Thursday, April 27, 2017

Women Composer News - Aprirl 2017

The recent announcement that the opera, Angel's Bone, composed by Du Yun had won her the 2017 Pulitzer Prize for Music is cause for the continuing celebration of women's musical accomplishments. My sincere congratulations go to Du Yun and past Pulitzer Prize winning women composers, Jennifer Higdon (2010), Caroline Shaw (2013), Julia Wolfe (2015), Shulamit Ran (1991), Melinda Wagner (1999) and Ellen Taaffe Zwilich (1983).  These composers' Pulitzer Prize winning compositions span the musical genres of Violin Concerto, Oratorio, Symphonies, Partita for 8 Voices, Concerto for Flute, Strings and Percussion and now an opera.  Our assignment as supporters of women composers is to listen to their music, celebrate their works and educate, educate and educate continuously that women composers be heard without gender barriers.

Along with the Pulitzer Prize for Music announcement, there have been other articles recently written about and by women composers.  Each article highlights their musical interests and life's journey to get where they have been and are.

The BBC published an article about Nadia Boulanger (1887-1979) and her sister, Lili Boulanger (1893-1918).  Nadia was known for her teaching and mentoring of some of the 20th century's greatest composers.  Leonard Bernstein, Aaron Copland, Quincy Jones, Astor Piazzolla, Philip Glass, Igor Stravinsky and others benefited from her knowledge of theory, composition and her encouragement to find their own musical expression.  She was the first woman to conduct the New York Philharmonic!  Envious of her sibling, Lili, who also was a composer and the first woman ever to win the Prix de Rome competition, Nadia went on to promote her sister's music after her untimely death from intestinal tuberculosis at age 24.  Two women composers, who left an indelible mark on an era, require us to read and know more about them.

New Music Box published an article by composer Emily Doolittle, who shared the emotional and physical challenges of composing and motherhood.  Her honesty as well as her suggestions to the professional music world is insightful.  Thank you, Emily, for sharing your experience of being a working mother composer.

Canadian composer, Carol Ann Weaver, was featured in an article on The CWC Project, Facebook page.  She is quoted at the beginning of the article, "Music has always been within me.  It's the magic, the breath, the liquid in life.  It's why I'm here, and it's always been that way."  Read about her life story filled with music and the explanation of her in-depth study and work before beginning a composition.  She is the Chair of the Board of Directors at the Association of Canadian Women Composers.

Yes, I know that my blog is filled with entries about women composers and that I continuously promote their music.  Bear with me because I shall continue to champion them, always!  I want to feature women composers who are known and unknown to me, then share them with you, my readers.

Here are four women composers featured in various media outlets and publications.  Their individual lives are bound together by their compositions.  How lucky we are to be listening, experiencing and sharing their gift of music.  Now, we stand up and work to promote all women composers, their lives and music.  

Monday, March 27, 2017

Listening to Women Composers - March 2017

As we come to the end of Women’s History Month 2017, for me it has been a month of discovering women composers of the Romantic and Impressionist era.  I made it my goal to go to YouTube each day and find an unknown, to me, woman composer.

I started by putting in the name of French composer, Louise Farrenc (1804-1875) in the search area.  I had known her name from my music history classes.  Several times I listened to her Symphony #3 then went on to her Symphony #1 and chamber music.  Over and over I kept asking myself why her symphonies are not performed by all orchestras whether conservatory or professional.  These works are lyrical, full of emotion and major pieces of music that should be performed. 

YouTube then brought up composer Dora Pejačević (1885-1923), an Hungarian/Croatian composer.  I listened to her Symphony #4 in F# Minor and her Piano Concerto in G Minor.  Again, the question……….why are her works not performed?  Her output of 106 compositions includes songs, piano pieces, chamber music and orchestral works.  Beautiful romantic works draw the listener into her creative musical journey. 

Next up, came the PianoConcerto of German Romantic composer, Emilie Mayer (1812-1883).  What a surprise.  She composed eight symphonies, chamber music, lieder and concert overtures.  Such talent and again beautiful music.  WHY? … may finish the question.

