Delve into a selection of compositions by Flint Juventino Beppe.
Click any work title or image to explore sheet music, audio, video, curiosities or further details connected to this work.
Aside from being the album title of the Grammy-nominated album FLUTE MYSTERY, Flute Mystery Op.66b is a symphonic poem for transverse flute, harp and orchestra. Op.66 comes in a version for Alto Flute (Op.66a), C Flute (Op.66b) and Piano Reduction (Op.66c).
It is a melodic anchored composition; on the surface appealing and relaxing, but at the same time dynamic, complex and with many hidden layers.
The composition is dedicated to the flautist Sir James Galway, and the original version for Alto Flute had its world premiere at the Kennedy Center, Washington D.C., in 2006 by Galway and National Symphony Orchestra, conducted by Leonard Slatkin.
The C Flute version was first performed at St. John's Smith Square, London, in 2009 by Emily Beynon (flute), Catherine Beynon (harp) and Philharmonia Orchestra, conducted by Vladimir Ashkenazy: The C Flute version is also available on the album FLUTE MYSTERY (2L), performed by the same artists.
The 2nd movement of Flute Concerto No.1 Op.70 is a tranquil piece for flute and strings, also available on FLUTE MYSTERY.
The 4th movement of Flute Concerto No.1 Op.70 features the rarely used glass harmonica.
A five-movement symphonic poem for symphony orchestra.
The 5th movement of the symphonic poem Theh Goldest Op. 27 is also released as a a free-standing publication, written for tubular bells and strings.
It has a lyrical character, and is also used in ballet. The work had its UK premiere in 2009, performed by Philharmonia Orchestra, conducted by Vladimir Ashkenazy.
Pastorale Op.32 No.1 is an apparently bright and care-free composition which only after a while begins to worry us this is due to the elegant use of bitonality which gives the piece a veritable Janus face. We are treated to another example of Beppe's compositional ambiguity one of the principal elements of his music in a work which is open to interpretation in any direction. The home key is F, constantly "undermined" by C sharp minor and D flat major tonalities.
The 4th movement of the symphonic poem About my Grandfather Op.37 has an ethereal and delicate radiance. It is written in memory of the composer's grandfather who was a semi-professional athlete.
A synthesizer and percussion work with a lot of dreamlike, melodious sequences.
The 1st movement of People of Blue Dimension Op.4a is a rather modest, repetitive solo-piano piece, displaying lyrical harmonies. Additionally, this work is used in the films MONTAGNA CON FORZA and VICINO ALLA MONTAGNA.
Beppe's tone-poem Warning Zero Op.54b is another example of his ability to paint sounds with energy. The brass are responsible for an almost apocalyptic assault on the listener there is something threatening and inevitable about the music; even in the brighter woodwind passages the music does not rest, wandering in search of lost calm.
Flint Juventino Beppe as pictorial artist is also abundantly present in his music Vicino alla Montagna Op.58b is music to a film with the same title. Beppe paints landscape panoramas with a steady, sure hand. And, from his point of view as a filmmaker, he seeks long lines in the artistic discourse like Richard Strauss in his Alpensinfonie he uses the entire expressive register of the orchestra to describe the magnificent peaks in all their inward and outward facets. Unlike Strauss, however, Beppe's portrayal is darker and more stringent: we are certainly not in the Alps, rather in the weather-beaten mountains of northern Norway where nature, not man, decides.
A four-movement Double Concerto for violin, cello and orchestra.
This one-movement symphonic poem features rarely used instruments like viola da gamba, glass harmonica and tubular bells. In this galaxy, we encounter «The Little, Strange Army» and Amanda, the Queen of Galaxy.
There is only one path to take (a single false step, and it's all over) so discussions of which route might be best are superfluous and irrelevant. In other words, we have once again arrived at the very core of Beppe's music, but have approached it from a new direction and see if from a new angle.
The extreme range of the clarinet is given a virtuosic but at the same time restrained, almost ascetic, solo part. Light and vitality permeate the whole piece the composer hints at a sense of euphoria over the presence of the girl, but at the same time the listener feels a hesitant tenderness, a distance of Schubertian proportions.
All quotes on this page by professor Wolfgang Plagge, taken from album liner notes.