Kryptonite and Superman.

I´d better stick to my music lab

Published August 9, 2017 | Permalink
Have you ever noticed how Superman suffers, and loses his power, when he comes too close to the green material Kryptonite?
I don't think I am Superman.

Still, I experience similar heavy reactions when I come across moralism, twisted radical feminism or any religion, including those practicing barbaric "traditions" such as baptism and circumcision of the defenceless. Freedom-violating politics immediately leaves me paralysed and, even worse, makes me extremely despondent about the human race. These violations of personal freedom and the private sphere are my Kryptonite.

Unfortunately, the nature of democracy has severe faults. People elect representatives that they trust to lead a country, but the pitfalls in such a system are many. To begin with, quite a few politicians have convictions – possibly very private ones – heavily saturated by religion or prejudice – and what is more, these convictions are based on ignorance. These factors aren't necessarily talked much about before a general election. Politicians have an unfaltering confidence in what they believe to be true, and very few are willing to let themselves be open-minded.

Is it tactically wise to let biased and unenlightened people form the legislative body of a country? Well, no. Simply because legislation concerns everyone.

Do politicians have to prove that they know the Universal Declaration of Human Rights, and are they pledged to remove any law or law proposal that breaches these? Obviously not. Is it then tactically wise to let these people form the legislative body of a country? Well, no. Simply because legislation concerns everyone.

Then there is the matter of the voters in a democracy. If they know that the candidates (and even some parties) are ignorant and prejudiced, and they still vote for them, it logically follows that a majority of the ordinary men and women are to blame when bigoted legislation comes into effect. What makes it even worse is that over 50 % of the voters might actually agree with narrow-minded politics. This scares me.

Is it then tactically wise to let oblivious, careless people vote for who shall run the country? Again, no. Simply because legislation concerns everyone. 

But this is the true nature of democracy, and this is what always strikes me as utterly senseless: an uninformed mass elects ignorant politicians who make bigoted laws, and there is obviously nothing here to prevent clearly moralising and prejudiced policies, often driven by very personal convictions and feelings, from taking effect.

To be honest, I have difficulties knowing who to trust in this democratic power-chain, including the people closest to me, never knowing if new autonomous-depriving legislation pops up out of reasons that only can be traced back to bigotry or personal agendas.

A good system, or perhaps not?

All right, no humans seem to be perfect, and in order to be a little constructive, an obvious improvement to democracy would be to automatically reject any sentiment, religion or proclaimed moralism in connection with policy making, because they suffocate people that simply cannot accept this fanatical straight-jacket. It would also be a huge improvement if elected representatives had to prove that they know all internationally accepted human rights by heart, and could in some way be compelled to consider them before drafting law proposals.

It is as simple as it is serious: freedom-violating politics automatically breaches several articles in the Universal Declaration of Human Rights, and whole nations will suffer because of this.

Perhaps it would be an equally good idea to let voters prove that they in fact know what they are voting for, in order to avoid detrimental results. Then, at least, the election would mirror a choice based on knowledge, rather than on ignorance, knowing that the electors have actually voted using their intellect, and have not just followed ingrained, populist patterns which are often controlled by emotions and mass suggestion.

If you wish to poison your own mind with moral hysteria, twisted radical feminism or religion, please go ahead, since this is a private matter. But please don't exploit democracy to push the convictional "drug" on all the citizens in a nation.

So, when I come too close to state-manufactured Kryptonite, the only way for me to keep afloat is to turn away in time to avoid the lunacy completely, even if it means I have to leave the country permanently: no reading of newspapers, shunning other unpredictable sources of information. Tiresome? Yes, indeed. But I have no other choice; I am not equipped with a "filter" to save me from exposure to, and to help me ignore, state suppression.

Luckily, a few things in my life are always exceptional - untouchable in quality, pure and timeless. What these are, I will keep to myself. But these gems always generate music in my head

Superman or not, every new day will present me with chunks of Kryptonite.

I'd better stick to my music lab.


Related:


Tightrope walking

Interview with Flint Juventino Beppe









Humour accompanied by solemnity. To Beppe, these moods are reciprocally coexisting.

The collective understanding of sounds

Published January 24, 2017 | Permalink
Tones seem to be universally perceived around the world.
What you hear, you may (or may not) react to. Languages convey meaning, semantics. But the question is: can you grasp the connotations or associations in lyrics performed in a language you do not speak yourself?

I believe so. If you hear a song in a foreign language, you may get a different yet meaningful experience, even if you do not understand the language.
I have chosen to re-release three albums with their original lyrics because I believe there is a collective understanding of sounds – the musical significance in every syllable that fills a melody.

I define any text I produce as I define the music in what I create. Lyrics are transnational; they travel easily, freed from the conventions of geographical and political borders. Basically, you can decipher meaning from anything you hear. To me, lyrics are often a part of the overall mood and sound picture of a melody, rather than something that speaks for a specific nationality or belongs to a defined geographical area through the language used. The actual words and the semantics of the text narrow the songs down, while I think of the lyrics as opening the songs out.
 
Through the years I have released several albums, with different types of music: orchestral music, chamber music, electroacoustic works, songs and surreal poems. But if anyone were to ask me which genre or album I rate the highest, I would not be able to choose. I cannot rank the albums. I have come to apprehend that genres are just man-made niches to help define artistic expressions of music in order to perhaps make it easier to relate to what you hear. Putting music into a niche creates some sort of order and stability. 

My albums are often conceptual. A story is told whether I sing and play the guitar or an orchestra performs a concerto. I wish to discard any pre-existing notion of what to expect from a release. I never look to a specific genre or think that I have to make an orchestral music album to sound credible or elevated.
It is just as important for me to publish a song as to publish a flute concerto. The songs, the humour and the symphonic poems go hand in hand. Laughter, mystery and surrealism are equally significant. These elements combined create a "third eye" in what I make, and they are all a part of The FJB Fingerprint.

What about me personally as composer and artist? Am I as transnational as the expressions of art? To be honest, I realised some years ago that I needed to free myself from the nationality concept.
I belong nowhere and everywhere (well, perhaps even outside the world), just as the melodies and lyrics I have written do. I cannot feel pledged to a country if the country is teeming with bigotry and backward-thinking people. I have to be honest with myself, and therefore I have in many ways become exiled. I cannot find peace where human rights are violated and where such violation is actually helped by a democratic process: amateur politicians without any actual knowledge about human rights and respect for personal autonomy are elected into parliament, and they may pass legislation based on prejudice and incompetence.

I create art to counter the dark shadows that loom in the background. This helps me exist in this world. Basically, my whole production is a proclamation for personal freedom and a statement against bigotry. What I do, I do intuitively: I breathe in impressions and breathe out expressions.

There is one thought I cannot escape, the possibility that in the moment we are born, we fall into a situation in which we are stuck, since death seems to be so inextricably connected to birth. Perhaps human beings gradually register this subconsciously, and a common way to endure the invisible restraint of death approaching is to spin life-lies: to pretend for the sake of one's own happiness, or simply to maintain the will to exist.

