Music Meets Drama

Women in Art Conference - St. Louis

2012-01-30T12:08:00.000-08:00

American women’s artistic creativity is mind boggling. Attending the Women in the Arts Conference at the University of Missouri St. Louis was a great testament to my opening statement. Dr. Barbara Harbach organized an inspiring conference that fostered women’s accomplishments and acknowledged the diversity of women as creators.

Martin and I performed our Gena show the evening before the conference opening. A warm, receptive audience awaited us and at the “talk back” we were greeted with questions about Gena Branscombe and her era. Once again, we made friends with wonderful, caring people.

Women from across the United States came to St. Louis to present concerts and lectures about their books, poetry, music, art and documentary films. Two evening concerts featured music of composer-in-residence Beth Darnisch of Berklee College.

With three days of presentations, it would be difficult to single out one woman presenter as the best. Every woman who participated had a high level of artistic accomplishment that she shared with her colleagues in attendance. Rereading the program for the conference, I’ve chosen five women to highlight.

Self-published author Janet Goddard regaled us with the journey of writing her first book, Shake the Middle Tree. Today’s world of book publishing is complicated with books being downloaded on Nooks and Kindles. Sales of hard copy books are waning. Without a major publisher and agent, a first-time author must conjure up every ounce of their creativity to publish and market their own book. With the use of createspace.com, Janet began the task of publishing and distributing her book. Manufacturing, printing and shipping are done on demand. Writer and business person now has her book available on Amazon. I highly recommend you read Janet’s book!

Canisius College theory teacher Dr. Carole Harris lectured about the connection between American composer Louise Talma and French composer, conductor and teacher, Nadia Boulanger. This was an intriguing and detailed account of these two dynamic women’s relationship and music.

Women in the arts are not only creative, they are business people with skills in marketing, development and money management. Poet Jennifer Tappenden formed her own poetry publishing company, Architrave Publishing. Working with lawyers and accountants who understand the business side of creativity, Jennifer has built a Limited Liability Partnership that prints poems on individual pieces of paper. Readers visit her company’s website to order specific poems or a complete edition. You collect and put your chosen poem in a chapbook or journals. All this creates a poetic bridge for those of us non-poets. Creativity and business sense at its best!

American born, London based composer and pianist, Lola Perrin performed her Piano Suite VI: Theory of K which was written for the Music, Science and the Brain symposium at the University of Plymouth. Building upon a steady rhythmic flow and subtle dynamic shadings, her composition and playing pulled the audience to her. Lola is not only a performer, she is a piano teacher in London and has self published 12 volumes of her own works. She has her own website and Lola Perrin Sheet Music.

Filming and producing her first documentary, Renee Thomas Woods presented portions of her film, “The Great Northwest: It’s Not About Us, It’s About Them.” This inspiring documentary is about students from the Northwest Academy of Law in St. Louis whose school was once a shining star and slowly slid into decay. With the foresight, guidance and leadership of a high energy principal, the students, teachers and staff cultivate an environment based on encouragement, love, family, academic achievement, support and individual success. This film from its creator gave great hope for the future of American education. Thank you Renee.

These five women were only highlights of nearly 40 presentations. We were motivated by each others’ creativity and bound together by Dr. Harbach’s enthusiasm and leadership of Women in the Arts!

1000 Women Raising Their Voices to American Music

2012-01-12T12:02:00.000-08:00

One thousand women raising their voices to American music…..1000 women!

Imagine a stage filled with 1000 women dressed in formal gowns. How large was the stage? What music would a chorus that size be able to perform? How many rehearsals did they have to prepare for the concert? Who sponsored the concert? Who organized the concert? Who was their conductor?

Obviously, the answer to that last question is Gena Branscombe!

One of the centerpiece stories of my one-woman show is Gena Branscombe’s membership in the General Federation of Women’s Clubs. Her participation on the Executive Board for the Golden Jubilee Convention in 1941 that took place in Atlantic City, New Jersey, is told with excitement. There she was conducting a chorus of 1000 women singing her music. One can only imagine the thrill of hearing those women sing together.

This past November, Gena Branscombe’s grandson, Roger Phenix, said he had something he wished to give me. What family treasure could it be this time? Much to my surprise in that large box he handed me was the picture of the 1000 women chorus! From the original picture in his family’s archive, he had made me a copy. Surprised was I!

For over 20 years Miss Branscombe was an active member of the General Federation of Women’s Clubs. From 1930-1935 she was Chairman of American Music and Folksong Committee and a member of the Executive Board until 1945.

Women’s clubs were an important part of the fabric of women musicians in the early to mid 20th century. Where women composers could not find venues for their music in major concert halls, they found solace in women’s clubs that encouraged the performance of music at every meeting. Members performed for fellow members whether solo singing, playing the piano, chamber music or singing with the chapter’s chorus. In addition community, social activities and volunteer service were a part of the meetings. Club women were asked to promote the performance of American music by their local choruses, orchestras, opera companies and chamber music societies.

Through her membership, Gena was able to further the cause of American Music by asking the General Federation of Women’s Clubs’ members to declare 1934 “American Music Year.” She created seven music programs by American women composers and seven programs of “American classics” which appeared in the General Federation of Women’s Clubs’ 1930-32 brochure.

These programs included works for orchestra, piano, violin, solo voice, women’s voices and various ensembles all written by well known American women composers. Copies of the programs were circulated nationwide and encouraged the performance of music by our country’s own talent. Among the composers represented in these programs were her friends and colleagues Mrs. H. H. A. Beach, Mabel Daniels, Mary Howe, Kathleen Lockhart Manning, Mary Turner Salter and others.

Celebrating 50 years of service, the GFWC held their Golden Jubilee Convention in Atlantic City, NJ. Working one-year in advance, Gena created a program of music by Edgar Stillman Kelley, Haydn, Mozart, Mrs. Beach, Mabel Daniels and Harriet Ware. Music was sent out to the local GFWC choruses with instructions to their conductors as to preparation of the music for the concert. Gena also traveled throughout the country that year conducting some of the rehearsals.

