. œ. ™™î

œ #œ œ#œ#œ œ œ œ#œ œ œ # œ # œ œ#œ œ L

p

f

[30]

p

[31]

q = 120

q

q 3

Cl.

íL ™™ #œ .

¢&

íL ™™ #œ .

œ. œ. œ. ™™î

f

p

3

j œ. œ.

j œ. ™™î

f They must have been playing music together.

Est-ce que c’est un retrouvaille

L Perc.

L L

/ œ œ™

Ϫ

Ϫ

¿™

¿

[30]

[31]

q

q

n œ œ í ™™ L nœ#œœ œœœ í í œœœ í ™™ ##œœœ

& Pno.

?

{ :“;

í ™™ L í í í ™™ ##œœœ

™™î îî ™™î

œœœ

#œ #œ

q q

° &

3

3

œœœ ™™î œ îî ™™î

[31]

[30]

œ

Vln.

nnœœœ #œ

L L

pp [30]

[31]

q

q

L

L

? Vc.

œ ¢ f

p

They must have been playing music together.

(B. Carrière 1&2)

°/

6 Est-ce que c’est un retrouvaille

(B. Carrière 3&4)

[23:46]

66

/

[23:44] forward

6 (Evergon)

/ [23:45.5] du groupe Minor Threat

6 (G. Simoneau)

/ [23:47] sweeping to the right

(C. Holden)

/

(D. Bos)

/

And there's a

6 [23:45]

6What's he doing? (J. Hartman)

/ [23:45.5]

(N. Rajotte)

/

(R. Bean)

/

dangling from the top of the wall.

6 [23:42.5] but there is nothing there to break the spell

6 (C. Zimmerman)

/ [23:41] Birds soaring high in the sky

6 (R. Walker)

¢/ [23:44]


75

q = 126 [32]

œ.

n œ.

n œ.

# œ.

q Fl.

° &

œ. L

œ. #œ.

œ.

3

f 3

3

[32]

q

as fast as possible

L Cl.

¢&

# œ #œ #œ œ œ œ œ n œ b œ bœ bœ nœ bœ œ b œ œ # œ n œ œ #œ #œ œ # œ œ # œ œ#œ œ œ nœ p

Are they going to play music together?

f

L L Perc.

/ Ϫ

Ϫ

Ϫ

¿™ [32]

q

í ™™ L í í í ™™ ##œœœ

& Pno.

?

{

nnœœœ #œ œœœ

œœœ ™™î œ îî ™™î

[32]

q

L

#œ #œ Vln.

° & mf [32]

q

œ L æ æ

? Vc.

¢

œ æ æ

#œ ææ

#œ ææ

#œ ææ

#œ ææ

#œ ææ

œ ææ

f

Are they going to play music together?

°/ (B. Carrière 1&2)

6 [23:51.5]

(B. Carrière 3&4)

/

(Evergon)

/

(G. Simoneau)

/

(C. Holden)

/

and we become the still centre.

6 [23:48]

(D. Bos)

/

(J. Hartman)

/

(N. Rajotte)

/

L'intensité du regard de John

6 [23:51.5] His arms are

6 (R. Bean)

/ [23:53] and we fall back to the weight of the shadow.

6 (C. Zimmerman)

/ [23:49.5]

(R. Walker)

¢/


76

[33]

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[33]

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ou un reunion?

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as fast as possible

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f

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(B. Carrière 1&2)

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(B. Carrière 3&4)

6 6

/

[24:01.5] a vacant clit

6 (Evergon)

/ [23:58]

(G. Simoneau)

/

(C. Holden)

/ beautiful texture in the cement. Um, you know, you can see that it's sort of crumbling apart in the distance, but

6 (D. Bos)

/ [23:56.5] He has coveralls on and there's

6 (J. Hartman)

/ [24:00]

Terence Gower sur le monde qui l'entourait. ...and this

6 (N. Rajotte)

6

/ [24:02] [23:55.5] cropped by the photograph and are perfectly centred above the broom and the two sculptures.

(R. Bean)

/

(R. Walker)

¢/


77

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f Another man, on the side of the frame, smiles at them

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p

[34]

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Another man, on the side of the frame, smiles at them

°/ (B. Carrière 1&2)

66 [24:04.5]

(B. Carrière 3&4)

/

(Evergon)

/

(G. Simoneau)

/

alors il m’a fait vraiment penser a

6 [24:03] The car

6 (C. Holden)

/ [24:07]

(D. Bos)

/

(J. Hartman)

/

(T. Gower)

/

(R. Bean)

/

(R. Walker)

¢/

one in particlar of the wharf,

like a brilliant solo by Charlie Parker

6 [24:05]


78

[35]

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[35]

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[35]

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(B. Carrière 1&2)

°/ Vont ils jouer un air de musique ensembles? Vont ils faire de la musique

(B. Carrière 3&4)

66ensembles? Vont ils jouer un air.