Life-lies can take many shapes, and they are often coloured by moralism, politics, religion and the determination to impose one's own convictions and "truths" on others. Even though this might be seen to be both egocentric and cruel, the brain is perhaps programmed to keep one alive, and the accrued convictions feed the lies. Consequently, these deceptions gain a foothold as accepted conventions for a majority of people. It seems like death is the only way out of this lifelong confinement, and human beings find it comfortable to follow these conventions – life-lies as I call them – as death draws nearer. Meanwhile, the charade is unfolding, and human beings keep deluding themselves.
 
It is difficult for me to intellectually rationalise about this, being myself a part of the travesty, and being constantly reminded of, and confronted with, life-lies. Furthermore, it is beyond my comprehension how human beings can let intolerance and "moral hysteria" lead the way, and by so doing effectively undermine real personal autonomy and balanced thinking.

Still, I have moments of seeing pure innocence, and I occasionally experience inexplicable euphoria, and this is what makes it credible for me to justify making art, and staying alive. My sensory system is wide open, and I cannot close my eyes even if I wished. I am reminded of this every day and it is a constant fight, because I feel alienated in society, and I find it hard to lie to myself.
 
If our existence is a tunnel starting with our delivery into a life of being stuck then maybe, at the end of the tunnel, there is an opening, a relief from confinement. There is a fifty-fifty chance of this, as I see it. We just have to wait and see.

For now, I am in the middle of this tunnel, trying to communicate a universal language that will conceivably be understood by those of us who dare to lift our gaze: the collective understanding of sounds.





I create art to counter the dark shadows that loom in the background. This helps me exist in this world. Basically, my whole production is a proclamation for personal freedom and a statement against bigotry. What I do, I do intuitively: I breathe in impressions and breathe out expressions.










The Holy Bigotry is a short film by Flint Juventino Beppe.

The Holy Bigotry

Published May 1, 2016 | Permalink
What would the world look like without bigotry, without religion, without violating politics and moralism?
- The process of making The Holy Bigotry has been extremely painful. Nevertheless, I feel this film had to be made.

The composition «Warning Zero» Op.54a is as much a part of this anti-bigotry manifesto as the images are; it is the actual foundation of the film.

My intention with this film is not to prove religion wrong, because that may also be considered bigotry. Instead, I take a look back in history to show some of the dire consequences of religion and bigoted politics.

For me to cope with life, any existential questions must be left open. There may be no definite answers.

Flint Juventino Beppe, director and composer (and narrator)





Interview with Beppe in connection with the new film release



1. How would you explain the title of the film The Holy Bigotry?

– Well, it can be seen as a pun referring to "The Holy Bible", since the Bible is full of bigotry. In this film, the focus is on bigotry; how bigotry clad as religion and politics may develop into manipulation, and even lead to wars. Bigotry can take many shapes, not only on a big scale, but also in everyday situations. You will find it within families and close-knit communities. Religion can split the strongest of relationships. In its most undiluted form, religion will become fanaticism – and this is where it becomes so dangerous. When fanaticism arises within people, the zealots are convinced that their deity communicates directly with and through them. This happens because they actually believe it happens. The kind of euphoria these people experience may make a deep impression and thereby gain a strong foothold. However, this elation is only a part of man´s own imagination, and what comes trailing behind when this euphoria is revealed, might be substituted by the opposite; a feeling of humiliation and complete submission. Nevertheless, man seems to endure this earthly middle-stage as long as there is a promise of salvation in the end.

2. The film opens with a warning about the content. Is it necessary to use graphic images to make a point?

– It is not often that I use graphic images to this extent. This short film, I would say, is just as much a documentary as it is an art film. The photos and paintings are a way to document how innocence suffers when brutal politics or religion strikes: how children and people without much resistance get struck by the very powerful hand of the holy scripts, or the ideas of political fanatics. So in this case, it felt very natural to use graphic images, especially in relation to the very merciless music, which accompanies this narrative. To use censored clips and veiled images to convey a brutal world would simply not be credible.
   
3. Can you explain the title of the music "Warning Zero"?

– Without revealing too much, the "Zero" in the title might be seen as something digital. In the digital world one operates with the two values 1 or 0. All or Nothing. The "Warning" in this film might be referring to how fanaticism has dire consequences – signified by "0" (nothing) – for people, given the right (or wrong) circumstances.

4. Why do you think religion becomes such a substantial part of people's lives?

– Tradition and culture, combined with low self-esteem, fear and mass suggestion, are keystones in what constitutes the foundation for any religious movement, I believe. When a child grows up in a family where parents, or grown-up role models, bring religion into the child's life, this may alter his or her perception of life and living. Furthermore, it may be dramatic for such a child to renounce the family's religion, since this indirectly also involves breaking up with the family. The whole process of losing one's religion can be demeaning and painful, and in certain parts of the world might even be life-threatening. I think many people actually choose to keep their childhood faith "up and running" to avoid a painful confrontation with what they really believe. This again might lead people to play safe and be selective in what to believe because this is convenient for their lifestyle. For many, it is also safe to believe in an afterlife. These people choose to look away from the ugly realities of religion. And that is something I cannot respect. I think religion becomes such a big part of people's lives because they develop a fear of not knowing, and of not daring to leave questions open and unanswered, without leaning towards an abstract concept of a god. The idea of a possible afterlife is also a captivating one, simply because it is so scary not to know what will happen after you pass away. My suggestion is to wait and see: what else can we do? What you cannot technically know, you cannot know. Why not just settle for this uncertainty? Claiming with certainty that there is an afterlife is an attack on people's integrity and innocence, but claiming that there is nothing is also an attack. It is probably best to say that there is exactly a 50-50 chance you will be right no matter what you believe.

5. Do you think religion will ever vanish?

– The day this earth is demolished, and only then, will religion vanish. Until that happens, I believe that religion has far too firm a grip on people to ever let go. If we look at how much religion has destroyed, killed and violated, and how easy it is to detect the psychological mechanisms of religion, it is very perplexing that people have not abandoned the idea altogether a long time ago. Even when millions are made homeless and masses get killed in religious conflicts, people still cling onto their faith, not daring to say: "I do not know if there is a god" or "I do not know if there is an afterlife". It is easier to fall back on a ready-made road to redemption, and believe in something abstract. As long as there is fanaticism, as long as holy scripts are presented as the "truth" for children, and as long as priests are allowed to preach about heaven and hell, and fear is instilled in congregations, religion will survive.

Religion will continue to be a source of paranoia, bigotry, moralism, wars and terrorism as long as there are people left, and that saddens me greatly.


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Catherine Beynon und Emily Beynon. Foto: News on Request AS.

Maestro für einen Tag – Teil 2 / 2

Published January 9, 2016 | Permalink
Nach einem erfolgreichen ersten Aufnahmetag mit Maestro Vladimir Ashkenazy und dem Londoner Philharmonia Orchestra, wurde der zweite und letzte Tag ziemlich dramatisch.
(Lesen Sie Teil I hier, wenn Sie ihn verpasst haben sollten!)