With only one combined rehearsal in the Convention Hall Ball Room, the chorus of 1000 women, conductor Gena Branscombe, soloists John Gurney, Emily Roosevelt and Mary Frances Lehnerts performed a stirring and memorable concert.

Gena Branscombe is a treasured, historic member of the General Federation of Women’s Clubs. Her leadership promoting American music is exemplary and she made a difference in the musical lives of women across our country. One does one wonder if in today’s world another chorus of 1000 women would be possible.

To this day, the General Federation of Women’s Clubs works to promote causes for the betterment of America. Their national office is in Washington, DC.

www.gfwc.org

Four Daughters

2011-12-01T09:28:00.000-08:00

Many of my blog posts of the past have made mention of Gena Branscombe and John Tenney’s four daughters. There have been pictures of the girls added to the blog entries showing a small slice of their family life. I have not written about the lives and careers of the Tenney girls so now it is time to bring them forward as an important part of Gena’s life as a working mother and musician.

Gena and John were married October 5, 1910 at the First Methodist Church of Picton, Ontario. Shortly thereafter, they made their home in New York City.

Family life had to have been hectic with two working parents. Each day Gena devoted time for her career with the help of a nurse to care for the children. As an accompanist she coached and prepared singers for performance. Meetings with woman composers such as Amy Beach, Harriet Ware and others took place in her piano studio. Gena’s involvement with women’s organizations and her conducting duties took a great deal of her time, yet, there was always time for her daughters. What did she teach them about life, the music world and what did she instill in them as citizens of the world?

Gena and John Tenney’s daughters were treated to poetry written by her and set to music. These published songs of lullabies and fairy wonderment were dedicated to her daughters with various pictures of the girls on the sheet music covers. Piano pieces were composed for her daughters and always written with their pianistic abilities in mind. Tea parties and plays with music were held in the nursery. Daughters and mother were willing actors and musicians!

The Tenney’s welcomed their first child, Gena, on November 22, 1911. When young Gena was approximately two years old, Gena Branscombe sent her publisher Arthur Schmidt a picture of her eldest daughter. Sitting at the piano is young Gena, her head slightly tilted up with a smile and confident look that said she was in charge.

Indeed she was confident and her life’s work was dedicated to music, community organization and her family.

By age twelve, Gena Tenney was a gifted musician with pianistic and compositional talent. She wrote her own imaginative poetry often setting her own words to music. Attending Barnard College as a music major, she was president of the student body and delivered the valedictory address at graduation. Her talent and leadership abilities won her two scholarships to the Royal College of Music in London where she studied conducting and composition. While in residence at the RCM she began work on a symphony and conducted three of her mother’s choral works with a chorus she had organized comprised of her fellow students.

Upon her return to the United States she taught music at the Fieldston School. From 1937 to 1942 she was a member of the music faculty at Barnard College eventually serving as head of the music department.

In 1943, Gena Tenney married Philip Phenix and they had two sons, Roger and Morgan Scott. Her organizational and leadership skills were further put to good use when Gena Phenix added community activism to her life. At Riverside Church in New York City, Gena and Philip founded the church’s Food Pantry. Leading the way for racial harmony in our country, ten bus loads of New York City residents attended the Martin Luther King, “I Have a Dream” speech in Washington, DC because of Gena Phenix. In retirement Gena and her husband co-founded the Bridgewater, Virginia Food Pantry in the village where they retired.

Gena Tenney Phenix contributed to the world at large with confidence and dignity. Her musical abilities bridged childhood talent to the professional world. She opposed intolerance and strove to take care of the disadvantaged. Along with her sister Vivian, they nursed their beloved mother into her golden years

Every family must boast a tomboy among its daughters. Second daughter Vivian Allison Tenney filled that position. Born on May 17, 1913, she knew from an early age she would become a doctor. While a student at Horace Mann School in New York, Vivian was asked by one of her teachers if she would have had a happier girlhood if her mother had stayed home and not attempted a career! Her reply, “We’ve had so much better times and so much more interest enjoying mother’s work with her.” She was only 11 and never understood why the teacher would ask such a question!

Vivian studied pre-med at Barnard College and became one of the first women to graduate from Cornell Medical School. With a specialty as internist and gynecologist Vivian served three summers as a medical missionary in Tennessee while in training.

Held in Eleanor Roosevelt’s correspondence at President FDR’s home in Hyde Park, NY are letters between Mrs. Roosevelt and Gena Branscombe. In a letter dated July 14, 1942, Gena describes Vivian’s work in Ravenscroft, Tennessee among the mining people whose children were dying from malnutrition, the babies literally starving. The Tenney family sent money and powdered milk to help with their daughter’s work.

Government financial help for the area began arriving to assist in
Vivian’s work at the clinic and for use by the mining residents to improve their gardens, farms and overall health. I can only surmise that after reading Gena’s letter, Mrs. Roosevelt, who was dedicated to the less advantaged, intervened for federal help to Ravenscroft.

Dr. Tenney’s advanced training took place at Philadelphia General Hospital, a one-year residency at the Buffalo (NY) State Cancer Hospital and was one of the first women assistant residents at Massachusetts General. For 36 years Vivian practiced medicine in New York City where she was affiliated with Memorial Hospital now part of Memorial-Sloan Kettering Cancer Center. As her mother, Gena Branscombe, aged Dr. Tenney became her own personal physician and caregiver.

Vivian’s dedication to the well-fare and health of women and children was exemplary. Understanding that mental health and physical illness were closely connected, Dr. Tenney, who was devoted to her patients, worked with them to aid in their overall well-being. Patients stayed in touch with her for years and her impact on the world was felt by many.

Retiring to Bridgewater, VA where her sister and brother-in-law, Gena and Philip Phenix lived, Dr. Vivian Allison Tenney died on September 13, 1990. Strength of character, loving family member, challenging the establishment to become a doctor and leaving an impact on the world as a committed physician to the less fortunate were the essence of her being.

Born third was Betty who entered the world on June 30, 1916. In a letter to her publisher, Arthur Schmidt, Gena Branscombe described Betty as her most energetic child with a strong, humorous personality and sunny disposition.