/

[24:12] in the void

6 (Evergon)

/ [24:13] un jeune Ian avec la tête

6 (G. Simoneau)

/ [24:15] focal point is ominous and exciting,

(C. Holden)

/

(D. Bos)

/

I...

6 [24:14.5]

(J. Hartman)

/

(T. Gower)

/

you see some people in the distance.

6 [24:11] Nothing is defined,

6 (C. Zimmerman)

¢/ [24:10]


79

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He seems to be happy to see this reunion.

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°/ (B. Carrière 1&2)

(B. Carrière 3&4)

/

(Evergon)

/

(G. Simoneau)

/

(C. Holden)

/

66

6

[24:17]

[24:22]

rasée.

and we end up inside that car, inside the camera,

6 [24:20.5] I can

6 (D. Bos)

/ [24:23.5] what looks like artwork in the background,

6 (J. Hartman)

/ [24:18] But, what

6 (T. Gower)

/ [24:20] the world is

6 (C. Zimmerman)

¢/ [24:23.5]


80

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(B. Carrière 1&2)

°/ Sur le côté gauche de l’image un homme sourit.

(B. Carrière 3&4)

6 6

/

[24:28] of the sky and blank

6 (Evergon)

/ [24:29]

(G. Simoneau)

/

(C. Holden)

/

(D. Bos)

/

(J. Hartman)

/

(T. Gower)

/

really imagine myself walking on this, and I can also imagine

really strikes you are

6 [24:27] dark,

(C. Zimmerman)

/ "How High the improvising on one of his favourite songs,

(R. Walker)

6

6

[24:25]

[24:30]

¢/


81

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Are they going to play music together?

(B. Carrière 1&2)

°/

6 [24:32.5] Il semble heureux de voir le couple s'étreindre

(B. Carrière 3&4)

6 6

/

[24:36.5] space.

(Evergon)

/

(G. Simoneau)

/

Voila. Sinon...

6 [24:31] with John Max.

6 (C. Holden)

/ [24:34.5] why he stopped right there to

6 (D. Bos)

/ [24:37.5] so maybe he's an artist

6 (J. Hartman)

/ [24:31.5] the trace of people in...in th...these sort of vestiges of

6 (T. Gower)

/ [24:33.5] unsettled,

6 (C. Zimmerman)

/ [24:36] Moon".

(R. Walker)

¢/


82

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The light is dim.

6 6

/ [24:41.5]

(B. Carrière 3&4)

[24:45]

/ The vingetted corners,

6 (Evergon)

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6 (G. Simoneau)

/ [24:42.5] take this photo, because

(D. Bos)

/

(J. Hartman)

/

painting in his studio,

6 [24:44] a perfect example human industry.

(T. Gower)

(C. Zimmerman)

6

6

[24:40]

[24:45.5]

/

¢/


83

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[43]

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° (B. Carrière 1&2)

p

/

It's a black and white photograph,

the picture is grainy,

6

6 6

[24:51]

[24:58.5]

La lumière est faible. l'image est en noir et blanc.

L’image est granuleuse,

L'image est en noir et blanc. La lumière est faible et grise.

(B. Carrière 3&4)

66

/

66 all in burned photo technique

[24:47]

[24:56.5]

6 (Evergon)

/ [24:50] une pose un petit peu formelle, mais encore la, uh,

6 (G. Simoneau)

/ [24:54] beautiful illusion in the

it's this c...c...you know

6 (D. Bos)

6

/ [24:46]

[24:58] concentrating,

6 (J. Hartman)

/ [24:57.5] dominated by the hook hanging from the crane. This of course is...is the industry of the port.

here is the photograph

6 (T. Gower)

/ [24:52] unstable.

6 (C. Zimmerman)

¢/ [24:49]


84

[45]

[46]

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p

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L Cl.

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comme la plupart du temps dans les images du John Max.

it's a wide shot,

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[45]

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[46]

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[45]

[46]

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it's a wide shot,

(B. Carrière 1&2)

°/

6 comme la plupart du temps dans les images du John Max.

[25:07.5]

comme dans la plupart des images du John Max.

6 (B. Carrière 3&4)

6

/

[25:13.5] trying to contain the prophet, undulating slug in his hippie, striped, formless sack.

