Über der Wiese schwebend Op.88
Introduction written by Flint Juventino Beppe
For a short moment in time, we gain insight into some of the mysteries of the earth.
14 flutes are floating on a glass floor, suspended over a lush field. The flutes take on the voices of the field through the glass, and transmit the secrets of this hitherto undisclosed world, into the language of music.
The glass floor works as a window on nature. It is also a magnifying glass that lets us see three different worlds of existence: the surface of the field, the soil beneath the surface, and deep inside the ground of the field. All three worlds carry different life forms.
First, the flutes carry the voices of the field's colorful surface, and we are able hear the living creatures communicating with each other. Then, the glass floor lets us see deeper into the field. The flutes convey the life and communication between living organisms in the soil. Finally, and very deep into the earth, the glass floor reveals a final secret: a large valley that delivers all life. Here, «The Melody of Existence» keeps everything living carefully connected.
According to Beppe, this tone poem is not about imitating the sounds of nature, but rather; it tells a fictional story of what secrets a field may carry. The title and additional information is only meant to give the listener some clues about the composer's central idea.
When conductor Rune Bergmann asked Beppe to write a symphony themed "the Sea" for the Fjord Cadenza 2019 festival, Beppe saw an immediate connection between two of his earlier works, Über der Wiese schwebend Op.88 for flute choir (which unfolds in a lush mountain field) and Inner Seas Op.16 (which unfolds inside the brain). With quotes from these works, the journey from land to sea continues in Symphony No.1 «Operientes Mare» Op.89 – and a shimmering field of tension between these elements is painted in the four movements of Symphony No.1 'Operientes Mare' Op.89 — TOWARDS THE SEA, THE GIANT GLOBULE, BELOW THE WAVES and THE NETHER SUN.
NB! The attached audio is a live version (excerpt only) of the work, performed by Die 14 Berliner Flötisten, available with kind permission. Copying strictly forbidden.
Flute Mystery Op.66
Alto Flute, Harp and String Orchestra (Op.66a)
C Flute, Harp and String Orchestra (Op.66b)
Piano reduction (Op.66c)
Dedicated to — and premiered by — Sir James Galway
Aside from being the album title of the Grammy-nominated album FLUTE MYSTERY, Flute Mystery Op.66 is a symphonic poem for 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.
Sir James Galway, Flint Juventino Beppe and Leonard Slatkin, after the
world premiere of Flute Mystery Op.66a (Washington D.C., 2006).
Beppe writes music of a spare beauty. The 15-minute, one-movement piece merges cool restraint and rhythmic exactitude. Galway, to whom Beppe dedicated the score, played his languid lines with sympathy and dark polish.
Washington Post, October 6, 2006
Performances on October 5, 6 and 7, 2006 in The Kennedy Center, Washington D.C. by Sir James Galway and National Symphony Orchestra, conducted by Leonard Slatkin.
FLUTE MYSTERY was nominated for a Grammy 2010 in the category Best Surround Sound Album
Catherine Beynon, Emily Beynon, Vladimir Ashkenazy and Emily Beynon. Photos: Keith Saunders.