In late 1918 the Tenney family was taken ill by the influenza outbreak that crossed the country. By January 1919 husband John and young Gena were finally recuperating with Vivian and Betty still quite ill. Gena Branscombe was mother, wife and nurse to her four sick charges. On Sunday evening, January 23rd, Betty took a turn for the worse and passed away. The family gathered together in the nursery to hold a private funeral service on Monday evening and on Tuesday morning Dr. Charles Jefferson of the Broadway Tabernacle Church conducted another family service.

With her father-in-law accompanying her, Gena traveled to Methuen, MA by train taking the little casket for interment in the Tenney family plot. The loss of such a young vibrant child was tragic for the entire family and especially Gena who was pregnant with her fourth child.

The loss of Betty was felt for the remainder of Gena’s life. Her award winning oratorio, Pilgrims of Destiny, has a dedication that reads:

“And to all weaker and unknown ones, who have kept the faith, dying joyously for the sake of a dream, and to my own little pilgrim, Betty, I dedicate this work.”

When I had the privilege of meeting Gena and Philip Phenix in 2000, there on their living room wall was a small oil portrait of her sister, Betty. She recalled vividly the death of her younger sister, her mother and father’s grief and the impact this little child girl had on their family.

Fourth daughter Beatrice Tenney was born on June 4, 1919. She attended the Fieldston School and Barnard College where she was president of her freshman and junior class. From an early age Beatrice’s serious health issues plagued until her death. In 1947 she married Edward Brokaw, a film producer. They resided in California where Beatrice worked as a magazine editor. Marital difficulties caused her return to New York City in June 1954.

She found work with the Family Service Society but died suddenly of heart failure on October 27, 1954. Throughout her life, Beatrice was surrounded by her parents and sisters supporting her through her physical ailments.

Four daughters of a working mother, woman composer and musician, Gena Branscombe endured the loss of two daughters during her lifetime. All four girls – beautiful, heart-felt, strong, independent and brought up to make the world a better place.

Women Composers Festival of Hartford

2011-09-18T13:21:00.000-07:00

An angry graduate student ….a composition major at the Hartt School of Music……the year 2001. What could possibly anger someone who is studying music and composing at a fine music school?

Not one women composer was represented on the school’s concert programs whether it be chamber music, choral, piano, orchestra or instrumental …..not one woman composer’s music was being performed and that was unfair and wrong. Anger…..now how to turn that anger into action and create a showcase for women composers.

Meet Heather Seaton who declared, “I will go on this journey to found a women composers’ festival.” With not a penny in her pocket to pay performers, print programs, for publicity or even to hire someone to manage her festival, Heather set forth over the next nine years growing her Women Composers Festival of Hartford into a celebration honoring music of women of all ages. The underdog, unknown and accomplished composers, senior citizens and a high school student now would have a venue for a performance of their music. Her festival would be all inclusive.

So what has this to do with Gena Branscombe? A women composers festival is a perfect place for my one-woman show. Having read about Heather’s festival, we submitted our publicity packet asking for consideration. Months passed, then one day came an e-mail from Heather expressing interest in my show and asking if Gena had written any orchestra and instrumental works! More on this….first a bit of the history of the festival.

Starting with six graduate student women composers, Heather and her colleagues gathered that first year during March, Women’s History Month, to host a 12-hour event that started at 10AM and ended at 10 PM. Together they presented lectures and concerts showcasing women’s music, then to end the day, the student composers at Hartt School of Music sat in a room and played their own music for one another. There was a sense of empowerment and accomplishment. The overall attendance at that first festival was poor but the talent and effort proved Heather’s journey for knowledge and equality of women’s music was set on track.

For the first seven years of the Women Composers Festival of Hartford all work was done by volunteers, for the love of promoting women’s music. Heather and colleagues approached the music school, asking them to include women’s music on recital programs, in classroom lectures, as well as attending the festival’s concerts and having the students write reports of the Festival’s presentations for credit. What an asset this festival is for a major school of music! Faculty member and voice teacher Susan Mardinly, a proponent of composer Barbara Strozzi, became the mentor and advisor for the festival. Each year she stood by Heather and her colleagues as they worked to develop a festival equal to their dreams.

More importantly, the festival grew from the one-day event, to multi-day, then into three weeks of concerts, workshops, and discussions. From student women composers at the college, the festival expanded to include local Connecticut composers, contemporary and historical women nationwide.

For the March 2008 festival, Heather, for the first time, was awarded grant money from the University of Hartford’s Women’s Education and Leadership Fund to help expand her festival. That year it grew to be international. Women composers Sylvia Goldstein, Sebastiania Ierna of Italy, Adriana Figueroa Mañas – an Argentinian mother of 2 and a self-taught composer, and Hasu Patel, lecturer of Indian music and sitar artist were featured. Performances of their music were offered, lectures and discussions given. According to Heather, not one of these women was a diva, all were willing to help where needed and they were grateful for the opportunity of being at the festival.

Heather and I met in New York City in late Fall 2008. Her curiosity about Gena Branscombe’s instrumental and orchestral works led us to the New York Public Library for the Performing Arts at Lincoln Center. In the Special Collections department where Gena’s music is held, we were able to peruse and study all of her instrumental scores. Heather’s vision was to expand the festival’s reach from instrumental, piano, choral and vocal works to now include orchestral works. One small problem, Gena’s orchestral works were in manuscript and would need to be entered into a computer for accurate parts and a conducting score. Copies of selected scores were made and Heather was off to Hartford to plead with music students to enter the scores into FINALE. Plead she did and students came forward, willing to help her.

The 2009 Women Composers Festival of Hartford featured two days of Gena Branscombe’s music….a mini Gena festival! On Saturday, March 7th, Martin and I performed Life! Love! Song! A Visit with Gena Branscombe twice. In attendance at the matinee was Roger Phenix, Gena Branscombe’s grandson and at the evening performance was my dear friend and colleague, Laurine Elkins Marlow, who surprised all of us by flying in from Texas. After each performance we had a “talk back” where audience members were able to ask questions of us. My favorite question came from grandson, Roger. “How is it that you never had the opportunity to meet my grandmother, yet you have captured her completely?”