In der Nacht vor dem 2. Tag der Aufnahmen schlief ich sogar besser als sonst. Schlaf und ich sind normalerweise zwei Extreme, die nicht so gut zusammenpassen. Vielleicht führten der Adrenalinkick sowie eine Mischung aus Schock und Euphorie vom Vorabend dazu, dass mein Körper in sich "zusammensank" um irgendwie die Verantwortung des nächsten Tages übernehmen zu können? Die Einspielungen des ersten Tages, die Aufnahmen von Flötenmaterial mit der Flötistin Emily Beynon und ihrer Schwester, der Harfenistin Catherine Beynon als Solisten, waren problemlos abgelaufen. Die Tatsache, dass der Dirigent Vladimir Ashkenazy direkt im Anschluss fiebrig erkrankt war, war für mich natürlich sehr traurig und emotional belastend.

Wir mussten jedoch weitermachen und das Projekt auf irgendwie stilgerecht beenden. Vladimir Ashkenazy hatte mich persönlich als Vertretung benannt. Das Amsterdamer Concertgebouw Orchester und das Londoner Philharmonia Orchestra sind seit meiner Kindheit meine beiden Lieblingsorchester, aufgrund ihres unverwechselbaren Klangs und der langen Zusammenarbeit mit hochgeschätzten Künstlern wie Bernard Haitink und Vladimir Ashkenazy. Wie bereits zuvor erwähnt, reicht mein Kontakt mit Ashkenazy bis zu meinen Jugendtagen zurück, sodass es ein ziemlich besonderer Moment für mich war, als das Flute Mystery Aufnahmeprojekt Mit dem Philharmonia Orchestra und Ashkenazy selbst als Dirigent Wirklichkeit werden sollte; darüber hinaus noch mit Emily Beynon, der ersten Flötistin des Concertgebouw Orchestra, als Solistin in «Flute Mystery» Op.66b und in «Flute Concerto No.1» Op.70, das ihr sogar gewidmet ist.

Am zweiten Tag kamen der Produzent Morten Lindberg und ich frühmorgens im Watford Colosseum im Norden Londons an, einem historischen Veranstaltungsort, der bekannt ist für seine einmalige Akustik und verschiedene sehr gefeierte Soundtrackaufnahmen, wie zum Beispiel das Musical The Sound of Music aus den 60er Jahren. Wir machten einen Spaziergang durch die Halle, um ein Gefühl für die kommenden Aufgaben zu bekommen. Eine Stunde später würden wir uns in eine komplett surreale Situation stürzen müssen. Einige Musiker waren schon im Haus eingetroffen aber noch wusste niemand, dass Ashkenazy krank geworden war und dass sie gleich einen Ersatz haben würden, der noch nie zuvor ein Symphonieorchester dirigiert hatte — auf welcher Ebene auch immer.

Als Test stellte ich mich ans Dirigentenpult und tat so, als ob Produzent Lindberg das Orchester sei, um zu sehen, ob ich mich an die Rolle des Dirigenten gewöhnen könnte. Ich stellte schnell fest, dass ich elementare Verständigungsschwierigkeiten hatte: Ich versteckte ständig meinen Kopf hinter meinen Armen. Lindberg sagte mir, ich solle meine Arme gerade ausstrecken, damit meine Augen und mein Gesicht sichtbar blieben. Da spürte ich, wie es sich anfühlen muss, in einem Orchester zu sitzen und wie wichtig es ist, freie Sicht auf Arme und Gesicht eines Dirigenten zu haben. Dieser Crashkurs und die Unterstützung des Produzenten Lindberg würden für den Rest des Tages entscheidend werden.

Das aufzunehmende Programm bestand aus drei Sinfonischen Dichtungen: «Pastorale» Op.32 No.1, «Vicino alla Montagna» Op.58b und «Warning Zero» Op.54b. Alle sind für eine breite Palette von Besetzungen geschrieben und sind durchweg anspruchsvolle Stücke, gespickt mit heiklen Rhythmuswechseln und virtuosen Passagen. Ich hatte diese schwierigeren Werke sogar extra bei der Planung für den letzten Tag zurückgehalten, damit sich Orchester und Dirigent am ersten Tag für sie "aufwärmen" konnten. Stattdessen befand ich mich nun in einer Situation, in der ich die Verantwortung für diese Wahl — vom Podium aus — persönlich übernehmen musste, Auge in Auge mit ungefähr 100 ultraprofessionellen Musikern.

Als alle Musiker zusammengekommen und bereit für die erste Aufnahme des Tages waren, informierte sie der Inspizient des Orchesters über Ashkenazys plötzliche Erkrankung und Abwesenheit und lenkte dann die Aufmerksamkeit auf mich. Diese Schritte aus dem Hintergrund aufs Podium waren extrem surrealistisch. Als ich das Philharmonia Orchestra über meinen völligen Mangel an Erfahrung als Dirigent von Symphonieorchestern informierte, wurde hörbar nach Luft geschnappt. Zum Glück verwandelte sich diese Unsicherheit schnell und entwickelte sich zu einer sehr konstruktiven Atmosphäre: Das Orchester würde mir bei meinem Versuch, die letzten Werke fertig aufzunehmen, beistehen. Wir hatten jedoch nur einige Stunden. Die fantastische Einstellung der Musiker und ihre musikalische Professionalität waren auf jeden Fall ein entscheidender Faktor beim Erreichen unseres Ziels.

Ohne zu sehr ins Detail zu gehen, haben wir es tatsächlich geschafft, alle Werke aufzunehmen — es war das Resultat einer fein abgestimmten Zusammenarbeit zwischen dem Produzenten Morten Lindberg, dem Orchester und mir selbst als Aushilfedirigent. Am Ende des Tages war sogar noch etwas Zeit übrig. Natürlich habe ich viele umständliche und ungewöhnliche Körperbewegungen gemacht, aber das Orchester war sehr kooperativ und die Spieler baten oft um die Erklärung von Details oder darum, dass ich meine Armbewegungen verändern solle um eindeutiger zeigen zu können, was der erste, zweite und dritte Schlag und so weiter waren. Der Perfektionist in mir und meine Kenntnis der Werke waren selbstverständlich sehr nützlich, aber ich hatte diese Werke noch nie wirklich live aufgeführt gehört; bis zu diesem Moment hatten sie lediglich als Töne in meinem Kopf und als Noten auf dem Papier existiert.

Danach fühlte ich mich beinahe froh über das Geschehene. Ich muss sagen, dass es überaus euphorisch für mich war, auf diese Art mit Musik arbeiten zu können — auf dieser Ebene. Ich trug mich sogar mit dem Gedanken, eine neue, zusätzliche Karriere als Dirigent zu beginnen. Dennoch habe ich bis heute nach diesem Tag in Watford nichts mehr dirigiert.