A piano sonata written by Valborg Aulin (1860-1928), a Swedish pianist and composer was on YouTube’s list.  The strength and intensity of this sonata was compelling.  Along with her piano compositions are lieder, organ works and string quartets. 

As a friend of mine said about YouTube and listening to all the wonderful performances available, you feel guilty that you have not paid to either buy the CD, download the music or attend a concert where these works are being performed.  Yet, YouTube has, for me, become a learning tool and one which I appreciate greatly.  My mission is to continue finding these unknown, to me, women composers and listen, listen, listen. 

Most important, I intend to read more about these four women composers and champion their music as much as I am able.  Then, I must add a big thank you to the musicologists and performers who found the scores to these women composer’s works and recorded them.  The time and effort to do all that work is an act of love and dedication.  THANK YOU! 

There may be a day when the gender neutral English word “composer” is just what it says.  In the meantime - research women composers, listen to their music, buy their music, perform their music, attend concerts of their music and become an active advocate for women in music. 

Tuesday, March 7, 2017

Women's History Month 2017

During the month of March, we acknowledge and celebrate the accomplishments of women of historical importance and those of today's world who carry the torch to make an impact on our society.  Thousands and thousands of women's names should be added to an honor roll of some sort!

The first International Women's Day began here in the United States in 1911.  By 1978, the Sonoma, California school district celebrated a Women's History Week that surrounded International Women's Day on March 8th.  The following year, Sarah Lawrence College held a conference about women's history.  President Jimmy Carter, in 1980, declared the week of March 8th as National Women's History Week.  A year later, Senator Orin Hatch and Representative Barbara Mikulski co-sponsored the first Joint Congressional Resolution proclaiming a Women's History Week.  By petitioning Congress in 1987, the National Women's History Project had March declared as National Women's History Month.  Presidents since that time have issued proclamations for Women's History Month each March.  

Only 30 years have passed since our national government granted, on a yearly basis, the celebration of our women, their accomplishments and contributions to our society.  What women we have to honor!  There are the famous, not-so-famous, stubborn women, women who held their heads high to overcome the prejudice brought on them just because they were women in the work place, our mothers, grandmothers, aunts, cousins, writers, musicians, teachers, actors, judges, athletes, scientists, historians and much, much more.  We owe them a thank you for paving the road for us thus far and now we must continue their work. 

Though I look to history and say thank you to those women I admire, I also look around me for inspiration from women and girls in my everyday life.  Last month, I had the pleasure of observing on two different occasions during a five day period, two little girls approximately four to five years old, who were multi-lingual.  Both spoke English and Spanish fluently.  One of the girls also spoke French and Italian and the other spoke Portuguese.  What an inspiration these little girls were to me.  In my awe and quiet thanks to their mothers, grandmothers and family, I cannot help thinking of how worldly they already are at their young age. 

In a global society that is shrinking linguistically and where everyone must speak English, these young girls are experiencing a larger world because of their ability to communicate in multiple languages.  Even at their young age and as they grow older, they will have knowledge and understanding of a variety of cultures.  Rather than a shrinking world, they have the ability to converse with the world at large. 

Though I have no idea what the future holds for these two young girls or what they may choose as their life’s paths, for me, they are an example and inspiration for all women and girls to verbalize their ambitions, to look at the world and all its opportunities awaiting them, and then continue to pave the road for future generations of women and the language of their individual voices.  

Tuesday, December 6, 2016

One Page Diary Entry

With my recent and ongoing research about Miss Branscombe’s life, I have had the pleasure of making new friends in Canada.   Little is known about Gena’s younger years as she did not keep diaries.  There are no records of her activities in the local school. 

When I began making contacts in Picton, I found people who would then give me other names, phone numbers and e-mail addresses of someone who might have information.  One surprise was being in touch with one of Gena’s relatives!  All of these people were more than willing to help me in my quest for information from over 100 years ago. 