On Sunday, March 8th the entire afternoon’s concert was devoted to a Gena Branscombe Tribute featuring the Festival Chorus and the first Festival Orchestra, made up of students from the Hartt School of Music. “American Suite” for French Horn and piano, “Procession” from The Quebec Suite for trumpet, piano and organ, “Maples” from Youth of the World for chorus and orchestra; and “Just in the Hush Before the Dawn,” a song with orchestra, were all performed. Three of the students who had edited and transcribed Gena’s music from her manuscripts had the opportunity to conduct their score. Heather conducted the orchestra and myself in the song.

It is probable that well over 50 years have passed since any of these pieces have been performed. Sitting in the audience one heard Gena Branscombe’s instrumental, orchestral and choral music come alive in the 21st century. I know she would have been thrilled to hear her distinctly early 20th century sound that harkens back to clear and romantic melodic lines. Her own lush harmonies and scoring of instrumental colors made for ear catching textures. She would have been thrilled!

Gena’s grandson, Roger Phenix, spoke to the audience after the concert expressing his thanks to Heather, the Festival and all the performers for bringing his grandmother’s music alive once again. Laurine Elkins Marlow spoke about her years working with Gena, getting to know her and the impact her life had on the world. Now Gena’s music was being heard as she intended it to be.

The 2009 Women Composers Festival of Hartford marked Heather’s final year producing the festival. She had lived her dream of promoting women composers of all levels. Her contribution to the Hartt School of Music and the music world at large is invaluable. In her years as leader of the festival, she put forth over 100 women composers and had their works performed and recorded for posterity. Think about it….100 composers……100 women composers of all levels of accomplishment. Heather put her anger to good use turning it into positive productive results. At the end of nine years running the festival, Heather was receiving requests from women composers in China to have their works considered for performance and there was a request from Croatia. Do a search on Google for Women Composer Festivals and the first name that appears is Hartford….Heather’s festival. From a dream to reality…..from local to international….Heather made it work.

In 2010 Heather turned over the management of the festival to Daniel Morel and it is still going strong.

Thank you Heather for making your dream come alive and for helping women past and present have a venue for their music. Now Heather's time was going to be devoted to her loving husband, Scot, her dear son, Gavin, and composing. Thank you Heather!

Zeta Tau Alpha

2011-08-19T15:28:00.000-07:00

Honorary inductions into Greek fraternities and sororities are bestowed upon celebrities and outstanding people within their respective fields. There are professional fraternities and college sororities or fraternities whose admiration of a prospective candidate offer membership.

During her lifetime three Greek organizations granted membership to Gena Branscombe.

Honored as a leading women composer, conductor and pianist of her day her earliest initiation came in 1925 as one of the first Honorary Members of Delta Omicron International Music Fraternity, a professional women’s fraternity.

The international women's social, cultural and service organization, Beta Sigma Phi, initiated Gena as an honorary member in 1952.

At their 1941 convention held in Edgewater Gulf, Mississippi, Zeta Tau Alpha initiated Gena as a Grand Chapter Initiate/National Honorary Member. This fraternity was founded in 1898 at the Virginia State Female Normal School. Still going strong today, they are advocates for breast cancer awareness through the Susan G. Komen Foundation.

Recently a 1952 edition of the Zeta Tau Alpha Song Book came into my possession. The song book is dedicated to Gena Branscombe, distinguished American Woman Composer. On the title page she is listed as one of three people on the music committee.

In the foreword she is cited as having “edited every song published, composing accompaniments, revising words and music, harmonizing and arranging, and in all ways making the songs more singable and more useful for chapter singing.”

Obviously Miss Branscombe did not take these honorary fraternity memberships lightly and dedicated herself to being of service to them.

Love in a Life

2011-07-14T13:18:00.000-07:00

Wm. H. R. Drake, elegantly written on the top right hand corner of “Love in a Life” and “A Lute of Jade,” song cycles by Gena Branscombe.

Published in 1907 by G. Schirmer of New York, “Love in a Life,” is six song settings selected from Elizabeth Barrett Browning’s “Sonnets From the Portuguese” poetry. This very song cycle drew me to Miss Branscombe’s songs for the third song in the collection is “How Do I Love Thee?” and the one I performed on a Valentine’s Day recital in Florida. Now I own the original published work.

Though I have no idea what year Mr. Wm H. R. Drake purchased the music, it cost him a total of $1.25. Softly stamped on the title page is Chandler-Ebel Music Company, 22 Livingston Street, Brooklyn, New York.

Owning my second original publication of the “A Lute of Jade,” I now have one for Soprano/Tenor and one for Alto/Bass. Soft green lettering on a brown cover held together with the maroon cord. Mr. Drake paid $1.00 for the song cycle.

I have no idea who Wm. H. R. Drake is, where he lived (possibly Brooklyn) or why he purchased these two song cycles, yet I am happy he did. We have no way of knowing the journey this music has taken in the past 100 years and how it came to be for sale by a person in Ohio. I am thankful to the people, who over the past century, took special care with this music. They touched, held, played, sang and performed it with tenderness. Now it is home with me.

John Ferguson Tenney

2011-07-07T07:56:00.000-07:00

A husband in the early 1900’s …..the social mores of the day seem to tell us that he would have been head of the family, the sole bread winner, what he said was the word of the household, and family life revolved around him at his beck and call. Household duties such as cleaning, meals, entertaining and the raising of children would have been his wife’s duties.

Imagine my surprise when I first met and interviewed Gena Tenney Phenix and her husband, Phillip, and asked Mr. Phenix what his father-in-law was like. His answer was straightforward, “My father–in-law was a saint.” Not quite expecting that answer, I hesitated before asking him to explain himself. Mr. Phenix proceeded to inform me that his father-in-law, John Ferguson Tenney, Gena Branscombe’s husband, was a man ahead of his time and one who fiercely believed his wife’s career was as important as his own. Gena and John’s marriage was one of equality.

So who was John Ferguson Tenney and how 100 years ago did he become an advocate for women’s equality, a hands-on father who took an active part in his four daughters’ lives and a husband who promoted his wife’s career, all the while working full-time and maintaining an active life as a volunteer social worker in the New York City community?

John Ferguson Tenney was born October 9, 1880 in Methuen, Massachusetts to George Washington Tenney and Alzadia Maria Tourtellot Tenney. His sister, Helen, was his only sibling.