Das TV-Dokumentarfilm-Team News on Request, die als Beobachter vor Ort waren, haben wirklich unerwartete Dramatik aufzeichnen können. Als sie später ihren Film Exhaling Music veröffentlichten, wurde die Produktion international preisgekrönt, vermutlich zu einem großen Teil aufgrund der Ereignisse an diesem zweiten Tag in Watford. Dramen wie dieses ergeben gutes Fernsehen.

Ich bin allen Beteiligten, die diese Produktion möglich gemacht haben, sehr dankbar: Vladimir Ashkenazy, Emily Beynon, Catherine Beynon, das Philharmonia Orchestra, Produzent Morten Lindberg, Lindberg Lyd AS (2L), Symbiophonic AS, Erling, Randi, sowie andere Freunde und Assistenten, die am Planungs- und Aufnahmeprozess beteiligt waren.

Einige Zeit später, als ich die Nachricht erhielt, dass das Album Flute Mystery für einen Grammy nominiert worden war, dachte ich bei mir, dass wir an diesen zwei Wintertagen damals im Jahr 2008 etwas richtig gemacht haben müssen.

Flint Juventino Beppe
Komponist (und Maestro für einen Tag)

Ursprünglich gepostet am HELLO STAGE











Flint Juventino Beppe und Philharmonia Orchestra. Foto: Morten Lindberg.

Maestro für einen Tag – Teil I / 2

Published January 9, 2016 | Permalink
Wer hätte gedacht, dass dieser Wintertag im Januar 2008 zu einem Meilenstein würde in einem schon vorher überwältigenden Leben?
Nun, erst einmal ein paar Worte über das Projekt an sich: Die Aufnahme mehrerer neuer Orchesterwerke mit dem gefeierten Pianisten und Dirigenten Vladimir Ashkenazy und dem Londoner Philharmonia Orchestra innerhalb eines strikten Zeitlimits war aufregend und – für mich – nicht abzuschätzen. Ich hatte zuvor mit einer Ausnahme keines der Werte aufgeführt gehört, hatte noch nicht einmal die Noten mit einem Orchester getestet. Allerdings muss ich hinzufügen, dass ich bis heute noch nie überrascht worden bin davon, wie die Musik live klingt, nachdem ich die Noten in einer Sauna, in der Natur oder wo auch immer es passte, niedergeschrieben hatte. Dies allein war also nicht wirklich ein großes Thema für diese zwei Tage, in denen wir ein ganzes Album mit fünf FJB Werken für ein großes Symphonieorchester aufnehmen wollten.

Das Einzige dieser Werke, das ich zuvor live gehört hatte, war «Flute Mystery» Op.66a, die Altflötenversion, die dem Flötisten Sir James Galway gewidmet ist, der das Werk 2006 mit dem National Symphony Orchestra unter Leonard Slatkin in Washington DC uraufgeführt hat. Auf diesem Album nun ist es die C-Flöten-Fassung von «Flute Mystery», Op. 66b, die aufgeführt wird.

Es ist eines der vielen Geheimnisse des Lebens, dass einige Menschen zur künstlerischen Verständigung anscheinend nicht ständiger Kommunikation bedürfen. Kurz nach meinem allerersten Kontakt mit Ashkenazy im Alter von 17 Jahren wurde er zu einer Art musikalischer Vaterfigur für mich, der mich mit seiner Integrität unterstützte. Ich war und bin seinem "dritten Auge" sehr verbunden, das seinen Auftritten ein einmaliges Charisma verleiht. Daher fühlte ich mich geehrt, mit einem solch überragenden Musiker zusammenarbeiten zu können.


Catherine Beynon und Flint Juventino Beppe. Foto: Morten Lindberg.
Am ersten Tag liefen die Aufzeichnungen sehr gut, wir machten Aufnahmen von «Flute Mystery» Op.66b und «Flute Concerto No.1» Op.70, die ich aufrichtig als authentisch beschreiben würde. Schließlich erfolgten sie in Anwesenheit des Komponisten und mit einem Dirigenten, der den Komponisten sehr gut kennt, sowie mit erstrangigen Musikern und dem mehrfach preisgekrönten Schallplattenlabel 2L, die in Hinsicht auf die Tonqualität unerbittlich sind, dabei aber gleichzeitig innovativ, wenn es um das Erleben von dreidimensionalem Klang geht.
 
Der Produzent Morten Lindberg arrangierte das Orchester als einen geschlossenen Kreis um den Dirigenten herum, sodass die Balance der Noten als eine bestimmte, maßgeschneiderte Landschaft auf das Publikum treffen würde. All diese Details basierten auf der Aufnahmeerfahrung von 2L und sowohl das Orchester als auch der Dirigent nahmen die ungewöhnliche Platzierung der Instrumente als eine positive Herausforderung. Die Leitidee war es, dass das Orchester nun die Hörer "umarmen" würde, anstatt dass man das Orchester frontal vor sich spielen hört.   

Die Flötistin Emily Beynon, erste Flötisten des Amsterdamer Concertgebouw Orchesters und ihre Schwester, die Harfenistin Catherine Beynon, waren die Solisten. Das Philharmonia Orchestra — ein unglaublicher Klangkörper mit seinem eigenen unverwechselbaren Klang, den ich auf verschiedenen Alben der letzten Jahrzehnte genießen konnte — waren das weitere Humankapital bei diesem Projekt. Insgesamt wurde dieser erste Tag zu einem feierlichen Moment für mich als Komponist, den Aufnahmen mit solch herausragenden Kräften beizuwohnen.

Am Ende des ersten Tages erhielt ich jedoch eine völlig unerwartete Nachricht. Auf meinem Weg zurück in mein Hotel rief mich Ashkenazys Ehefrau an und teilte mir mit, dass der Maestro plötzlich fiebrig erkrankt sei und deshalb beim zweiten und letzten Tag der Aufnahmen nicht anwesend sein könne. Selbstverständlich galten meine Gedanken zuallererst Ashkenazys Zustand. Ich hatte große Angst, dass es sich um eine ernsthafte Erkrankung handeln könnte. Dann richtete ich mein Denken auf unser Projekt, das nun vor einer Krise stand. In solchen Situationen arbeitet das Gehirn unablässig, um einen Ausweg zu finden. Wir hatten nicht viel Zeit — und auch keine Ausweichlösung. Kein anderer Dirigent konnte einspringen. Wir hatten nur noch den nächsten Tag, um die Aufnahmen fertigzustellen. Wir saßen anscheinend in der Falle.

Vladimir Ashkenazy teilte mir durch seine Frau mit, dass er mich als die erste Wahl ansah, um das Dirigieren am zweiten Tag zu übernehmen. Ich verlor fast den Verstand. Ich? Ich hatte noch nie auch nur das kleinste Symphonieorchester dirigiert — oder, was das betrifft, irgendein Orchester. Was es noch schlimmer machte, ich bin kein sozial besonders aufgeschlossener Mensch; ich bin nicht gut darin, Dinge spontan anzugehen. Und bei diesem Projekt hatten wir das Philharmonia Orchestra, eines der besten Orchester der Welt, zur Verfügung, seit meiner Kindheit von mir persönlich hoch geschätzt. Es stand viel auf dem Spiel hier.

