Mark van de Wiel and the Philharmonia Orchestra. Photo: Morten Lindberg.
— «Distant Words» (a title, one suspects, where the composer has indulged in a little wordplay on "words" and "worlds"!) is, for a work scored for a homogeneous group of instruments in the chamber-music tradition, an astonishingly multi-faceted composition. The extreme range of the clarinet is given a virtuoso but at the same time restrained, almost ascetic, solo part. Wolfgang Plagge, professor
«Distant Words»is a two-movement symphonic poem for clarinet in Bb and string orchestra by composer Flint Juventino Beppe.
— The flute solo in «Reminiscence» (the concerto's second movement) displays Beynon's world-class musicianship, with stunning tone quality and wonderfully sensitive phrasing.
The Flutist Quarterly (USA)
— Flint Juventino 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.
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.