One individual, who has been generous beyond what words can express, was willing to make trips to historical societies where their records are not online.  I have received copies of pictures, newspaper articles, family lineage charts, letters and much more.  One cannot offer enough “thank yous” to my new found Picton friends for their help.

At the same time, Gena’s grandson, Roger Phenix, has also been digging through the family archives trying to find physical items that may answer my myriad of questions.  Over the years, Roger has provided me with a treasure trove of items, many of which have appeared in my blog postings.

Two days ago, Roger sent me a copy of a page from a diary.  According to Roger, the book contains quotes from poems, speeches by royalty and hymns.  This particular page is dated Sunday, July 13, 1919. 

In January of 1919, Gena and her family suffered the death of their third daughter, Betty.  She died of the influenza outbreak of that year.  June 1919, Gena gave birth to her fourth daughter, Beatrice.  One could say that the year 1919 had extreme lows and highs for the composer.

What may be surmised as a meditative mood or reflection, Miss Branscombe wrote on the top of the diary page:

“My Artistic Creed” 

“It is – to be ever constant in my endeavor to express thru music a firm faith in the joy, beauty, and harmony underlying life, the certainty of a loving and sustaining Higher Power which helps us in all our undertakings, & the value of a high courage.  Music is to me the most beautiful & instantaneous road to God.  I feel it to be one of the most potent forces for regeneration operating on the earth.” 

An “Artistic Creed” written at a time of loss and new life.  Great creativity was in her soul at this time for Miss Branscombe began composing her largest work ever, “The Pilgrims of Destiny”, a dramatic oratorio which would win her numerous national composition awards.  Working through grief, attending to her three daughters......composing was her “…..potent force(s) for regeneration operating on the earth.” 

Tuesday, September 20, 2016


Among my most treasured items is a packet of letters, Christmas cards and birthday cards from my Grandma Shimeta.  The envelopes and letters are tied together with a ribbon.  They represent my communication with my Grandma from my college years until I was married.  There in her shaky penmanship she tells me about her garden, fruit trees in her yard, my cousins, aunts and uncles, her neighbors, which people stopped by her house for a visit and stayed for dinner and what she would be doing for any given holiday.  Her word usage and verb conjugations are, if nothing else, creative as English was her sixth language and she only had an eighth grade education.  Yet, as I read them I can see her sitting at her kitchen table writing, smell the food she may have cooked for lunch or dinner and imagine being in her presence or staying in her warm, inviting home.  Those pieces of paper, my Grandma’s letters, are my history with her.

Letters……hand written letters are precious keepsakes and a vision into the past like nothing else in our lives.  They tell us stories of our present and past, give us a view into the history of the day the letter was written and most important reveal the letter writer’s inner most thoughts and emotions.  When you hold that letter in your hand, you hold a part of the person who wrote it.

The world of music embraces letters whether being written, received or read.  From Mozart, Massenet, Offenbach, Verdi and Tchaikovsky are opera arias and duets about letters.  Emotions, lots of emotions are expressed in those letters as only opera is capable of conveying.  In the pop music world we have the songs, “P.S. I Love You,” “Take a Letter, Maria,”  “Signed, Sealed, Delivered,” and I’m Gonna Sit Right Down and Write Myself a Letter.”  Letters …….. the importance of letters for without them our understanding of history would have blank places. 

When a music researcher comes upon letters either written or received by a composer, a new perspective of that person comes into view.  Composers were notorious letter writers when they did not have the present day luxury of the internet, texting, Facebook or tweeting. 

Over the years of getting to know Gena Branscombe, I have learned she was a prolific letter writer.  In the music publisher Arthur P. Schmidt’s collection at the Library of Congress are letters from every composer he published.  In Gena’s file are pictures of her, her daughters and all of her letters to Mr. Schmidt.  Many expressed her thanks for the royalty checks she received and an explanation of what music she was working on.  Then, there was always a paragraph or two about her personal life whether about concerts she was performing or the details of her daughters’ shenanigans!  Some of her letters were ones that broke my heart.  She would request a loan against her future royalty checks as she needed the money to pay for her daughters’ medical bills.  The letter where she described the death of her daughter, Betty, was particularly poignant. There was her life spelled out in her own handwriting with her emotions bubbling from the page I held in my hand.  

