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Flirtations contains exciting compositions for oboe and piano and chamber music using oboe and English Horn by composer, Sy Brandon.
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Sy Brandon is a professor emeritus of music from Millersville University, Millersville, PA. He has received numerous commissions and honors including 1st place in WITF-FM's 25th Anniversary Composition Contest, the El Dorado Sacred Music Composition Contest, Franklin and Marshall College’s Wind Ensemble Composition Contest, and the New England String Ensemble Composition Contest. His music has been recorded by the Czech National Symphony Orchestra, thePhilharmonia Bulgarica, the Kiev Philharmonic and has been performed both throughout the United States and abroad including performances by the United States Army, Navy, and Air Force Bands and on NPR’s Performance Today. A complete bio, discography, and catalog is available at http://cooppress.hostrack.net
Click on the title to purchase the sheet music
Three Flirtations (2002) - This
composition was composed for Harmonie del Sur and is a musical
description of courtship. The three movements are cyclical in that the
recurring descending minor triad "motif of love" occurs in all three
movements. "Innocent" is a flirtation between two good friends whose
friendship is blossoming into love, but they don’t quite know it. The
movement begins playfully with dotted rhythms and short scale motifs.
The "motif of love" appears several times within the playful sections.
Towards the end of the movement, the playfulness becomes more tender as
the couple senses, but is not quite sure that there is something more
to the friendship. The playfulnessreturns, but the movement ends with
uncertainty about the depth of the relationship."Sultry" can be
described as a dance of seduction with both parties overtly expressing
their attraction to each other, yet with an air of mystery. The "motif
of love" appears only a few times in this movement as underlying
suggestion that the attraction is based on more than the physical. The
movement ends more tenderly than it began, therefore reinforcing the
underlying love. "Coy" begins with the "motif of love" transformed into
a staccato teasing motif. Aggressive teasing and playfulness permeate
this movement, but two lyrical sections that are more innocent in
nature interrupt it. The ending builds in intensity along with the
passion of the two lovers, but ends with a brief return to the playful
ideas .
Prelude, Bacchanale, and Reverie (1998) - This
piece was composed as a gift to the composer’s wife on their 25th
wedding anniversay. The Prelude creates an atmosphere of calm as it
gently interweaves lines between the oboe and piano. The Bacchanale is
intensely driving and rhythmic. The Reverie is a dream reflective of
the pleasures of the Bacchanale bringing the piece to a quiet close.
Suite for Oboe and Piano (1969) - This piece
is a modal composition using quartal harmony. The Introduction uses a
hemiola of 6/8 -3/4 to build to an exciting climax. The Song is
reminiscent of a pastorale as it uses a lyrical melody over sustained
chords. The Danse is waltz-like and alternates a flowing theme with
humorous interruptions. The Finale is driving and has the feel of a
perpetual motion.
Lyric Piece and Dance (1985) - This
composition was composed for the student oboist and is listed in the
NYSSMA (New York State School Music Association) Manual of Recommended
Solo and Ensemble Music. The Lyric Piece is in ABA form . The center
section alternates phrases between the oboe and piano. The Dance
alternates measures of 4/4 and 3/4. It is also in an ABA form with the
outer sections being staccato and the middle section being legato.
Divertissement (2005) -
Divertissement was composed for the Cadence Music Ensemble. A
divertissement is a multi-movement composition designed to divert,
entertain or to amuse. The title came about as a result of the desire
of Cadence for a piece that would be full of energy, have interplay
between instruments, have lyrical lines, be able to reach all types of
audiences, and contain a show stopper. There are six contrasting
movements in this composition; Intrada, Nocturne, Waltz, Marche,
Romanza, and Galop. The Intrada is energetic and playful with a lot of
interplay between instruments. The Nocturne, being a night piece, is
both lyrical and mysterious. The Waltz is in a flowing waltz tempo with
occasional shifts away from three beats in the measure. The bass drum
in this movement supports the waltz rhythm at times and at other times
uses syncopation to contrast the other instruments. The Marche is not a
piece that would be used in a parade. It is a march that exists in the
mind of a child who is playing with toy soldiers; therefore there is
playfulness and humor that would not occur in a functional march.
Lyrical lines and expressiveness are the predominating features of the
Romanza. The piece comes to a rousing close with the Galop, which is a
"perpetual motion" type of movement with a lot of rhythmic variety.
Reviews| Click below to listen to mp3 excerpts from the CD |
| Innocent |
| Sultry |
| Coy |
| Click below to listen to mp3 excerpts from the CD |
| movement 1 measures 1-17 |
| movement 2 measures 1-36 |
| movement 3 measures 1-23 |
| Click below to listen to mp3 excerpts from the CD |
| Introduction measures 1-46 |
| Song measures 1-15 |
| Danse measures 1-37 |
| Finale measures 1-26 |
| Click below to listen to mp3 excerpts from the CD |
| Lyric Piece measures 1-22 |
| Dance measures 1-44 |
| Click below to listen to mp3 excerpts from the CD |
| Intrada m. 1-74 |
| Nocturne m. 1-18 |
| Valse m. 1-59 |
| Marche m. 1-57 |
| Romanza m. 1-29 |
| Galop m. 1-55 |
Flirtations is
a new CD of five highly amicable works for oboe by contemporary
composer Sy Brandon. The first piece is Three Flirtations,
composed for the husband-wife duo of Lauren Murray, oboe and English
horn, and Robert Murray, trumpet and flugel horn. The
three-movement work is very listenable with wonderful lyrical lines,
especially in the second movement in which the players switch to their
lower instruments. With impeccable intonation between them, both
performers are fine players who flow from each other seamlessly and
blend together beautifully.
