Orchestra

I breathe in what life has to offer, and
breathe out what I have to offer life.

Symphonic Poems    Suites    Concertos    Symphonies






Beppe makes full use of the skills he masters better than most the ability to speak out with unadorned sincerity and to do so on art's own terms, and he invalidates any debate about his conformity (or lack of it) with stylistic norms simply by expressing his own original and authentic self. First and foremost Beppe is a storyteller who is not scared by distance and is not afraid to go it alone. A person who can handle distance can also handle time and space.

Wolfgang Plagge, professor



Latest orchestral music album



REMOTE GALAXY Flint Juventino Beppe

Ralph Rousseau, viola da gamba
Mark van de Wiel, clarinet
Emily Beynon, flute
Philharmonia Orchestra
Vladimir Ashkenazy
Nominated for a Grammy award in 2015
Remote Galaxy Op.81 is dedicated to Ralph Rousseau
Flute Concerto No.2 Op.80 is dedicated to Emily Beynon
Cat. No. 2L-100-PABD
 



This is a stunningly unusual flute concerto full of poetry, drama and intense feelings.
The Classical Reviewer

2L's recording - Blu-ray and accessible in 5.1 and 7.1 DTS, 2.0 LPCM and 9.1 Auro-3D - does indeed sound breathtaking.
Gramophone Magazine

More reviews



Flint Juventino Beppe and Vladimir Ashkenazy. From the recording sessions of the
album REMOTE GALAXY with the Philharmonia Orchestra. Photo: Morten Lindberg.


















Table Of Contents

Click back / left arrow in your browser to return to this TOC







About my Grandfather Op.37

Lost in September Op.17

People of Blue Dimension Op.4b

In the Twilight Op.3

Lyric Pieces Op.32

Euphoric Pieces Op.33

Remote Galaxy Op.81

Symphony No.1 'Operientes Mare' Op.89

Four Elements of Hedmark Op.85

Vicino alla Montagna Op.58b


Vicino alla Montagna Op.58b


Flint Juventino Beppe as pictorial artist is also abundantly present in his music Vicino alla Montagna Op.58 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 film maker, 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, Bepps's portrayal is darker and more stringent: we are certainly not in the Alps, rather in the weatherbeaten mountains of northern Norway where nature, not man, decides.

Vicino alla Montagna Op.58b Relevant informationDigging Deeper






Not really Gone Op.37 No.4


Is it possible to feel the presence of a person who has passed away? Some people say they can. What stays forever is the emotional imprint of the joy that was once shared. The gentle legend might still be around, and in Not Really Gone, the last movement of About my Grandfather, long lines of distinctive and unusual harmonies from the orchestra's string section, set against the backdrop of polyrhythmic woodwinds and horns, create a celestial feeling that might suggest that a dead person is somehow still among us.

About my Grandfather Op.37Relevant informationDigging Deeper






Heart Op.27 No.5


Heart Op.27 No.5 is a symphonic poem for tubular bells and string orchestra. It is the final movement from Theh Goldest Op.27, also released as single score & parts. First performed in 1998 by Jyvskyl Sinfonia, conducted by Ari Rasilainen. UK premiere in 2009 by the Philharmonia Orchestra, conducted by Vladimir Ashkenazy.







Flute Mystery Op.66b


Dedicated to and premiered by Sir James Galway



Flute Mystery Op.66b. Aside from being the album title of the Grammy-nominated SACD & Blu-ray production FLUTE MYSTERY, this is also an independent symphonic poem for flute and orchestra. It is a melodious piece; at the same time appealing and complex, with many hidden layers. The work is dedicated the flutist Sir James Galway, and had its world premiere at the Kennedy Center (Washington) in 2006 by Galway and National Symphony Orchestra, conducted by Leonard Slatkin. On the recording in question, the work is performed by Emily and Catherine Beynon and the Philharmonia Orchestra, conducted by Vladimir Ashkenazy.








Pastorale Op.32 No.1


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.






Tightrope walking beneath heaven Op.32 No.8



Tightrope walking beneath heaven: the tightrope walker who challenges fate high on the wire, with a sardonic half-smile on his face, is perhaps the most autobiographical of the works on this album. Once again the music thrills and disturbs us, as we witness the nihilistic and brashly provocative teasing of Death itself. The orchestral sound is at times broad, at other times narrow, but it always knows precisely where it is going, alert to every step forward, like the tightrope walker. 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.