In my possession I have several of her letters thanks to members of the Branscombe Choral or their families.  After the Choral disbanded she kept in contact with the members through letter writing commenting on the women’s lives, their children, sending them copies of articles she wrote and always wishing them good health and happiness.  She wrote thank you letters to those who hosted her for lunch or those who had visited.  With a positive and encouraging word to anyone with whom she had been in contact, she wrote and wrote letters. 

Reading Miss Branscombe’s letters I have learned she was a caring, loving individual with exemplary communication skills.  Letter writing was a way to self-promote her compositions and performances of her music.  She was a driven and passionate person whose life had not been easy.  Despite all that, music was her life no matter the road blocks.  Her ardor and emotions emanate from the paper on which she wrote.

This past week, two more of her letters came into my possession.  Written to pianist and author, Anya Laurence-Thiel, Miss Branscombe expresses her thanks for Anya’s visit and her sharing the music of composer Arthur Farwell.  The second note congratulates Anya on the completion of her book and Gena’s wishes for good luck with her publishers.  The letters were written a few months before Gena’s death in July 1977. 

Included with these two letters was an October 1977 card/note from Gena Tenney Phenix, Gena Branscombe’s daughter, to Anya.  Gena, Jr. also congratulates Anya on her book, then thanks her for dedicating the book to her mother, and, requests that copies be sent to Laurine Elkins Marlow and Dr. Adrienne Fried-Block.  I took notice that Gena, Jr. signed the card, “The Two Genas.”  Her mother had been dead three months.  The daughter carries on her mother’s legacy of writing letters and showing her appreciation for the continuance of her mother’s music career.

What can we learn from these examples of letter writing?  Putting pen to paper, using our own physical being to write and express your emotions and happenings in life becomes a piece of your personal history.  For the recipient of your letter, the information fills in the blanks of your everyday life…..what you are doing, what you have eaten, how you are handling stress, what books you may be reading, what play you saw, your relationships, health and the list goes on and on. 

Yes, we can express all that in a typed e-mail or Facebook posting using all the internet abbreviations and emoticons.  Writing may be considered old fashioned right now.  Returning to letter writing, in my opinion, is a must.  We engage our physical being to sort through our thoughts and emotions, we touch pen and paper with that in mind and give the gift of ourselves unlike any other kind of communication.....the telling of your own history.

Thursday, August 18, 2016

19th Amendment

The 19th Amendment to the United States Constitution was ratified 96 years ago today, August 18, 1920.  This is the amendment that guarantees the rights for all Americans to vote regardless of their sex.  YES!

Celebrate ladies and gentlemen, yet, keep in mind this Constitutional amendment did not happen overnight.  Strong men and women believed in and fought for the suffragette movement.  They never lost sight of their ultimate goal, “The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex.”

During the mid 1700s women were allowed to vote in certain states.  Slowly from the 1770s through to the 1790s, states began to rescind those rights.  The United States Constitutional Convention of 1787 allowed that women’s voting rights would be left to the individual states.

In 1848 Elizabeth Cady Stanton and Susan B. Anthony convened the first convention for women’s rights in Seneca Falls, New York.  Joining them and impassioned in his beliefs for women’s rights was Frederick Douglas.  As a home is built on a foundation, the suffragette movement began to build its foundation because of this convention.  The movement grew, subsided during the Civil War, gained and lost momentum.  Societal change is never easy.  Opposing sides battle out their beliefs trying to convince their supporters and deniers that they are by far superior and hold the absolute truth on the subject!

By 1872 Susan B. Anthony registered to vote and voted in Rochester, New York citing the 14th Amendment to the Constitution which granted citizenship to, “all persons born or naturalized in the United States.”  She believed the amendment allowed her the right to vote.  Days later she is arrested and the following year denied a trial by jury, then, loses her case.  Progress is slow.  Passion wins out.