Ich war erst einmal entsetzt über die Verantwortung, ein Gefühl, das sich aber allmählich in Euphorie verwandelte. Der Produzent Morten Lindberg stellte sich hinter den Vorschlag Ashkenazys. Wir saßen spät abends im Taxi. Der Produzent und ich trafen die Entscheidung zusammen: Ich würde selbst dirigieren müssen. Nicht nur, weil niemand sonst einspringen konnte, sondern auch, weil tief in mir ein Perfektionist schlummert und ich darüber hinaus die Werke, die wir aufführen sollten, genauestens kannte. Ferner bedeutete auch die Tatsache, dass Ashkenazy mich persönlich vorgeschlagen hatte, sehr viel. Allerdings zählt das Bewegen meines Körpers und meiner Arme nicht zu meinem natürlichen Körpersprachen-Repertoire. Wie sollte ich nur den 3/4-Takt dirigieren — einen Walzer?

Flint Juventino Beppe





Diese Geschichte geht weiter hier.

Ursprünglich gepostet am HELLO STAGE










Morten Lindberg and Flint Juventino Beppe. Photo: News on Request AS.

Maestro for one day – Part 2 / 2

Published September 14, 2015 | Permalink
After a successful first recording day with maestro Vladimir Ashkenazy and the Philharmonia Orchestra of London, the second and last day would contain quite a bit of a drama.
(Catch up on Part I here if you missed it!)

I actually slept better than usual the night before day 2 of the recording sessions. Sleep and me are normally two extremes that do not melt so well together. Perhaps the adrenalin kick and a mix of shock and euphoria from the evening before made my body want to "collapse" in order to somehow be able to take responsibility the next day? The sessions on the first day, recording flute-based material with flautist Emily Beynon and her sister, harpist Catherine Beynon, as soloists, had been executed unproblematically. The fact that conductor Vladimir Ashkenazy had fallen ill with fever just after this was naturally very sad and emotionally challenging for me.

However, we had to try to proceed and finish the project in some kind of style. Vladimir Ashkenazy had personally named me as his stand-in. The Royal Concertgebouw Orchestra of Amsterdam and the Philharmonia Orchestra of London have been my two favourite orchestras since childhood, much because of their distinctive sound and lengthy collaborations with highly treasured artists like Bernard Haitink and Vladimir Ashkenazy. As I have mentioned earlier, my contact with Ashkenazy goes back to my youth, so it was quite a special moment for me when the Flute Mystery album project was going to be realised with the Philharmonia Orchestra and Ashkenazy himself as conductor, and, on top of this, with Emily Beynon, the principal flute of the Royal Concertgebouw Orchestra, as soloist in «Flute Mystery» Op.66b and in «Flute Concerto No.1»Op.70 which is, in fact, dedicated to her.

On the second day, producer Morten Lindberg and I arrived early in the morning at Watford Colosseum, north of London, a historical venue renowned for its unique acoustics and some very celebrated soundtrack recordings, e.g. the Sound of Music album from the 60s. We had a stroll through the hall in order to get a feeling of the upcoming tasks. One hour later we would have to jump into a completely surreal situation. A couple of musicians had already arrived at the venue, but none of them knew at that time that Ashkenazy had fallen ill and that they were about to have a substitute who had never conducted any symphony orchestra before — not at any level whatsoever.

As a test, I stood on the conductor's podium and pretended that producer Lindberg was the orchestra to see if I would manage to get used to the role of conductor. I quickly understood that I possessed elementary communication problems: I was constantly hiding my head with my arms. Lindberg told me to stretch my arms straight out to make my eyes and face visible. Then it struck me how it must feel to sit in the orchestra, and how important it is to have a clear view of both the arms and the face of a conductor. This crash course and support from producer Lindberg would become crucial for the rest of the day.

The programme to be recorded consisted of three symphonic poems:«Pastorale» Op.32 No.1, «Vicino alla Montagna» Op.58b and «Warning Zero» Op.54b, all of them written for a large gamut of instrumentation, and all of them demanding pieces, with their difficult rhythm-changes and virtuoso passages throughout. Actually, in the planning I had saved these advanced works for the last day in order for the orchestra and conductor to "warm up" for them on day 1. Instead, I had ended up in a situation were I had to take responsibility for this choice personally — from the podium — face to face with around 100 ultra-professional musicians.

When all the musicians were gathered and ready to start the day's first session, the orchestra's stage manager informed them about Ashkenazy's sudden illness and absence, and then handed the attention over to me. Those steps from the background onto the podium were extremely surreal. When I told the Philharmonia Orchestra about my total lack of experience as a symphony orchestra conductor, a gasp went through the hall. Luckily, this uncertainty soon changed and developed into a very constructive atmosphere: the orchestra was going to help me try to finish the last works to be recorded. However, we only had a few hours. The fantastic attitude of the musicians and their musical professionalism were definitely a critical factor in achieving our task.

Without going too much into detail, we indeed managed to record all the works — it was a result of a finely tuned collaboration between producer Morten Lindberg, the orchestra and myself as stand-in conductor. There was even some unused time left at the end of the day. Sure, I made many awkward and unusual physical moves, but the orchestra was very cooperative and the players often asked me to explain details or to change the way I used my arms to show more clearly what was the first, second and third beat and so on. The perfectionist in me and my knowledge of the works were naturally very useful, but I had never actually heard these works performed live before; they had only existed as tones in my head and as notes on paper until this very moment.

Afterwards, looking back on the day, I felt almost cheerful about what had happened. I have to say it was extremely euphoric for me to be able to work with music in this way — on this level. I even played with the thought of starting a new, additional career as conductor. However, as per today, I have not conducted anything after this day in Watford.



The TV documentary team News on Request, which was present as flies on the wall, really got an unexpected drama on tape. When they later released their movie Exhaling Music, it actually became an international award-winning production, I guess much because of what happened that second day in Watford. Dramas like this make for good TV.

I am very grateful for everyone who contributed to make this production possible: Vladimir Ashkenazy, Emily Beynon, Catherine Beynon, the Philharmonia Orchestra, producer Morten Lindberg, Lindberg Lyd AS (2L), Symbiophonic AS, Erling, Randi, as well as other friends and assistants who were present in the planning and recording process.

Some time later, when I got the message that the Flute Mystery album had been nominated for a Grammy, I thought to myself that we must have done something right those two winter days back in 2008.

Flint Juventino Beppe
Composer (and maestro for one day) 

Originally posted on HELLO STAGE










Vladimir Ashkenazy and Flint Juventino Beppe. Photo: News on Request AS.