Remote Galaxy Op.81


Dedicated to and recorded by Ralph Rousseau




It is not often that the viola da gamba features as a solo instrument in contemporary music, and it is, perhaps, rather strange that so few composers today seem interested in the clean and delicate sound of this instrument, much loved and much used in baroque music. Flint Juventino Beppe is a musician who relishes going his own way and in Remote Galaxy, where he takes us on a journey in sound, time and space, he chooses the viola da gamba, along with a glass harmonica, as his equipage, so to speak. In Remote Galaxy time has become an abstract and relative term. Since the galaxy is billions of light-years away from us, we see it as it was billions of years ago; its present time is also its past time, and therefore in this context our own "now" becomes mind-bogglingly irrelevant. It is this profound philosophical standpoint, a hallmark of Beppe, that moulds a narrow, highly concentrated perception of sound at times chillingly cold, at times red hot. Beppe's music always embodies an element of dualism, more so in this particular composition than ever before.







About my Grandfather Op.37


In memory of Ragnvald Jacobsen (1905 - 1997)




About my Grandfather Op.37 (1998) is written in memory of the composer's grandfather Ragnvald Jacobsen (1905-1997), who was given the nickname Beppe by his grandson (and the grandson has now taken the same name himself). He was a semi-professional athlete and had a profound influence on the composer's childhood and adolescence. This audio recording is also the soundtrack of the art movie MONTAGNA CON FORZA, directed by Beppe.

The work has four movements. Timeless Legend is the recognition of a legend, a tribute to the timeless qualities of kindness, strength and elegance. The memories will never be erased, but will be sustained endlessly. The piece is imaginatively orchestrated with several melodic themes, continuously reinforced by the cello's pizzicato figures and the timpani's very recognizable motif.

How can affection be described? Warm by Heart perhaps portrays the act of giving and receiving affection. Carefully orchestrated, with a central oboe solo, this piece might be seen as the composer's personal manifesto of a warm heart.

In Running Laps of Eternity the listener is tempted to envisage an athlete on the track, perhaps trying to break a record. One can interpret the horns performing stop notes as the counting of the laps, almost urging the athlete to greater efforts! The solo clarinet plays an important role in this virtuoso piece.

Is it possible to feel the presence of a person who has passed away? Some people say they can. What stays forever is the emotional imprint of the joy that was once shared. The gentle legend might still be around, and in Not Really Gone, the last movement of About my Grandfather, long lines of distinctive and unusual harmonies from the orchestra's string section, set against the backdrop of polyrhythmic woodwinds and horns, create a celestial feeling that might suggest that a dead person is somehow still among us.

Some people say that the most powerful feeling of all is the love that arises from the heart. It may save you, as in fact it saved Beppe once. A beloved woman is symbolised in Heart, the last movement from the symphonic poem Theh Goldest Op.27. Written for tubular bells and strings, this piece has also been used as ballet music. Beppe himself says in the liner notes for the sheet music: Leave the rainfall in peace - no more waiting for nothing, you'll always be there.


Movements:
  1. Timeless Legend (05:35)
  2. Warm by Heart (03:50)
  3. Running laps of Eternity (04:15)
  4. Not really Gone (05:00)

About my Grandfather Op.37  Relevant information Digging Deeper

 













Theh Goldest Op.27


Dedicated to Randi Karlsen





Movements:

  1. Neck (9:20)

    Looking around, you may always turn to the soft side of existence.

  2. Scent (6:40)

    Expecting something to move, there is much to find in the room.

  3. Mark (6:30)

    No need to get lost, as your soul rests at a clear point.

  4. Infinity (6:20)

    As I say when all my different feelings collapse in a positive way.

  5. Heart (8:00)

    Leave the rainfall in peace. No more waiting for nothing. You'll always be there.

Text by Flint Juventino Beppe



Theh Goldest Op.27 No.5













Piano Concerto No.1 'Anxiety' Op.24


Dedicated to Wolfgang Plagge



Beppe wrote Op.24 during two days in the Easter of 1995. The work was written in heavy anxiety, based on melodies he had composed in his early teens. However, Beppe says the titles do not indicate this to be program music as such, they are only a clue for the listener. The music needn't be about that clue specifically.


Piano Concerto No.1 'Anxiety' Op.24










Piano Concerto No.2 'Urge' Op.44


This is a highly individual, yet hugely engaging work full of breadth, poetry and an inner depth.
The Classical Reviewer (UK)



Piano Concerto No.2 'Urge' Op.44









Piano Concerto No.3 'Monster' Op.44


The Piano Concerto No.3 'Monster', Op.45, also in three movements, brings a different nature with the first movement, Beyond, opening with a light-hearted wandering theme for piano picked up by the orchestra. There is a jazzy element to the music that is punctuated by intricate little passages and phrases, yet overall this movement moves ahead with a swagger. Among brings a calm flowing theme for piano and orchestra with subtle little rhythmic pauses. The music slows, centrally, to a more thoughtful passage for orchestra with the piano joining this slower, darker version of the theme before leading to a particularly fine melodic section with constantly shifting harmonies that takes us to the coda. Inside opens forcefully for piano and orchestra before falling, only to build again dramatically, with timpani strokes. There are some terrific orchestral moments for wind showing Beppe's fine skills as an orchestrator.
The Classical Reviewer (UK)



Piano Concerto No.3 'Monster' Op.45








Distant Words Op.43b


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.