Methuen seemed to be the center of the New England industrial revolution with textile, hat and shoe factories alongside the Spicket River where there was waterpower and plentiful labor.

George Washington Tenney and his brother Daniel built a four-story brick factory where they manufactured shoes. Their brothers John and Charles built a hat factory. These businesses held close ties to the New York City fashion industry and the brothers maintained offices in the city.

John Ferguson Tenney graduated in 1898 from the prestigious Philips Academy in Andover, Massachusetts. He received a Bachelor of Arts degree from Yale in 1902 and earned his LL.B. in 1905 from the Harvard Law School. Massachusetts and Washington State granted made him a Member of the Bar. From 1905 to 1909 John practiced law in Seattle where he was elected Deacon of the Pilgrim Congregational Church.

At a Christmas party in 1908, hosted by the President of Whitman College in Walla Walla, Washington, John Ferguson Tenney was introduced to Gena Branscombe, Head of the Piano Department at the college. He pursued her for several months and in the spring of 1909 proposed marriage.

A 29 year old lawyer proposes to a 28 year old pianist and composer who had already arranged for one year of music studies in Germany. Just months after their engagement and meeting his parents in Methuen, Gena departed for Europe. We can surmise that John’s understanding and respect of her career priorities was clear. Gena understood that he was willing to await her return to get married. This reflects a maturity and depth of love.

While Gena was in Germany, John’s intentions were to remain in Seattle practicing law. That plan would change when the wife of the President of Whitman College offered advice ….. for two such strong people, they must live in a major cultural center for Gena’s professional advancement! John packed his bags and left for New York City to take a position in his uncle’s hat factory business. In my awe of this, I fill in the date 1909….over 100 years ago.

Referring back to my interview with Philip Phenix, I inquired why his father-in-law did not practice law in New York City. The answer was unclear. Either John Tenney did not want to do all that was necessary to prepare for the New York State Bar exam, he was not fulfilled in his law career or he was willing to return to his family’s business and ties. In John’s personal family genealogy book he said of his career change, “Gave up law to accept position to learn commission hat business. Opening made by death of cousin George Tenney, my dearly loved cousin.”

For two decades John worked for the C. H. Tenney company, one of the world’s largest dealers in hats.

Gena Branscombe and John Tenney were married October 5, 1910 in Picton, Ontario, Canada. Shortly thereafter, they moved to Douglaston, Queens in New York City and later made their home on West 82nd Street in Manhattan. They were members of the Broadway Tabernacle Church where John was elected Deacon in 1930 and served in that capacity until his death.

The Branscombe-Tenney family welcomed four daughters, Gena born 1911, Vivian - 1913, Betty - 1916 and Beatrice - 1919. Eldest daughter Gena, during my first meeting with her in 2001, told me that her father was an active and loving part of his daughters’ lives.

Juggling two working parents’ schedules and the care of four daughters could not have been easy. Daily agendas may have been written out, babysitters hired and at times, chaos must have ruled. Quiet time for composing was necessary for his wife, particularly on the weekends. To help out, he took his daughters to Central Park for play time. He changed diapers, made meals for the family and he helped everyone get ready for church on Sundays.

The death of daughter Betty during the influenza epidemic of 1919 deeply affected John and Gena’s lives. Together and with their two eldest daughters, they mourned the loss of their beloved child. In the summer of 1919 after the birth of their fourth daughter, Beatrice, Gena Branscombe began work on her largest work, her oratorio, Pilgrims of Destiny, based on the pilgrims voyage to the new world.

The oratorio was a family venture with John serving as editorial assistant for the libretto, researching historical accuracy of ships’ logs, typing the manuscript and baby sitting.

The oratorio was dedicated to daughter Betty.

As much as his wife was a leader of women in music, John Ferguson Tenney had a leadership role at the Broadway Tabernacle Church where he sought out bright young adults who would actively participate in social services for the community. During World War II, he organized a Servicemen’s Welcome Center at the Church. The New York Times reported that the Center hosted more than 50,000 service men and women, providing educational and recreational programs. He gave countless hours tirelessly working for our soldiers.

Mr. Tenney left the hat industry in 1927 and went to work as an underwriter for the New York Insurance Company. Making sales calls, he would recruit new members for his wife’s choral group and promote the attendance at musical events. His constant support of Gena’s professional career included financial backing for the musical organizations she founded.

Diagnosed with pancreatic cancer in early 1949, his health deteriorated rapidly and by August he fell seriously ill. He died September 5th. His funeral was held at the Broadway Tabernacle Church.

From the many pictures in this blog, John Ferguson Tenney was a handsome man and one who was filled with spirit and love. He was a devout Christian dedicating his life to his church through social services. He was a family man, devoted father and loving husband. The support of his wife’s career was as selfless and generous as one could imagine.

In a letter to a friend written in 1924, John wrote….

“….we shall sometime, somewhere be surprised to find that God has already provided for us all, and more than we can imagine. Life is continuous, and, to me, death is merely the releasing of the spirit from the human body. After death the spirit is as alive as it was before, and it continues to live, to grow, to experience, and to develop. I have joy in thinking of being useful there, and adding to wisdom, and love, and light. Such a belief makes this mortal life more understandable, and purposeful….makes life worth living, right.”

To me, that paragraph sums up the essence of John Ferguson Tenney.

My thanks to Gena and Philip Phenix for my 2001 visit with them and for answering my multitude of questions about Gena Branscombe and her husband John Ferguson Tenney. Also, many thanks to Roger Phenix, grandson of Gena and John, for his constant help with information, details and pictures of his grandparents.

Sometimes you get just plain lucky!

2011-05-09T12:58:00.000-07:00

Sometimes in my business, you get just plain lucky! Such was the case in mid 2007 when Spessard Management was contacted about the possibility of performing my one woman show for the Festival of Women in the Arts in Elmira, NY. How did the Festival find us? What internet search resulted in their contacting us? We never did find out and that’s OK because the experience was wonderful.

Generally artist management companies research performing opportunities, make calls, send e-mails and then publicity packets. Phone conversations ensue and hopefully you get a booking.