Maestro for one day – Part I / 2

Published September 14, 2015 | Permalink
Who would have known that this winter day in January 2008 would turn out to be a milestone in an already overwhelming life?
Well, first a few words about the project itself. Recording several new orchestral works within a strict time limit with the acclaimed pianist and conductor Vladimir Ashkenazy and the Philharmonia Orchestra of London was thrilling and, for me, unpredictable. I had never heard any of the works performed beforehand, except one, nor had I in fact even tested the sheet music with an orchestra. Having said this I should add that I have never to this day been surprised by how the music sounds live, after writing down the notes in saunas, nature or wherever appropriate. So this in itself was not really a big issue for these two days when we were planning to record a full-length album with five FJB works for large symphony orchestra.

The only one of these works that I had previously heard live was «Flute Mystery» Op.66a, the alto flute version, which is dedicated to flautist Sir James Galway, who gave the first performance, playing in Washington DC in 2006 with the National Symphony Orchestra conducted by Leonard Slatkin. On this album it is the version of «Flute Mystery» for C flute, Op.66b, that is performed.

It is one of life's many mysteries that some people don't seem to need frequent communication in order to reach an artistic understanding. Soon after my very first contact with Ashkenazy back when I was 17, he became a kind of musical father figure to me, supporting me with his integrity. I was, and still feel I am, very connected to his "third eye", which adds a unique charisma to his performances. So I felt honoured being able to collaborate with such a pre-eminent musician.


Catherine Beynon and Flint Juventino Beppe. Photo: Morten Lindberg.
The first day, the sessions went very well, laying down recordings of «Flute Mystery» Op.66b and «Flute Concerto No.1» Op.70, which I would sincerely describe as authentic, being made in the presence of the composer, and by a conductor who knows the composer very well, top-level musicians and the multi award-winning record label 2L, who are merciless on the subject of sound quality, but at the same time innovative when it comes to how we experience 3- dimensional sound.

The orchestra was placed in a full circle surrounding the conductor, prepared by producer Morten Lindberg in order to ensure that the balance in the sheet music could meet the audience in a specified, tailor-made audio landscape. All of these details were based on 2L's production experience, and both orchestra and conductor took the unusual instrument placement as a positive challenge. The master idea was that instead of hearing an orchestra playing in front of you, the music would now "embrace" the listener.

The flautist Emily Beynon, principal flautist of the Royal Concertgebouw Orchestra of Amsterdam, and her sister, harpist Catherine Beynon, were soloists. The Philharmonia Orchestra — an incredible ensemble with its own distinctive sound, which I have enjoyed on several albums the last decades — were the other human resources involved in the project. All together, the first day became a solemn moment for me as composer, being present at the recording sessions with such superlative forces.

However, at the end of day 1, I received a totally unexpected message. On my way back to my hotel, Ashkenazy's wife called me and told me that the maestro had suddenly been taken ill with fever, and that he therefore could not attend the second and last day of the recording sessions. The first thing I thought of was, of course, Ashkenazy´s condition. I was terrified that the illness might be serious. Then my thoughts turned to our project, which now faced a crisis. In such situations the brain works intensely to find a way out. We didn't have much time — neither did we have a backup solution. No other conductor was ready to step in. We only had the next day to finish the recording sessions. We were, it seemed, trapped.

Vladimir Ashkenazy told me, via his wife, that he saw me as the first option to conduct on day 2. I almost lost my senses. Me? I had never conducted so much as a small symphony orchestra before — or any sized orchestra, for that matter. What was worse, in social matters I am not particularly outgoing; I am not good at doing things on the fly. And in this project, we had available the Philharmonia Orchestra one of the world's greatest orchestras, one of my personal treasures since my childhood. A lot was at stake here.

Immediately, I felt horrified about the responsibility, but gradually this feeling changed into euphoria. Producer Morten Lindberg backed up Ashkenazy's suggestion. We sat in the taxi late at night. The producer and I made the decision together: I had to do the conducting myself. Not only because no one else could take over, but also because deep inside of me there is a perfectionist and, moreover, I had an intimate knowledge of the works we were to perform. Furthermore, the fact that Ashkenazy personally suggested me meant a lot. But, moving my body and arms is not part of my natural physical way of expressing myself. How should I even conduct 3/4 time — a waltz?

Flint Juventino Beppe





This story continues here.


Originally posted on HELLO STAGE










Demonstrative article invented by composer Flint Juventino Beppe.

Theh [ðəh]

Published April 5, 2015 | Permalink
Through the years, I have come across situations when I could not find the words I needed in my vocabulary to express myself accurately enough. So, I had to invent the words, and add them in the glossary of mine. One such a word is the demonstrative article "theh".

Definition

theh [ðəh]

Demonstrative article used to point out "the one and only" / "the greatest" and similar, or to point out something unique / irreplaceable about a noun or adjective. The pronunciation is also characteristic.

What is special about the demonstrative article is that you also can use it before an adjective, generating a special meaning and mood because when using "theh", you actually change the adjective to become a noun.

Examples:

a) - I was looking for a matchless and incomparable racing car; then one day I came over theh car, and bought it immediately.
b) - My girlfriend is my true love. She is theh love.
c) «Theh Goldest» Op.27. In this work title of mine, "Theh" replaces the superlative, i.e. The (most) golden (something).

In the above-mentioned examples, some would have written "THE" to underline the meaning, e.g. "THE love".
By using "theh" instead, one avoids contaminating the language with three capitalised letters (adding unknown or inconsistent pronunciation). Furthermore, "theh" is easy to recognise in spoken language because of its characteristic pronunciation: theh [ðəh].

On an (ironic) end-note: It is also worth pointing out that I had to create the term «demonstrative article» to be able to classify «theh».


Relevant links


Copyright protected FJB words, trademarks and phrases


«Theh Goldest» Op.27 No.5

























- I don’t claim to be a master in English. I don’t claim to be the most social person living on this earth. In the FJB podcast, I just wish to share with you some stories or thoughts about music and life: naked, sincere and fearless. Flint Juventino Beppe

World Premiere: FJB Podcast

Published September 17, 2014 | Permalink
Presented by composer Flint Juventino Beppe. This podcast is an HD stereo production.
In the first episode ever, Flint Juventino Beppe talks about a loss.

What happens in the "musical soul" when strong life impressions are going to be transformed to musical expressions? Composer Flint Juventino Beppe talks about an incident from 1993 that resulted in the composition «Lost in September» Op.17.


Watch all episodes

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- If you have any questions you wish me to discuss in FJB Podcast; please send them to me per e-mail fjb@fjbfingerprint.com
I will do my best to answer all serious questions regarding my work as composer.


Flint Juventino Beppe









About my Grandfather is one of the digital albums now available.

When the past arises

Published August 27, 2014 | Permalink
It is a solemn moment for me knowing that three of my earlier releases are available again after a long period of absence from the music market, re-mastered and with extensive album notes.
You know, being constantly filled with music 24/7, a new release is in many ways a major personal relief. The music is now internationally available and has the potential to meet those people that still are not aware of this music's existence. This is interesting and fascinating to an artist and composer, but a bit demanding for me as business man, since I only would like to deliver pieces of sheet music or albums out of the window at home, and someone else picked it up. But the world is not like that.

