Symphonic Chronicles Vol II

In the winter of 2022, the composer’s home country Australia was in the third consecutive year of a La Niña weather event, with constant rain and wide-spread flooding in many parts of the country.

As outdoor activity was restricted during the cold and wet winter days, the composer stayed dry and warm indoors, close to her piano, where she improvised the various themes that are woven into this beautifully mellifluous piece. During the composition process she creatively visualised warmer Australian weather, when cool and refreshing gentle rains of summer would be welcomed.

With her signature style blending melodic richness, emotive harmonies, and subtle rhythms, Brandman paints a vivid musical portrait that transports listeners to an imaginary landscape where aspects of the natural world — flowing rivers, wind, thunder, sunshine, and gentle rain — are brought to life.

The work is composed in four sections with a return to the original material in the fifth and final section. The introductory melody, shared between the harp and the woodwinds, introduces an engaging motif that percolates through the work, unifying each of the sections. Throughout the work, the music transitions between gentle sections with delicate melodies and shimmering textures, and more dramatic moments of climax created by the interweaving of themes and judicious use of dynamics.

The opening section, in the warm key of G, is in a quintuple time signature. Flowing harp arpeggiations underpin the gentle melody assigned to the woodwinds, followed by occasional moments suggest strengthening wind and rain showers.

The music then transitions to a more dramatic theme, in a quadruple time-signature, which begins in the darker key of G minor and modulates to the dominant key of D minor. The impression of a passing storm is created by the polyphonic texture and denser orchestration.

As the storm passes, a calmer mood, created by the “listen to the summer rain” motif, is engendered. The thematic material in this section is developed through the sharing of motifs between the instruments in a conversational manner.

At measure 46 the fourth section begins. The key change to E Major is heralded by the harp playing the connecting opening motif. The cellos present the underlying ostinato figure with the filigree created by rapid figures in the flute suggesting misty rain. At measure 52 this section is developed with another more expansive melody superimposed over the original underpinning motif.

At measure 58 the French horns have the “long distance” melody, creating the impression of looking over vast distances of forests in the Blue Mountains of Australia where the composer once lived. The composition builds to a climax with the interweaving and layering of themes.
The recapitulation occurs at measure 79, with a return to the original thematic material, played softly, with varied instrumentation from the opening section. In the final two measures, the piece comes full circle with a recurrence of the original motif, played by the harp, answered by the final two chords delicately played by the flutes, oboes, and strings.

Through the delicate interplay of melodies, deft use of orchestral colors and clarity of form, Brandman paints an exhilarating image in sound of the ever-present wonder of the natural world with her exquisite musical representation of Gentle Summer Rain.

— Marilyn Schock, Presenter at Fine Music 102.5 FM, Sydney, Australia