Jeff Beal may be best known as a composer of music for films and television, but his newly-written Flute Concerto has its origins not in Hollywood—nor the Washington D.C. of his Emmy Award-winning score for Netflix’s House of Cards. Instead the genesis came in Stockholm, Sweden, where Beal worked out the basic parameters of the concerto over coffee and conversation with flutist Sharon Bezaly in June 2015.
Beal recalls that inspiring meeting: “Sitting in Stockholm harbor on a beautiful sunny day, I had a long chat with Sharon about the concerto I would compose for her. The light of the northern summer sun bathing the harbor was a perfect metaphor for what she wanted: A concerto full of joy, energy and rhythm, with some of the eclectic jazz sensibilities of my scoring on House Of Cards.”
The seeds for the project were planted earlier in 2015 when Bezaly and BIS Records founder Robert von Bahr reached out to Beal, whose music they knew through House of Cards, and invited him to Stockholm to hear Bezaly play. “He came, listened to Sharon and was stunned,” says von Bahr. “He cleared away his much-better-paid schedule to compose her a concerto.”
Beal’s Flute Concerto, receiving its first-ever complete performance by the Minnesota Orchestra on May 3 to 5, is the latest in a series of world premieres given by Bezaly, a strong advocate of new music who is the dedicatee of more than 20 concertos—among them works by Kalevi Aho, Sally Beamish, Sofia Gubaidulina and Anders Hillborg. Bezaly comments: “Breathing life into the past, making it part of our present, is a great privilege for any performer. But a significant part of my vocation as a musician is the aspiration to inspire the great composers of our time to write new and ground-breaking music, so that future generations are able to breathe new life into our present, their past, in a perpetual celebration of timeless music."
This particular project came near a time of personal grieving for Bezaly, which impacted the concept and structure of the piece. Beal further recalls from their conversation in Stockholm: “Sharon shared the story of her childhood in Israel, and her close connection to her mother who had also been her musical mentor, whom she had lost earlier that year. This, coupled with this emotional brief sense of Sharon’s personality, provided me a way into the piece. As painful as a loss of a parent can be, her deep affection for her mother was certainly part of my inspiration for the second movement. We also spoke about the beauty of memorable melodies, and kept returning to this idea of rhythm and energy.”
Bezaly performed the concerto’s third movement a handful of times in 2017, first with the Seoul Virtuosi Chamber Orchestra on January 18, 2017. The first and second movements have never been performed for audiences prior to next month, making the Minnesota Orchestra's performance the world premiere of the concerto in its full form.
a multi-talented composer
Jeff Beal is hardly the first composer known primarily for films and television to find his way to the concert hall (another, James Newton Howard, will have his Violin Concerto heard at the Minnesota Orchestra’s upcoming Sommerfest), but he may be among the most multi-faceted. His early studies were as a jazz trumpet player—first spurred by the gift of a Miles Davis/Gil Evans record from his grandmother Irene Beal, who had been a pianist and professional accompanist of silent movies. After graduating from the Eastman School of Music, where he met his wife, operatic soprano Joan Beal, he pursued a career in New York City as a jazz performer, recording artist and composer.
In the mid-1990s Beal moved to Los Angeles, where in 2000 he made his breakthrough into film music by scoring the Academy Award-winning film Pollock. His notable projects since have included scores for the documentaries Blackfish, The Queen of Versailles and An Inconvenient Sequel: Truth to Power; music for the HBO series Carnivàle and Rome; and the score and theme for Monk. In 2013 came the opportunity to score one of the first major online series featuring an A-list cast and director when Academy Award nominee David Fincher tapped him as composer for Netflix’s House of Cards. Overall Beal’s music has been recognized with 16 Emmy Award nominations and five Emmy wins, most recently in 2017 for season five of House of Cards.
For his film and TV projects, Beal follows the “do it yourself” mantra, as he composes, orchestrates, conducts, records and mixes the music himself. Much of the recording happens not within the confines of a Hollywood studio—but rather, in Beal’s own living room, where an entire string orchestra squeezes in to record for House of Cards. The well-known theme music for that show is a family affair: Beal supplies the lonely trumpet calls and piano arpeggios, his son Henry performs the relentless bass guitar riff, and his wife Joan lends her operatic voice beginning in the series’ second season.
Aside from his work for media, Beal has composed commissioned works for the St. Louis, Rochester, Pacific, Frankfurt, Munich and Detroit symphony orchestras. He has also written for the Smuin Ballet, Metropole Orchestra, Ying String Quartet, Debussy Trio, Henry Mancini Institute, Chamber Music Festival of Lexington, Los Angeles Master Chorale, Brooklyn Youth Chorus, guitarist Jason Vieaux and Minnesota-based men’s vocal group Cantus, which premiered Beal’s Beneath Thin Blanket in 2016.
the concerto in brief
The instrumentation of Beal’s Flute Concerto is smaller than that of many modern orchestral works, which appropriately clears a path for the solo flute. The brass “section,” for instance, consists of a single horn. The sole atypical addition to the orchestra is an electric bass guitar. Throughout the concerto, which comprises three untitled movements, Beal makes use of what he calls Bezaly’s “gorgeous tone throughout the entire register of the instrument and prodigious circular breathing ability.”
movement I. The tone of the concerto is set from the earliest measures: the virtuoso solo flute speaks above active but less demanding music from the orchestra. The opening movement’s focus is on the soloist’s dexterity and swift musical gestures rather than sustained melody. Harmonies are creative but gentle on the ears, and staccato articulation dominates.
movement II. Here is the gently beautiful, lyrical music inspired by Bezaly’s affection for her late mother. Occasional rippling tremolos played by the two clarinets are among the distinctive touches, and the last word is given to rising solo violin.
movement III. The rapid-fire finale, in which electric bass plays a prominent role, brings to the fore some of Beal’s native language, jazz. Like other portions of the concerto, this has roots in Beal’s Stockholm meeting with Bezaly, following which she drove him through the city. Beal recalls: “Winding through the Swedish countryside, she showed me the impressive acceleration ability of her Tesla. This pedal-to-the-metal image of Sharon might have stayed with me, and certainly the third movement is not your father’s Oldsmobile.”
Instrumentation: solo flute with orchestra comprising flute, oboe, English horn, 2 clarinets, bassoon, horn, timpani, snare drum, bass drum, suspended cymbal, bongos, mark tree, temple blocks, tom-toms, triangle, glockenspiel, marimba, harp, bass guitar and strings
Program note by Carl Schroeder.