Many of the tracks on About my Grandfather were written while being out in nature. If you have this music on your headset while walking in nature, I wonder if you will be able to hear this? Because of the many melodic and dramatic compositions on this album, the music is also used in movies. Read the album notes here, and see if this orchestral music album belongs in your collection.

Sometimes episodes of joy or despair get manifested on piece of paper. On Seasons of Life, several works from my teenage years are present. I have just as close relationship to my first work as to my last. Time is just a relative factor; perhaps we all in reality grow younger? You can read more about the content of this chamber music album here. If you are into flute, violin or piano music - or if you just wish to take a chance to meet an unknown world of organic music and life philosophy, then perhaps this album might become a future treasure? Among others, you will find the enchanting «Waltz of the Queen» Op.4a No.1, the piano piece that end all movies in the Symbiophonies series, on this album.

On Pictures before an Exhibition, I used a synthesizer and a computer, not only to write down what I was hearing (or sometimes dreaming), but also to perform the works myself on the recording. I consider myself to be a perfectionist, and being able to have full control over the audible expression feels just right. If you enjoy the many possibilities of synthesizers or the imaginative world of film music, and if you at the same time are a bit open to new soundscapes where instruments perform in ways that actually are impossible in real life, then this album might right down your alley. Read the album notes here. 

Well, time goes on, and there is much in this life I wish to do. Whatever happens, I am happy that the three new re-releases have arisen from the past and from now on can live their own life out there in the big, wild world.

I cannot promise that the music will appeal to your subjective taste, but I can promise honest musical journeys provided by The FJB Fingerprint. You'll find the albums on iTunes, Amazon, Spotify - yes everywhere where digital albums are for sale.

Take care - and thank you for the attention!

Best wishes from










- For me music has always been as clear and plain as looking at a tree. I just close my eyes and the music is there as clearly as the memory of the tree. Flint Juventino Beppe

A breath of thoughts

Published November 18, 2013 | Permalink
I am living at the age of zero and dying at the age of x.
What is music?

That is indeed a philosophical question. In order to answer your question I have to use a philosophical parameter: music is for me communication that goes beyond the intellect and emotions. Paradoxically, one has to use one's arenas of intellect and emotions as a backdrop to the music when it is written down systematically – that is, so as to make it comprehensible for human beings.

Read the complete interview with composer Flint Juventino Beppe


Deutsch










- For me, it is all about how to handle distance, time and space - and eventually leaving a musical fingerprint on a sheet of paper. Flint Juventino Beppe

Distance, time and space

Published October 2, 2013 | Permalink
Today I have reached another milestone in my life and career. The release of the album Remote Galaxy is a fact.
The digital album is released worldwide today, and in a few weeks, the physical products are out: both the Pure Audio Blu-ray and the vinyl double LP. The Blu-ray contains several audio streams, with 9.1 surround as the most spectacular technical feature. Of course, the good old stereo is available in all formats, and for the LP enthusiast, the vinyl double album might be worth checking out.

More than four years have gone since the previous release, the Grammy nominated Flute Mystery (2L, Philharmonia Orchestra / Ashkenazy / Beynon), and many thoughts and feelings are connected to the process of making a sequel. Besides composing the music, which never is more work than exhaling air, all the practical aspects connected to a huge production involving approximately 100 musicians are first and foremost a lot of planning and collaboration with the producer. Simply put: a lot of plain hard work.

Thus, it is a true privilege and honour to once again work with outstanding performers such as the Philharmonia Orchestra and Maestro Vladimir Ashkenazy and the soloists Emily Beynon, Mark van de Wiel and Ralph Rousseau. And it is always a pleasure collaborating with 2L, the innovative record label that never compromises with quality. So, I wish to extend my heartfelt gratitude to all of them.

As sure as I get up in the morning, music will fill my day. A sure as I meet the world and sense any "grandness" in the surroundings, music arises. This means that my days always are intense and challenging because I have no safety net or something to help me filter out certain impressions and thoughts; both the negative and the positive. This might be related to my life with Asperger´s and Tourette´s syndromes, a condition that instantly puts me in an alternative spot in a conventional world. For me, it is all about how to handle distance, time and space - and eventually leaving a musical fingerprint on a sheet of paper.

Remote Galaxy is available in iTunes and a lot of other places as digital album today, and I hope that my musical fingerprint might give the listeners a rewarding and lasting experience.

Today is a milestone.

Best wishes from



All about the release



Remote Galaxy | Release information




REMOTE GALAXY
by Flint Juventino Beppe


PHILHARMONIA ORCHESTRA
Vladimir Ashkenazy, conductor
Emily Beynon, flute
Mark van de Wiel, clarinet
Ralph Rousseau, viola da gamba
Catalogue No. 2L-100-PABD | 2L-100-LP



Buy the album at 2L











- I am a composer, so why shouldn't I compose my own name? The name change is due to personal and artistic reasons only. Other than what is stated here, I have no further comments. Flint Juventino Beppe

Flint Juventino Beppe

Published August 24, 2013 | Permalink
I have officially changed my name.
Nothing can come out of nothing. Consequences cannot come out of nothing.

Sometimes, a natural consequence will manifest itself as a name change, as it did for me. There is no drama connected to this decision; it has been on my mind ever since I was a child.

My first name Flint is a name that I closely associate with nature; a prime source of inspiration. It also has an old English meaning: a person living near a stream. I think Flint has a very nice sound quality, and the simplicity of the name makes it compelling.

My middle name Juventino has Latin origin and means one who represents youth. I sincerely believe that the character of the name Juventino suits me as a person and the music I create.

My last name Beppe is the pet name I invented for my grandfather when I was a child. I was extremely closely connected to him. When he died in 1997, I immediately wrote «About my Grandfather» Op.37 to honour his memory, hence Beppe is a very natural choice for me: it is in my blood, so to speak.

This name change is for personal and artistic reasons only. I am a composer, so why shouldn't I compose my own name? Other than what is stated here, I have no further comments.

Sincerely,

Flint Juventino Beppe


More about the name change [Wikipedia]











- I often end up with mountains, life or Beethoven. Or nothing. Flint Juventino Beppe

Grandness. Or nothing.

Published July 10, 2013 | Permalink
It has always been like that.
When I take a look at the mountains or the sky, I realize I cannot spend my time on anything but grandness. It's that or nothing.

My nature denies me to acknowledge «experimental» or ism-based aspects of life or art. Unless it is 100 % based on grandness.

Hence, I often end up with mountains, life or Beethoven. Or nothing.

Take care -


Take care -

Best wishes from










«Little Ida» is a song to the freedom of speach. And to the freedom of thought.

A little girl who made a big impression

Published April 7, 2013 | Permalink
«Little Ida» might be small, but the meeting with her made a big impression which hours later resulted in a new song.
One dark and difficult day back in 1994 when I was sitting at a café, a little girl suddenly came into the room and smiled very heartely to me. That changed my day completely. I didn´t know her or her name, but I called her «Little Ida». However, she became significantly and hugely important to me.