Will Wickham, conductor of the Cantata Singers of Elmira, had a genius idea to create the Festival of Women in the Arts. Brilliant….an absolutely brilliant idea. The e-mail from Will appeared without us first contacting him and lucky is how we felt.

E-mail exchanges began about our fees and the Festival applying for grant money. Before too long, the Festival of Women in the Arts had the funding for me and Martin to appear in the inaugural season of this Festival during Women’s History Month, March 2008. Honored we were.

What is and was genius on Mr. Wickham’s part was that the Festival included women in the arts for the entire Elmira area. Will is a delightful person, musician and composer. Mild mannered and humor filled, he is committed to his chorus and the arts in the Elmira region.

There was a photographic exhibit, crafts display, readings by women authors, dance concerts, women’s singing groups, and the Cantata Singers under the direction of Will performed an entire concert devoted to women composers including pieces by Gena Branscombe. The community was involved or invited to experience the creativity of local women. Genius!

Will saw to the details of our performance by providing an entry way, a well tuned grand piano, chairs, coffee table, desk and lighting. Everything was in its place ready for our performance. A true professional in the music business!

The audience was receptive and warm….seeming to sit on the edge of their seats waiting for the next song or dramatic moment. I was pleased that my sister-in-law and brother-in-law were able to attend as well as friends from Rochester, NY.

One of the benefits of doing performances such as the Festival of Women in the Arts is the people you meet and who become friends. Martin and I soon learned that Will’s right hand person was Susan Gilman Nagle who organized, wrote grants, did radio interviews and much more. Where would a fledgling organization be without dedicated people like Susan who give of their time and energy?

After our concert we went out to dinner at Horigan’s Tavern where we learned what a black and tan was, enjoyed great food and the company of Susan, her husband, Stephen, and others. A fun, laugh filled time was had by all and friendships made.

During these past few years of economic hard times, the Festival of Women in the Arts has continued under Will Wickham and Susan Nagle’s guidance. How fortunate for the Elmira area. I wish you years and years of continued performances and exhibitions advancing the cause of creative women.

A Festival of Women in the Arts, warm and charming people whose enthusiasm for the arts and particularly women in the arts is contagious and this leaves us the performers with a cherished memory.

New Finds

2011-04-11T17:29:00.000-07:00

This past week was a banner week for finding Gena Branscombe’s sheet music on either Amazon or E-bay. Real treasures were found and I bought each one!

Much to my surprise the original 1913 edition of her song cycle, “Lute of Jade” was for sale on E-bay. A muted brown cover with soft green lettering and held together with a small maroon cord, this song cycle features poems by various Chinese poets of the Age of Enlightenment (AD 700-834) and were translated by L. Cranmer Byng. Arthur P. Schmidt published the song cycle!

Dedicated to the New Jersey State Federation of Women’s Clubs Chorus, “The Arkansaw Traveler” was published in 1942 by J. Fischer & Bro. An American folk song arranged for four part women’s chorus, this copy is in mint condition and a wonderful addition to my collection.

“I Bring You Heartsease” published by Arthur P. Schmidt in 1915 is one of the most common of her works I find online. A waltz with words by Gena herself, it is dedicated to her mother, Sara Allison Branscombe.

New finds…..new treasures.

Teachers

2011-02-28T10:40:00.000-08:00

Music teachers…..the words evoke memories of our first piano teacher who helped us learn the names of the lines and spaces on the staff, note names and values, rhythm, and, practicing every day for a half hour as our fingers fumbled on those first pieces.

What has that piano teacher memory to do with Gena Branscombe? In her extensive career Gena had numerous music teachers and professors whose guidance and teaching abilities help jettison her into the public eye. Yes, those teachers had a diligent pupil who took her studies seriously, who strove to have a music career by her hard work and determination, never sitting on her laurels yet always looking for an opportunity of self-promotion.

One-on-one lessons with music teachers are more than just one hour of playing or singing your assigned pieces. They are sessions of intense personal happenings that deal with not only notes, phrasing, tone color and technique, but also, one’s emotions in expressing what the composer intended. Teachers become your champion, disciplinarian, therapist and the person who gets under your skin to bring out your expressivity. Intensely personal!

Who were these teachers and professors? From her hometown of Picton, Ontario, Canada there were piano teachers who gave her basic skills; in Chicago piano, composition, counterpoint and song writing professors who were well known in music circles in the US and abroad, and, eventually in Berlin, Germany, her composition teacher was very famous.

In the Branscombe home there were two pianos on which young Gena could explore the wonders of musical sound. One can only surmise that Gena was born with an exceptional musical memory, an easy ability to sight read and improvise. With her mother’s encouragement Gena began lessons with her first piano teacher Stella Fralick, the local church organist. By age eleven she studied piano with her cousin Effie Campbell, followed by Edith Anning who taught her how to produce beautiful pianistic colors but taught her little of Bach, Beethoven, or Brahms nor did she give Gena a background in music theory.

Once she arrived at the Chicago Musical College in 1896 the expertise and high level of teachers Rudolf Ganz, Felix Borowski, and Alexander von Fielitz must have been an incentive to buckle down and learn the fundamentals and techniques of music.

Private piano lessons with Swiss born Rudolf Ganz, a pianist, cellist, conductor and composer in his own right, were the backbone of her four years at the Chicago Musical College and continued after graduation when she joined the faculty of the school. During her one year’s study in Berlin, Germany, 1909-1910, she again had lessons with Professor Ganz, who had returned to Europe to perform and teach. She was known to practice five to six hours a day and reported there were times the skin on her hands cracked. What dedication. She admitted Ganz was a much stricter teacher in Germany!

Under Ganz’s tutelage Gena’s piano technique and musicality grew by leaps and bounds. She was sought after as an accompanist for the school’s choir, recitals and as a private teacher. In her professional life in New York City she accompanied countless recitals for singers, chamber music groups and instrumentalists. She was often called upon to either learn music for a concert on very short notice or sight read the concert.