6 (Evergon)

/ [24:59.5] à côté contre…

6contre le…contre le (G. Simoneau)

/ [25:14.5] of this...this walkway that becomes a giant pyramid that pierces the horizon.

landscape

6 (D. Bos)

/ [25:09] trying to figure out some problem.

6 (J. Hartman)

/ [25:08] I feel like I'm seeing the landscape as through the eyes of someone that's being kidnapped.

6 (C. Zimmerman)

¢/ [25:04]


85

[47]

[48]

[49]

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[49]

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the light is dim,

as in always, in John Max's photographs.

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L L Perc.

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[48]

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°/ (B. Carrière 1&2)

(B. Carrière 3&4)

f

the light is dim,

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6

6grainy,

[25:18.5]

[25:21]

as in always, in John Max's photographs.

/ I want to think Ginsberg

(Evergon)

or some Québécois equivilent.

6

6

[25:17.5]

[25:21.5]

/ comptoir, un peu contre le mur,

pour cette pose, pour John Max.

6 (G. Simoneau)

/ [25:19]

(D. Bos)

/

(J. Hartman)

/

(C. Zimmerman)

¢/

66 [25:23.5]


86

[50]

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= IX. Epilogue (Come Back. Stay Longer) Come back. Stay longer.

Cl.

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arco l.v. sempre

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vary throughout, pick out different harmonics and fundamentals, some or all of the rods (5-rod only) explore all the sounds....

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I Vln.

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hanging at the gallery of the Saidye Bronfman centre in Montreal

6

6

6

[25:41]

[25:45]

[25:46]

Come back. Stay longer.

° (E. L. Singer)

/ 6

(Noise)

¢/


87

visit,

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in the early 70s, I was so over-

(E. L. Singer)

°/

6

-whelmed

6

[25:50.5]

ppp

that I returned just about every other day for a whole month.

And every

visit, the photograph where I seemed to end up always,

unable to get

6

6

6

6

[26:00]

[26:04.5]

[25:53.5] [25:54.5]

[25:59.5]

6 (Noise)

¢/

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photograph

Fl.

I

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3"

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ppp

and her pooch.

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°/ 6

(Noise)

¢/

as though wishing to retain this one image as I departed,

was the enchanting

6

6

[26:07]

[26:11]

photograph of the young woman with the apple and her pooch.

Several years later I summoned the courage to

6

6

[26:11.5]

[26:17]


88

join

3"

I

° Fl. & œ

p

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ppp

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L

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ppp

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(E. L. Singer)

°/

join John Max's photography workshop.

This involved weekly gatherings with John dozen or so 'serious' and a fluid group of a photographers,

plus intimate visits with him, one on one, at home in his legendary

6

6

6

[26:19.5]

6

[26:23]

[26:27]

[26:31]

6 (Noise)

¢/

=

gift

° Fl. & I

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I Cl.

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p

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contact sheets and the like. book of Open Passport.

L L ¡

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3"

I

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ppp

kitchen

in order to discuss our work, criticise contact sheets and the like.

As a starting gift each new member of the workshop recieved a copy of the book of Open Passport.

6

6

6

° (E. L. Singer)

[26:35]

6 (Noise)

6

/ ¢/

[26:36]

[26:41.5]

[26:42.5]


89

one"

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(E. L. Singer)

°/

ppp

"To Eddie and Daydream, Love always makes a Circle. John Max, eighty-

one"

John and I became fast friends and in the ensuing years we spent hours together in the

kitchen.

I'd bring along my photos, my Irish Setter named Daydream and my

6

6

6

6

6

[26:48.5]

[26:53]

[26:55.5]

[27:00.5] [27:01.5]

6 (Noise)

¢/

=

way Sibelius

soup

3"

3"

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I I œ

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ppp ppp

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Sibelius

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3"

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I

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ppp

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(E. L. Singer)

°/

Sibelius Symphonies on record.

John would fill the room with his famous organic

6

6

[27:06]

6 (Noise)

¢/

[27:08.5]

soup and his infamous cigar smoke.

6 [27:11]

"Shoot less film, Eddie."

6 [27:14]

"Drink less coffee, John."

6 [27:16]

"This is a

6 [27:18]

way of life, Eddie."

6 [27:19]


90

bites

after

3"

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after the De Niro character

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bites

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ppp

"If ever I were forced to choose between my Nikon and my Irish bites the Setter, Johnny Boy, don't ask me which one dust."

(E. L. Singer)

°/

6

6

[27:21]

The very first time I called him that, Johnny-Boy,

6

[27:26.5]

[27:29]

ppp

after the De Niro character in "Mean Streets"

John had chuckled his approval:

6

6

[27:31.5]

[27:35]

6 (Noise)

¢/

=

far

editing?"

