Music for two alto flutes, violin and piano

Performed in April 2014 at Tanna Schulich Hall of the Schulich School of Music, McGill University

Performers:
Alto Flute: Jennifer Shi
Alto Flute: Diana Farnand
Violin: Chris Stork
Piano: Maxime Fillion

Thanks for listening!
Merci d'écouter!

Score available upon request for performances

Disclaimer: I do not own the rights to this image
http://www.astrotheme.com/files/astrology_testimonial.php

Myriade-s (2014)

*Winner of a SOCAN Hugh Le Caine Award (2nd prize)*

Texte de Gaston Miron - L'homme rapaillé

chacun ses pieds
dans ses pas

chacun ses larmes
au large des yeux

chacun sa main
dans l’aumône

dans le trois-mâts
chacun ses rêves

son mal de poudrerie
dans ses désirs

son mal de nébuleuse
dans ses pensées

au repas
chacun sa dent

chacun son cou
dans l’amour

chacun, chacun

chacun ses os
au cimetière


Musique de Maxime Fillion
Texte de Gaston Miron
Musique composée entre Janvier et Avril 2015.
Première mondiale par Cara Search à l'école de musique Schulich de l'Université McGill le 12 avril 2015.

Music by Maxime Fillion
Text by Gaston Miron
Music composed between January and April 2015.
World premiere by Cara Search at the Schulich School of Music of McGill University on April 12th 2015.

Contact info for the audio file:
maximefillion8@sympatico.ca


Tout un chacun | for mezzo-soprano and electronics (2015)

Theme: Mazurka-style
Variation I: Nocturne-like
Variation II: Vivace
Variation III: Maggiore
Variation IV: Lento
Variation V (Finale): Allegro con spirito 

World premiere by Dr. Marek Krowicki at the Schulich School of Music of McGill University on April 1st, 2015. Score available upon request.

Première mondiale par Dr. Marek Krowicki à l'école de musique Schulich de l'Université McGIll le premier Avril 2015. Partition disponible sur demande.

Hommage à Chopin | Thème et variations (2015)

Premiered at the Schulich School of Music on November 15th, 2015.

Performers:
Suzu Enns - Bass Clarinet
Ryan Kelly - Vibraphone
Joseph Fox - Vibraphone

Sound recording by Mathieu Bourassa.

Score available upon request.

Music for Bass Clarinet and Two Vibraphones (2015)

Composition vocale (SAATB) basée sur un texte de mon grand-père.
Première mondiale par l'Ensemble Vocal Soli-Tutti.

Vocal composition(SAATB) based on a text written by my grandfather.
World premiere by the Soli-Tutti Vocal Ensemble.

Arbre la vie le temps
Femme belle amie cet arbre-là
apaisant si beau bruissant et las
va garder nos amours, le veux-tu
vivre encore un peu qu'il ne soit abattu 
Bonheur du souvenir toujours présent 
Douleur du jamais plus
Bel arbre Femme notre vie dans le Temps 
Ses racines multiples dans l'abîme de moi 
gardent enclos l'amour de toi

-Roland Rabinoit(1927-2012),  Juin 1988

Arbre la vie le temps (2016)

Resident composer for the McGill Percussion Ensemble. World premiere on November 20th, 2016, at the Schulich School of Music, Polack Hall.

Performers:
Paul Finckel
Dylan Cochran
Brendan Ko
Fan Jiang

This following composition, written for percussion quartet, is based on an expression from the Menya language, which I first encountered in a documentary by Gene Searchinger, entitled Acquiring Human Language. The Menya language, which comes from a very secluded community in Papua New Guinea, and for which there is no written tradition, features rich and complex morphological rules. In Menya, a single "word" suffices to evoke the striking and poetic image of a "sun painting the ground red."

Formally, the piece is loosely based on the waveform of the spoken word in Menya, where the different sections of the wave correspond to the proportions of the musical sections. Furthermore, the rhythmic material of the work is based on the linguistic rhythm of the phrase translated in many different languages, thus producing a rich palette of contrasting rhythmical ideas. In this regard, the piece is founded around a primordial tension between structure and form, where the structure is based on the original expression from Menya, and the form is based on different translations of this word. In this sense, the original expression is treated as a kind of genetic code that generates the material for the work as a whole. Now, in each translation, some richness is gained, and some is lost...thus, tension is found precisely in the disparity that lies between the original structure and its multiple forms.

Photo credits to Shiguang Zhao

The Sun is Painting the Ground Red (2016)

 Original piano piece. Minimalist melancholic style.

Thanks for listening! Leave comments and like if you like what you hear!

Photo credits to the talented Shanice Bernicky.

Reflets (2011)

Original piano work in a cinematic style.

Thanks for listening! Merci d'écouter!

Painting by Escher


Timeless (2012)

If you want to listen to my other "Silences," you can find them on my Bandcamp page (link provided in my SoundCloud description). This series is available for purchase as well.

Photo credits to the talented Shanice Bernicky

Short piano improvisation evoking silence. The piano sound comes from Motu Symphonic Instrument. 
Thanks for listening! 

Courte improvisation pianistique évoquant le silence. Le son de piano provient de Motu Symphonic Instrument.
Merci d'écouter!

Silence No. 5

Solo piano cover of Blackbird, by the Beatles.
Played/recorded on April 21st, 2020.

Credits for the image used:
https://www.rspb.org.uk/birds-and-wildlife/wildlife-guides/bird-a-z/blackbird/

Blackbird cover (improvisation)

My take on a timeless Bill Evans tune. 
Played and recorded on April 24 2020.

Disclaimer: I do not own the rights to this image
https://www.pinterest.ca/pin/418482990375330490/

Time Remembered

Scoring demo. Feel free to contact me if you'd like to use this in a short film, etc.

All sounds are generated from Spitfire Audio Labs. Recorded February 6th, 2021.

Brume

Maxime Fillion is a music teacher, conductor, pianist, and composer/theorist who works and teaches in the Ottawa/Gatineau area. His primary interests are choral music and jazz.

Maxime Fillion obtained B.Mus. and M.A. degrees from McGill University in composition and theory respectively, where he has studied instrumental composition with Brian Cherney, John Rea, and Melissa Hui, as well as digital composition with Jimmie LeBlanc and Philippe Leroux. His master's thesis examines the music of pianist Brad Mehldau, focusing particularly on his covers of popular songs.

https://escholarship.mcgill.ca/concern/theses/8c97kv61r?locale=en


Maxime Fillion | Pianist/Composer

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