In an interview for the Continental Times, Ganz said the following about his student:
“What do I think of Miss Branscombe’s work? Well, let me see. I think that her songs are among the best ones America ever produced. I think that some among them, like “The Tender Sweetness,” are real model songs, in invention, form, and sincerity. The fact that most of the words which she uses are of a deep and serious nature shows the direction of her artistic purpose, and her few German songs are the first victorious steps towards this ambitious goal. The violin pieces which I have seen are also charming; musically complete. All her works have a personal stamp, and this, to me, is the very gratifying part of her splendid talent.”

British born Felix Borowski (1872-1956) was Gena’s composition teacher in Chicago. No doubt his deep appreciation of the rich, lush and complex harmonies of the German Romantic era greatly influenced Gena’s compositions. Her harmonies are intricate, deeply rooted in the understanding of how dissonance and resolution affect word painting in her songs and instrumental works.

In his own words Borowski’s admiration for Gena’s music is glowing. “I can say with all truth and sincerity, that in my opinion, your ability and originality as a composer, will win for you a very distinguished place among the musical creators of this continent.”

Gena studied the art of song writing with German born Alexander von Fielitz. I surmise that her great understanding of setting words to music may have come from von Fielitz. Her songs have piano accompaniments that are challenging and demonstrate her understanding of the wedding of the sung word with the piano

Von Fielitz said of Gena – “She is a pupil of mine – in composition, my best, my most talented, and my favorite one. I think hers a great and true talent. Some of her songs are so exquisite that I would be proud to have composed them.”

The most well-known of Gena’s teachers…....Herr Englebert Humperdinck…..the real Englebert Humperdinck not the “pop” singer who stole her honored teacher’s name. This was the man who wrote the beloved and often performed opera “Hansel and Gretel.” Humperdinck, the composer and teacher, was deeply steeped in the late German Romantic compositional style studying with the master of them all, Richard Wagner.

Little is really known about Gena’s studies with Herr Humperdinck. She traveled from her apartment in Berlin to his studio for lessons. Maybe the composition lessons were group sessions with other student composers. She infrequently spoke of her studies with this great master composer. Later in her life while on a trip through Europe with her daughter Gena Tenney, Gena Branscombe stopped outside Humperdinck’s house and pointed out where her lessons had taken place.

Still we learn from my colleague Laurine’s dissertation that before leaving Germany in July 1910 to return home for her wedding, Gena had her final composition lessons with Humperdinck. She was the “guest of honor” at a “garden evening” given at the Humperdinck home in the early summer. She was one of only three or four women guests, one of whom was also a composition student. Fifteen male students attended the event, at which an early Quintet of Humperdinck’s was performed and a Schumann quartet was played. Humperdinck and Gena’s fellow students urged her to perform, but she declined. This party in her honor does indicate the esteem in which she must have been held.

Four teachers, champions, disciplinarians, and cheerleaders for a woman composer over 100 years ago. All four teachers were of European background and particularly German background. Their influence of style and harmony are deeply rooted in her music. From their suggestion she spent a year’s time in Berlin studying where she could make acquaintances with famous musicians and have her music heard in concerts.

As I continue to learn about Miss Branscombe I realize that when I perform her songs, I have only one or two, not the usual six, degrees of separation from her great German based teachers.

Covers

2011-01-28T13:37:00.000-08:00

Over the past 11 years I have been fortunate enough to purchase some of Gena Branscombe’s sheet music found on either Ebay or Amazon. Sheet music covers from her era could be works of art. It is easy to see that most of her covers were rather subdued which may be have been her choice or that of the publisher. Enjoy a look at some of her sheet music.

With a photo of the St. Lawrence river, this song features poetry by the composer who was ever dedicated to her beloved Canada. Schmidt published this song in 1921.

As poet and composer Gena's song "Autumn Wind so Wistful" was published in 1911 and republished in 1914 by Arthur Schmidt.

Published by Schmidt in 1917, Gena set the poetry of Katherine Tynan.

Gena teamed with her friend,fellow Canadian and poet Arthur Stringer to compose this song. Published in 1945 by Arthur Stringer. This is dedicated to the World War II Canadian soldiers.

"Songs of the Unafraid" and "Sun Dial" are two of the four song cycles Gena composed. With poetry by Kendall Banning, these were published by Schmidt in 1919 and 1913. The song "At the Postern Gate" from
"Songs of the Unafraid" and "The Morning Wind" from "Sun Dial" are featured in my one-woman show. Recital Publications of Texas republished these two cycles in 1995 and 1989. They are still for sale!

G. Schirmer published this set of piano pieces in 1907 while Gena was teaching at Whitman Conservatory in Walla Walla, Washington.

Her four daughter's were entertained with songs and piano pieces composed for them. "Bluebells" was published in 1916 and "Songs of Childhood" in 1911 by Schmidt and featured Gena's own words!

This is the opening song on my CD and the first song of Gena's I found and learned. Originally published by Wa-Wan Press it was republished by Arthur Schmidt as sheet music and in one of his song books entitled, "Lyric Fancies."

With poetry by Kendall Banning and published by Arthur P. Schmidt in 1913, "Hail Ye Tyme of Holiedayes" went on to be one of her highest selling pieces. Gena not only wrote it as a solo for voice and piano but she arranged it for women's chorus, SATB chorus and men's chorus. A charming holiday song!

This was one of Gena's later published songs; released in 1935 by Galaxy Music Corporation. Poet - Anna Moody.

Published in 1899 by Hatch Music Company, "For Lover's Abroad in Springtime," poetry by Gena's mother Sara E. Branscombe

Getting Published

2011-01-17T12:54:00.000-08:00

In 1899 at the ripe age of 18 while in college, Gena Branscombe’s song “For Love’s Abroad in Springtime Eves” was published by the Hatch Music Company of Philadelphia. Imagine….over one hundred years ago, a woman composer had found a publisher to release her song. I try to comprehend that idea and often wonder how she managed to get published for the first time, then, just two years later in 1901, four of her piano pieces were published by the Canadian firm Whaley, Royce and Company. Two different music publishers in two years.

It is difficult to grasp how hard it was for composers, even more so, women composers to be published. Composers submitted their compositions to music publishers who looked at the marketability of the piece, took into consideration the cost of type setting the music, printing, distribution, hopefully it would sell and the composer would earn royalties. In the late 19th and early 20th centuries people purchased sheet music with fancy colorful engaging art work on the cover, families gathered around the piano in the evenings or on weekends where there were sing-a-longs. Entertainment was at home. Sheet music sold!

