Former cabinet minister lets musical side shine
Former federal cabinet minister has been a proficient pianist since childhood
This is a story about one of the most illustrious Canadian politicians of his era. It has little to do with politics.
This is what many know about Don Johnston: He was born in Ottawa, but lived in Montreal most of his life. He was first elected to Parliament in 1978 as the Liberal member representing StHenri–Westmount. He served in various cabinet positions during the periods when Pierre Trudeau and John Turner were prime ministers. He was the president of the Liberal Party from 1990 to 1994. After leaving politics, he went on to become the secretarygeneral of the Organization for Economic Co-operation and Development (OECD) from 1996 to 2006 in Paris. Following that stint, he rejoined Heenan Blaikie, the now-defunct law firm he co-founded in 1973.
This is what some people know about Don Johnston: He was involved in Canadian film as a lawyer specializing in tax-shelter strategies in the 1970s, and represented actress Geneviève Bujold and her then-husband, the late director Paul Almond. Bujold and Johnston formed a production company, later sold to Astral, helmed by producer Harold Greenberg — also a Johnston client.
And this is what very few people know about Don Johnston: He has been a proficient pianist since he was a kid — as those fortunate enough to catch him tickling the ivories in impromptu performances over the years can attest. He is also something of a composer. In the late 1970s, he wrote, among other composi- tions, a piece of music he had hoped would be used as the score for an Almond film. The film was never made.
Flash-forward 30 years: Johnston was cleaning out his OECD desk, and, amid his papers, came upon the unnamed score. He commissioned a musician in Paris to arrange it, and, sensing a local pulse to the piece, he christened it Montreal.
Flash-forward another six years: Johnston visited McGill’s music faculty in 2012, which soon led to jazz pianist Rafael Zaldivar re-arranging the piece. It was then to be played by Zaldivar on piano and a violinist as part of a program honouring Heather Munroe-Blum, who was stepping down as McGill’s principal and vice-chancellor. Those in the room were awed. For excellent reason. The piece is at times hauntingly sullen and, other times, vibrant — truly evoking the pulse of the city for which it is named.
Having caught up to him this week, Johnston is coaxed into playing the piece on the Mount Royal Club piano. Despite his protestations about his fingers not being up for the job, the 81-year-old composer performs admirably.
Ever self-deprecatory, Johnston recalls one of his most public concerts. It was following the 1984 Liberal leadership race, in which he ran, but lost to John Turner.
“I was about $400,000 in debt following that race, so it was decided that we would hold a fundraiser in the then-Alcan atrium. I knew I was going to play the piano, but I didn’t know they were going to dress me up as Elton John. It went well, but then the city of Montreal imposed an amusement tax of $8,000 — which was unfortunate, because we needed all the money we raised.
“People who had attended the evening were confused. Some wondered how this concert could be construed as amusing, and said they would have paid more if I hadn’t played,” he muses.
For a former politico, Johnston, surprisingly, doesn’t handle praise well. Those who have heard his Montreal piece have been near-unanimous in their appreciation.
“It’s not bad, I guess. I’d personally like to hear it with a more complete orchestra,” says Johnston, casually noting that three other versions — two by string ensembles and one by piano — have also been performed. “In retrospect, I probably should have spent more time on my music. I don’t think I have a great ear now. My mother is the one who was the great pianist.”
One of those taken by the Montreal score was Leonard Cohen, to whom Johnston had sent a recording shortly before the troubadour passed away in 2016.
“Listened to Montreal,” Cohen wrote Johnston. “One hell of a piece of music. Didn’t know you were a composer. Great work. Thank you, Don.”
Johnston and Cohen went back to the 1950s when both were studying law at McGill. Even though Cohen left after one term to pursue artistic endeavours, the two ended up as roomies for a spell a few years later in a nowdemolished Stanley St. residence. They kept in touch throughout the years, and both served as pallbearers — along with Fidel Castro and Jimmy Carter — at Pierre Trudeau’s funeral.
Johnston had been concerned upon learning that Cohen was very ill. Johnston could relate because he, too, had been battling disease — pancreatic cancer. Diagnosed four years ago. Johnston appears to be winning his battle, and had been offering Cohen encouragement.
“I was so saddened to learn of Leonard’s passing — he was just such an amazing talent who was able to transcend the generations,” Johnston says. “From our correspondences, you couldn’t tell that he was sick. He was always so upbeat.
“I hope I can be like that. I’ve been fortunately beating the odds, but I don’t know how far that’s going to take me.”
Regardless, Johnston may have given up his law practice, but he is not slowing down. He is still a going concern, consulting on public policy, making speaking appearances and writing. His third book, released last year, Missing the Tide: Global Governments in Retreat, clearly indicates he’s up to speed on international developments.
As Washington Post columnist David Ignatius said of the book: “Read it and weep! Johnston has written what he rightly calls the ‘true but tragic story’ of how the United States and its allies squandered their chance to build a better world in the 1990s.”
“The world is increasingly under the control of strongmen, some of whom masquerade as democrats,” Johnston says. “In Trump, you have a guy who is the leader of the free world theoretically, who is not a democrat. He admires these strongmen. It’s frightening. We could well be on the road to Fascism. These are very worrisome times.”
All of which may well explain why Johnston’s music serves as a panacea and a much-needed escape.
In retrospect, I probably should have spent more time on my music. I don’t think I have a great ear now. My mother is the one who was the great pianist.