In 1870 Utah and Wyoming grant women’s suffrage, Washington State welcomes women voters in 1883, California joins the movement in 1911, Oregon in 1912 and the list goes on.  Many states deny the suffragette movement.  Remember, it is men who are voting on this issue.

Seventy two years of slow, painful, methodical, back braking progress and American citizens whether men or women were granted a constitutional amendment for equal voting rights.

What really is the issue here?  Is the issue only women’s voting or is there more depth to the subject?  In 1914 anti-suffragette Grace Duffield Goodwin put forth a list of commandments rejecting women’s voting rights.  It was published in the New York Times.

Reading over her list I was amused by some of her reasons and why shouldn’t I be?  It is 102 years later and we have changed our views.  What struck me most was the perception of a sense of loss of control and then fear of what will happen to our society if we change.  We ponder and obsess about the future without staying in the moment and seeing what the reality is of the here and now.  Yes, every one of our actions has an impact on our future. 

Citing women’s traditional roles in society and the stability of civilization as it was, the country would lose special privileges accorded by law.  Women’s power in 1914 was considered unique and instrumental to the operation of our country.  To mess with that balance would take away the rights of women in different spheres.  What spheres would those be?

Mrs. Goodwin then states that giving women equal voting rights to those of men, meaning their husbands, brothers, uncles, sons and fathers, would even the playing field in areas where women held the upper hand.  My response 102 years later is, “Really?”  She did not want to upset and I quote, “the hen house”. 

Let us learn from the past the lessons and examples Elizabeth Cady Stanton and Susan B. Anthony set forth; the rights of all citizens to vote no matter their sex.  They stood up to fear and those who thought we would lose control of our country.  These two women must have had their own fears, yet they recognized women would not denigrate voting in our country rather women were citizens who would be making well thought and intelligent decisions for the betterment of themselves, their families and our country. 

Now, it is our responsibility to continue to strike down fear and put aside our desire to control everything thereby giving ourselves a freedom…………..that freedom is VOTING!

Tuesday, August 9, 2016

Women in Music - August 2016

This summer has brought us an abundance of political news I am sure most of us would rather ignore.  Our wish may have been that we could escape all of it for the joys and freedom of vacation time. 

During the hot, humid days of July and now early August, announcements and news about women in the arts have lit up my computer screen.  Creativity, digging in with determination and bold, daring decisions initiated new opportunities for performances of women’s music! 

From Vancouver, British Columbia came the announcement that the Allegra Chamber Orchestra, an all female group, will be showcasing women composers. Five women conductors will be leading the Sao Paulo Symphonic Orchestra in Brazil.  In England, the London Festival of American Music featured all women composers. 

There is an all female electronic music festival in San Francisco.  

Dr. Julia Mortyakova, pianist, of the Mississippi University for Women, has released a CD of works by women composers.  Celebrating 70 years of existence, the Ojai Music Festival in Ojai, California declared their season, The Year of the Woman.  

Spring in the northeast brought the inaugural concert of the BostonWomen’s Music Project.  The Festival was founded by New England Conservatory of Music student, Katherine Miller.  

Take a look at the website, MANY MANY WOMEN, an index of woman composers and performers of all genres.

Bona fide creativity deserves an award!  In the site of a former Harvard swimming pool, four singers and a pianist, playing an electric piano, presented four operatic scenes by historic women composers.  What an inspired project though I am sure the group would prefer a real theatre and a grand piano for their next performance.  

Through the ages of classical music women composers have been marginal citizens.  As I have written in past blog entries, these women produced their own concerts, became marketing experts and were performers.  Era upon era of women composers laid down a pathway, brick upon musical brick, for those who would come after them. 

Our present generation of women composers, performers of their music and the audiences are reaping the benefits of those wonderful women of the past.  Make it your musical journey to experience and be a patron of women’s music in your communities.