3" Fl.

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far

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editing?"

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Timeless hours without

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editing?"

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far

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#œœ ppp p “I’ve been called far worse, Eddie, believe me

(E. L. Singer)

°/

far worse."

6

ppp

Timeless hours without end.

Once I asked, “How did you prepare Open Passport? How did you put it together, you know, the

editing?"

6

6

6

[27:39.5] [27:40.5]

6 (Noise)

¢/

[27:44]

“It was simple.

[27:50]

6 [27:51.5]


91

narrative

old

3"

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David - and I just

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old

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¢ I began with the shot of my young son, David – and I just worked my way through to that photo of the

(E. L. Singer)

°/

p

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old man."

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6 [27:57.5]

6

narrative suggestions.

6

[27:59.5]

[28:05.5]

It was the shooting them that

6 [28:07]

6 (Noise)

¢/

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believe

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had taken forever.”

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“And how did the Pooch Shot fit in?”

“It very nearly didn’t – it was an afterthought,

believe me.

I had dozens of shots, over the years, of my friend Jean and her Pooch, and this was the most compelling."

6

6

6

6

° (E. L. Singer)

/ [28:10.5]

6 (Noise)

¢/

[28:13]

[28:15.5]

[28:17.5]


92

frequently

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two

3"

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central to his pedagogy.

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(E. L. Singer)

°/

p

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John had a two - or perhaps three - central to mantra or his pedagogy.

Mind your framing’ was the most frequent, oft repeated because so

frequently neglected by all of us.

The slightest bit of undesired negative space, a

6

6

6

6

6

[28:24.5] [28:26]

[28:30]

[28:33.5]

[28:36.5]

6 (Noise)

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otherwise arresting image.

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(E. L. Singer)

°/

‘Come Back’ was followed usually by another, ‘Stay Longer’.

“Eddie – look here, you’ve found a magical space where things are

6

6

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6 ¢/

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hint of obtrusive object, was sufficient for John to reject an otherwise arresting image.

[28:39.5]

(Noise)

p

[28:45]

6 [28:46.5]

[28:50]


93

happening.

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happening.

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The first take.

things to unfold.

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happening.

(E. L. Singer)

°/

6

p

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It’s a good shot. But this is only the beginning, the surface. The first take.

Come back to a place like this – hang around – and stay longer. Forget about time. Wait for things to unfold.

6

6

Those

6 [29:09.5]

[28:54.5]

[28:56]

[29:02]

6 (Noise)

¢/

=

toddlers

woman

lunge

3"

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(E. L. Singer)

°/

toddlers in the sandbox are gonna get into something unexpected.

The

6

6 6

[29:10]

6 (Noise)

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[29:13.5]

ppp

woman in the kerchief at the wheel of that convertible may shock you. And who knows - even The Pooch may suddenly

[29:14]

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lunge at Jean’s apple! You never know, Eddie.

6 [29:20]


94

away

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Seven years ago, John

Never. Ever.

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q = 63

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Never. Ever.” Seven years ago, John passed

away

and we

° 6 (E. L. Singer)

[29:23]

6 (Noise)

6

6

6

/

¢/

[29:29.5]

[29:32.5]

[29:34.5]


95

restaurants

kitchen

3"

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restaurants

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with me my own

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held an evening in his memory at one of his favourite downtown Montreal

ppp

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restaurants.

I brought with me my own framed and fond photograph of Johnny Boy,

in the

kitchen in that soupstained apron

6

6

6

6

° (E. L. Singer)

/ [29:38.5]

6 (Noise)

¢/

[29:41]

[29:46]

[29:46.5]


96

robe,

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robe,

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unforgettable features

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and ancient Japanese cherry-blossom kimono

p

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robe,

the ladle outstretched in his left hand,

the eternal stinking cigar in the other...

his unforgettable obscured by a dense features all but cloud of smoke,

yet an abiding broad

6

6

6

6

6

[29:56]

[29:59.5]

[30:01.5]

[30:04.5]

° 6 (E. L. Singer)

/ [29:51.5] [29:52.5]

6 (Noise)

¢/


97

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3" Cl.

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Johnny Boy. Undated."

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grin somehow peeking through,

(E. L. Singer)

°/

“Come Back. Stay Longer. Johnny Boy. Undated”

If only.

6for the ages.

6

6

[30:06]

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6 (Noise)

¢/

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&

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° ¢/ 6

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(P)

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Profile for Christopher Mayo

To Discard All Images  

To Discard All Images 2019 | 32' Commissioned by Arraymusic for flute, clarinet, percussion, piano, violin, violoncello and 5-channel playb...

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