Take care -
Best wishes from



Little Ida

Free your thought, let it soar in the air – no disruption from the menace lurking in the shadows
Still, your thought is each moment's restraint
Little Ida will sit next to you – all your fears she will softly undo

It is yours – let it sail boundlessly – heart will nourish from her whisper spreading in the moonbeam
Little harebells fly low on a kite
Close your eyelids so early this night – lungs' desire, your breath to delight

Who might steal the beloved one from you – surely death has been waiting for the final statement
Who knows what will wait for you there
Don't panic – your head will be clear – though your body is drenched in fear

When the twilight is hunting you down – and you're crouching forever in the wild tornados
You may send all your worries my way
We will fight all the demons that slay

Or just simply; face the day


Flint Juventino Beppe (1994)











Flint Juventino Beppe is diagnosed with Asperger´s syndrome and Tourette´s syndrome.

Can you see it in my eyes - that I have Asperger´s syndrome?

Published February 25, 2013 | Permalink
I am thinking and thinking. And thinking.
Ever since my childhood, I have been living without a «filter»; something to sort out impressions in a hierarchical order. For me this is completely natural, because I do not know of any other ways to live. As a child, I felt that most of other children and adults behaved very different from me, having totally different interests or lacking the desires similar to what I had. I was alone. But being alone is not the same as being lonely. I existed in my own world, but found a lot of euphoria in a few, but powerful interests. 

Having had the Tourette´s syndrome diagnose for years, it took me 38 years to get the additional Asperger´s syndrome diagnose, after someone came up with the idea that Asperger´s syndrome could be the reason to all my inexplicable episodes through the years. Asperger´s syndrome is a relatively new diagnose, and I can imagine a number of "outsiders" and artists throught the years might have had it, too. But Asperger´s syndrome is not an illness; it is a syndrome within the autism spectrum. It has its good sides, too.

Read more here:

Asperger, Tourette and Art - Tightrope Walking beneath heaven



Take care -

Best wishes from


       











Flint Juventino Beppe hopes 2013 will bring more individual freedom for all people.

2013 - Escaping Time Power

Published January 8, 2013 | Permalink
As with all previous years, for me 2013 starts with a time challenge: how to deal with Time Power.
I have a dream.

Though, I know I am not the only one.

I dream the same every year: that all people can obtain total individual freedom, and that narrow-mindedness, moralism, religion and politics that abuse individual freedom will be eliminated as soon as possible. So much time is used to prevent freedom around the world, and Time Power is a constant challenge and existential factor between life and death. Perhaps taking a look at the star lake can make the Time Power a friend rather than a frightening force?

Well, I know I have to continue dreaming. Probably until my last breath in this life.

In the meantime, I take the liberty to breath out more music and lyrics about this.


Take care -
Best wishes from


«Flute Concerto No.2» Op.80 is dealing with Time Power. This work will be released in 2013.









Tomas Evjen (with camera) - a very close friend and colleague.

The loss of a close friend and colleague

Published September 12, 2012 | Permalink
Tomas Evjen, my close friend and colleague since mid-80´s, is dead. Writing this feels both surreal and sad. Life is an unpredictable place.
Tomas was my regular and trusted cameraman in the ongoing Symbiophonies series, most recently the Director of Photography on the movie Vicino alla Montagna.

His complete dedication to his work and unique style and power will be deeply missed and impossible to replace.

Today, my thoughts go his closest family and friends.


From the recording of Vicino alla Montagna (Near the Mountains) in 2004. Both photos: News on Request AS

Related: Tomas Evjen replaces Flint Juventino Beppe in Tromsø (Article in Norwegian, 31.01.2012)




Quiet, Quiet

Quiet, Quiet - no one must notice
My journey into darkened woods
Kindness will not mend inner scarring
If a heart must bleed tonight
We dissolve into sinking graveyards
Life will end in a few more years
Birds will sing and the horse will canter
Brown escape towards distant fields

Quiet, Quiet - bluebells are sleeping
Comfort in the moon so bright
Thoughts broke with the rulings of mankind
Convicts begged - the reverend prayed
Then the sun spread its rays of glory
And we moaned in the sea so black
On the shore sat the gloomy reaper
Mother deer with her little calf

Quiet, Quiet - stars are a'speaking
Cones are falling on my path
The goal is near – the ending draws closer
My hurt feels like a stone of ice
As the torrent gives consolation
With his friend in the deepest blue
I perceive; I can feed the pigeons
With the same that will comfort you

Flint Juventino Beppe (1987)










- Meeting the eyes of a dog can result in deep impressions and unexpected creative situations. Flint Juventino Beppe

Two dogs imprinted in music

Published February 20, 2012 | Permalink
I think it is strange how life can surprise when it is dynamic and intense. Out of a mysterious nothing, two dogs suddenly appeared in my life.

Back in the early 90s, I got to know two dogs closely when I was working with several new works.


Best wishes from



 


Yuppik (left) is the name of a dog that made a deep impression on Flint Juventino Beppe. He dedicated «Lonely Fryshild» Op.6 to Yuppik. Later, Beppe dedicated a symphonic poem to a dog named Lady Bessie (right), «Lost in September» Op.17

«Lost in September» Op.17 has been recorded in 2012 by Philharmonia Orchestra, conducted by Vladimir Ashkenazy, to be released in the upcoming album Remote Galaxy.
 
The page Yuppik has been created to make available the text related side Flint Juventino Beppe´s production.










- My guitar has always followed me like a good and steady companion. Writing songs has given me a lot of powerful experiences throughout the years. Flint Juventino Beppe

You are Your life now

Published February 9, 2012 | Permalink
I am very satisfied that the lyrics of several songs have been translated. In 2014 a selection of these songs will be re-recorded - all dressed in English.
If you would like to try out these songs yourself, a songbook including guitar chords will be available in connection with the audio release.

Best wishes from


Read more:
Man & Nature









- You do not need to say «I believe» or «I know». You can say «I do not believe» or «I do not know» - and settle with it. Flint Juventino Beppe

Where am I? - Distant Words from a Paralyzing Atmosphere

Published February 9, 2012 | Permalink
Through the years I have written a few works, and three of the titles are embedded in the headline of this blog.

It is a curious fact that long before I knew why I struggled the way I did in the conventional world (due to my Asperger's perhaps) I wrote about the same things that occupy my mind today. I have not developed or changed my reflections about matters that concern me. To be honest, everything is the same for me today as it was 20 years ago. In hindsight, all of the lyrics and titles have become somewhat self-fulfilling... Strange, and a little spine-chilling.

Maybe a blog is a format that is somewhat contradictory to use in my case: you're supposed to be personal, funny and even a little paradoxical. Well, I cannot promise the last. I will write philosophical train of thoughts and leave out too much sentiment. I guess the reader will have to take it or leave it. Still, maybe someone will find this thought-provoking and even stimulating.

Best wishes from