Distant Words Op.43b Relevant informationDigging Deeper









Flute Concerto No.1 Op.70


Dedicated to and premiered/recorded by Emily Beynon


Beppe is one of a handful of composers who are able to create the rare experience of enchanted silence in their music. Beppe's Flute Concerto No.1 Op.70 contains several such moments.

Even though his tools are a "conventional" orchestra using "conventional" instruments, an unreal atmosphere of calm and celestial flight arises. One of the most fascinating aspects in this regard is that he does not use any minimalist or modernist devices at all; he simply allows the music and its inner qualities to speak in full. In our current age of constant hectic activity, where it is barely permitted to think a complete thought, music such as this is of the greatest importance: it gives the listener the chance to experience time as a benefit and not as a punishment. The concerto is dedicated to the Royal Concertgebouw Orchestra's eminent flautist Emily Beynon, and it received its premier performance in London in February 2009.


Movements:
  1. Memento (07:30)
  2. Reminiscence (05:20)
  3. Obituary (02:00)
  4. Awakening (04:50

Flute Concerto No.1 Op.70 Relevant information Reminiscence | Digging Deeper Relevant informationAwakening | Digging Deeper









Flute Concerto No.2 Op.80 


Dedicated to and recorded by Emily Beynon



Flint Juventino Beppe's previous album, FLUTE MYSTERY (which included his first concerto for flute and orchestra), revealed his special ability to compose fine music for the flute. For many years he has worked with outstanding flautists at home and abroad, and has composed extensively for this instrument. His Flute Concerto No.2, which we hear in this recording, is in many ways the dark shadow of the first concerto. The titles of the movements might at first sight seem programmatic, almost suggestive of computer games music (for example the use of graphic triggers as mirror-images of the titles of the first and fourth movements), but they are not essential for an understanding of the drama in this work. For here we truly have a profound and threatening musical drama: the artist's draconian struggle with his demons. Once again it is the tension between the extremes of human consciousness and emotion, from deep despair to a brazen gallows humour, that makes so vivid an impact on the listener.



Movements:
  1. Alarm (06:40)
  2. Deepest Woods (05:30)
  3. Escaping Time Power (05:50)
  4. Mrala (04:30)

Flute Concerto No.2 Op.80   Relevant informationAlbum details












Four Elements from Hedmark Op.85



Then four beams of light struck through the atmosphere and hit Hedmark in different places, and thus manifested themselves as the Four Elements of Hedmark.


The beam struck the door

Perhaps, when the door has a double function and it might be the path to freedom or captivity, the whole fundament of existential thinking is shaken as the beam strikes the door of potential change.

The beam struck the most beautiful memories

A euphoric and beautiful memory does not have to be based on nostalgia. If a beam strikes the most beautiful memories in life, the thoughts might freeze into ice, and the present is placed in a vacuum.

The beam struck the ultimate stairs

Mankind is building a flight of stairs from the earth up towards the universe to achieve a higher level of existence. However, if a clown is assisting in this process, it is difficult to predict whether this quasi-jovial workforce has a positive or negative effect. Nonetheless, the beam will interfere and finish this building process before one achieves any more knowledge than one had five seconds ago.

The beam struck the young girl by the river

Perhaps, an example of life's intricacy, the last beam strikes a little girl sitting by the river bank looking towards the other side. But the beam does not bring death. She achieves magical powers from the beam, and the ability to see through time and space through a veil called "All that happens". She drifts where the wind blows and leaves an "I was here" on a harp string.



Movements:
  1. The beam struck the door (8:40)
  2. The beam struck the most beautiful memories (6:20)
  3. The beam struck the ultimate stairs (4:50)
  4. The beam struck the young girl by the river (6:50)


Four Elements from Hedmark Op.85   Relevant information Digging Deeper






NB! The MIDI audio is made by FJB and is not meant to replace live performances only to give insight into the idiom of the work.

Navigate between the four movements using the following time stamps:

1. The beam struck the door (0:00)
2. The beam struck the most beautiful memories (8:48)
3. The beam struck the ultimate stairs (15:07)
4. The beam struck the young girl by the river (19:40)


MORE SHEET MUSIC