The second work, Prelude, Baccahanal, and Reverie, begins with broad sweeping lines beautifully played by oboist Anita Ranucci Brandon, ably assisted by pianist Maria Corley. The Bacchanal has interesting cross rhythms and syncopations that give it a quirky lilting feel, along with more sweeping, lyrical lines that occasionally float on top of the rhythmic piano. This moves directly into the Reverie, which is styled as its title would indicate. Notable are numerous appoggiaturas begging to be leaned into. This work, with its slow-fast-slow grouping of movements, provides ample opportunity for the oboe to show off its ability to make beautiful, expansive lines.
The Suite for Oboe and Piano, also commendably played by Anita Ranucci Brandon and Maria Corley has an abrupt end to the “Introduction,” which takes the listener by surprise. It is followed yet again by another beautifully lyric moment with the “Song,” answered by a unique quirkiness in the “Danse” and a more angular “Finale.”
Lyric Piece and Dance is just as the title indicates. Yet Dr. Brandon cannot hide his innate lyricism which alternates with more angular moments in the Dance. Again, the work is admirably played by the same oboe-piano duo.
Divertissement, composed for The Cadence Music Ensemble of Tricia Wlazlo, oboe, Alan Stocking, percussion, and Sandra Carey-Sheaffer, piano, is clearly the most acrobatic work on the recording, notably in the opening “Intrada.” This directly contrasts with the return to lyricism in “Nocturne.” “Valse” is a lilting waltz with 21st century harmonies and interplay between the drum, oboe and piano, followed by a Prokofieffesque “Marche.” With sprinkles of stardust sounding from the percussion, there is ample room for rubato and expressive shaping of the oboe lines in “Romanza,” and the “Galop” provides a romping end to an enjoyable work. As a whole, this is possibly the most demanding ensemble work on the program, but still quite accessible to performers and listeners alike, and superbly played by this unique trio.
Overall, the CD is enjoyable, listenable 20th century contemporary classical music for the oboe and friends. All works are worthy additions to the oboe player’s repertoire. As this CD clearly indicates, Dr. Brandon knows how to exploit the oboe’s greatest asset of lyricism, and the influence of at least one of his teachers, Warren Benson, is clearly evident throughout.
Flirtations presents five excellent additions to the chamber music repertoire featuring the oboe. Spanning a period of 36 years, each composition was expertly written for a different situation; the tender Prelude given by the composer to his wife on their anniversary, the student piece with its clear forms and expressive lyricism, and two works to meet the requests of specific ensembles. All show the extent of the oboe’s technical capabilities while emphasizing its expressive qualities, ranging from playful to sultry, tender to sarcastic, mournful to jubilant. To this writer, the strongest element featured is the interplay between the various instruments involved, from the programmatic suggestions by oboe and trumpet in the title piece, to the wonderful and imaginative use of percussion in Divertissement. The use of piano was always in dialogue with the other instruments, never strictly as an accompaniment. With three different oboists represented, comparisons are invited, but all performers were excellent and the CD works well with the diversity.
From this newly released CD of the oboe and English horn music of Sy Brandon, the early Suite for oboe and piano of 1969 and the recent Divertissement for the Cadence Music Ensemble (2005) grab this listener’s ear the most, with the Flirtations for oboe/English horn and Trumpet/Flügelhorn coming right up behind. The Suite, though an early work of Mr. Brandon, still offers an energy and conciseness of expression that is appealing and fresh even today. It contains a mysteriousness and expressive inventiveness that is not quite there in some of the other works that tend to follow usual tonal lines and harmonic spaces. The Divertissement is just what it says it is, a fun and clever Divertissement. While it is more than just a little predictable, it is an enjoyable and a most pleasant listen. The interplay of the woodwind and brass timbres in Flirtations is very beguiling with the most effective performance being the “Sultry” movement with the English horn and Flügelhorn. While musically affective, the balance of the album’s pieces was, for me, too expected and did not pique my curiosity as much. Nonetheless, this should not take away from any of these pieces being eminently usable as recital pieces and interesting for a general audience. The Lyric Piece and Dance very successfully works as a piece for a student oboist as intended. Throughout the album the performers were in excellent form and conveyed a comfort and security with each piece. While I might prefer just a tad more “hall presence” for the recording, the overall sonic quality was satisfying with a good balance between instruments. Certainly a recommended hearing for all oboe and English horn aficionados.
Greg A. Steinke - independent composer, oboist, and writer living in Oregon.
The second work, Prelude, Baccahanal, and Reverie, begins with broad sweeping lines beautifully played by oboist Anita Ranucci Brandon, ably assisted by pianist Maria Corley. The Bacchanal has interesting cross rhythms and syncopations that give it a quirky lilting feel, along with more sweeping, lyrical lines that occasionally float on top of the rhythmic piano. This moves directly into the Reverie, which is styled as its title would indicate. Notable are numerous appoggiaturas begging to be leaned into. This work, with its slow-fast-slow grouping of movements, provides ample opportunity for the oboe to show off its ability to make beautiful, expansive lines.
The Suite for Oboe and Piano, also commendably played by Anita Ranucci Brandon and Maria Corley has an abrupt end to the “Introduction,” which takes the listener by surprise. It is followed yet again by another beautifully lyric moment with the “Song,” answered by a unique quirkiness in the “Danse” and a more angular “Finale.”
Lyric Piece and Dance is just as the title indicates. Yet Dr. Brandon cannot hide his innate lyricism which alternates with more angular moments in the Dance. Again, the work is admirably played by the same oboe-piano duo.
Divertissement, composed for The Cadence Music Ensemble of Tricia Wlazlo, oboe, Alan Stocking, percussion, and Sandra Carey-Sheaffer, piano, is clearly the most acrobatic work on the recording, notably in the opening “Intrada.” This directly contrasts with the return to lyricism in “Nocturne.” “Valse” is a lilting waltz with 21st century harmonies and interplay between the drum, oboe and piano, followed by a Prokofieffesque “Marche.” With sprinkles of stardust sounding from the percussion, there is ample room for rubato and expressive shaping of the oboe lines in “Romanza,” and the “Galop” provides a romping end to an enjoyable work. As a whole, this is possibly the most demanding ensemble work on the program, but still quite accessible to performers and listeners alike, and superbly played by this unique trio.
Overall, the CD is enjoyable, listenable 20th century contemporary classical music for the oboe and friends. All works are worthy additions to the oboe player’s repertoire. As this CD clearly indicates, Dr. Brandon knows how to exploit the oboe’s greatest asset of lyricism, and the influence of at least one of his teachers, Warren Benson, is clearly evident throughout.
Dr. Susan Laib - Double Reeds Professor
at Mansfield University of Pennsylvania since 1989; principal oboist in
the Orchestra of the Southern Finger Lakes (NY) and the Williamsport
Symphony (PA); frequent clinician and performer throughout the Twin
Tiers of NY/PA. Previously taught at Tennessee Technological
University and was a member of the Cumberland Quintet and Knoxville
Symphony Orchestra. Degrees from the Eastman School of Music,
University of Colorado, and Florida State University.
Flirtations presents five excellent additions to the chamber music repertoire featuring the oboe. Spanning a period of 36 years, each composition was expertly written for a different situation; the tender Prelude given by the composer to his wife on their anniversary, the student piece with its clear forms and expressive lyricism, and two works to meet the requests of specific ensembles. All show the extent of the oboe’s technical capabilities while emphasizing its expressive qualities, ranging from playful to sultry, tender to sarcastic, mournful to jubilant. To this writer, the strongest element featured is the interplay between the various instruments involved, from the programmatic suggestions by oboe and trumpet in the title piece, to the wonderful and imaginative use of percussion in Divertissement. The use of piano was always in dialogue with the other instruments, never strictly as an accompaniment. With three different oboists represented, comparisons are invited, but all performers were excellent and the CD works well with the diversity.
Ed Stanley is Assistant Professor of
Oboe at the Sunderman Conservatory
of Music at Gettysburg College where he performs with the Sunderman
Woodwind Quintet. He is also a founding member of the Appalachian Wind
Quintet, winners of the 1992 Baltimore Chamber Music Competition.
From this newly released CD of the oboe and English horn music of Sy Brandon, the early Suite for oboe and piano of 1969 and the recent Divertissement for the Cadence Music Ensemble (2005) grab this listener’s ear the most, with the Flirtations for oboe/English horn and Trumpet/Flügelhorn coming right up behind. The Suite, though an early work of Mr. Brandon, still offers an energy and conciseness of expression that is appealing and fresh even today. It contains a mysteriousness and expressive inventiveness that is not quite there in some of the other works that tend to follow usual tonal lines and harmonic spaces. The Divertissement is just what it says it is, a fun and clever Divertissement. While it is more than just a little predictable, it is an enjoyable and a most pleasant listen. The interplay of the woodwind and brass timbres in Flirtations is very beguiling with the most effective performance being the “Sultry” movement with the English horn and Flügelhorn. While musically affective, the balance of the album’s pieces was, for me, too expected and did not pique my curiosity as much. Nonetheless, this should not take away from any of these pieces being eminently usable as recital pieces and interesting for a general audience. The Lyric Piece and Dance very successfully works as a piece for a student oboist as intended. Throughout the album the performers were in excellent form and conveyed a comfort and security with each piece. While I might prefer just a tad more “hall presence” for the recording, the overall sonic quality was satisfying with a good balance between instruments. Certainly a recommended hearing for all oboe and English horn aficionados.
Greg A. Steinke - independent composer, oboist, and writer living in Oregon.