So who were these companies that published Gena’s music during her lifetime? Twenty two different music publishers printed and sold her 74 choral works, 150+ art songs, 13 piano compositions and 8 instrumental works. They were the premiere music publishers of the day. Impressive, indeed! Did her royalties make her a wealthy woman?……No, they made her a working musician of her day.

Two of her publishers were leaders and pioneers in the industry both having created their own companies specifically to promote American composers.

Arthur Farwell (1872-1952) became one of the most influential composers of our country. He studied with George Chadwick and Englebert Humperdinck. In 1901 in search of a music publisher for his “American Indian Melodies,” he found not one company interested in his compositions. Mr. Farwell went on a personal campaign to assure musicians that American music would be published and thus created his own Wa-Wan Press. The name was derived from a ceremony of the Omaha Indians that honored peace, song and fellowship.

Gena Branscombe and Arthur Farwell met in Chicago during the early 1900’s while she was teaching at the Chicago Musical College. Shortly thereafter he published three of her songs, “Faery Song,” “In a Gondola,” and “Serenade”…the latter two are on my CD. Gena’s study with Englebert Humperdinck in Germany during 1909-1910 was probably the influence of Farwell. He took the risk of publishing a young, up and coming woman composer….a real pioneer who saw that her songs had substance and would catch the hearts of those sheet music buyers!

1910 was a momentous year for composer Gena Branscombe. In August she married John Ferguson Tenney of Methuen, Massachusetts and shortly thereafter the couple moved to New York City where they pursued their respective careers. Music publisher Arthur P. Schmidt of Boston had read publicity about Gena, was impressed by some of her compositions, asked her to submit works for publication, then made a special trip to New York to meet her and finalize the details of a seven-year contract that gave him exclusive rights to publish her music. Not a bad deal for the first year of marriage!

German born Arthur Schmidt (1846-1921) was a trailblazer for American composers and in particular American women composers. In my mind and opinion he broke down barriers, sought out potential that could be developed into the brightest and best. He proved that the word composer had no gender bias to it….a composer is a composer whether man or woman!

What I have found most interesting about Mr. Schmidt is the personal interest he took in his composers. At the Library of Congress in Washington, DC is the entirety of his business records. There are ledger books for sales of each composer’s works, royalties paid, copyright filings, renewals and expirations, inventory listings, files with each individual’s contracts, business documents, pictures of composers, their children, families and concerts where they performed, correspondence from each composer immaculately filed by year, and original scores with the copies of each piece of music the company published. This collection is the history of one of our country’s leading music publishers.

All totaled, Arthur P. Schmidt Music Publisher printed and sold 76 different compositions of Gena Branscombe’s.

Along with my colleague Dr. Laurine Elkins Marlow, I have had the pleasure of reading Gena Branscombe’s letters to Mr. Schmidt. These letters from 1910-1921 were diaries of her musical and family life. There are details of compositions she was writing and how soon she would be able to submit them for publication, discussions of poets and commissions to write pieces. Details of her performances, her children, their distinct personalities and activities as well their musical abilities and piano pieces she had written for them leapt off the page. There is a lovely picture of Gena’s daughter, Gena Tenney, sitting at the piano and whose childhood facial expression is quite resolute with her chin tilted upward. It always broke my heart when I read Gena’s request for an advance on her royalties as one of the daughters was sick and the doctor needed to be paid. Times have not changed!

Her letters to Mr. Schmidt made mention of her colleagues and friends also published by him. There was mention of concerts where Mrs. Beach, Marion Bauer, Mabel Daniels and Gena’s music was performed and hopes of future sales of their works. Gena’s correspondence would request complimentary copies of her songs or choral works be sent to singers and conductors and that those copies be charged against her next royalty payment. These were warm, friendly letters between publisher, friend and composer. I realize that was a different time yet one wishes today we would have this same sense of care, compassion and civility.

It seems pictures of Mr. Arthur Schmidt are rare so I do not have one to put in this blog. Here is a partial list of some of the women composers of Gena’s era who were published by Mr. Schmidt. Pictures of some the women composers are scattered throughout the blog.

Florence Newell Barbour (1866-1946), Marion Bauer (1887-1955),
Mabel Daniels (1878-1971), Helen Hopekirk (1856-1945), Lucinda Jewell (1874-?), Margaret Ruthven Lang (1867-1972), Frances McCollin (1892-1960), Edna Rosalind Park, Olga von Radecki (fl. 1882), Anna Priscilla Risher (1875-1946), Clara Kathleen Rogers (1844-1931), Mildred Weston, Floy Little Bartlett, Mrs. C. F. Chickering, Mary Bradford Crowninshield, and Mary Turner Salter.

As a final thought, I do not want you to think that Schmidt Music Publishing only published women composers. Mr. Schmidt sought out and published the music of Edward MacDowell, John Knowles Paine, Arthur Foote, Carl Bohm and Horatio Parker along with countless other men. A true publisher, patron, business man and promoter of American music. Thank you Mr. Schmidt.

Three Directors - One Show

2010-11-15T08:04:00.000-08:00

Norman Carlberg, Evan Pappas & Ellen Harvey…..all three directors of “Life! Love! Song! A Visit with Gena Branscombe.” A one-woman show ….how does one person get so lucky to have three wonderful directors? Life is not predictable or fair at times.

In my April 8, 2010, blog I wrote of my first director, Norman Carlberg, who gave wings to my show and saw me through to the opening night at the Liederkranz Club in April 2004. I am thankful to him for comprehending and supporting my mission to get Gena Branscombe’s life story out to the world. Norm died suddenly of a heart attack in July 2005.

At that time I was about to go back into rehearsals with Norm for upcoming performances. Evan Pappas, my co-author, and I had rewritten the script, made cuts and sharpened the show. I was excited to get back on my feet and perform this diamond of a show. Norm’s death meant I had no director and was in need of someone to help me put the show back together.

Without hesitation I called Evan and invited him to be my director. With a decisive, “Yes!” Evan and I took our partnership with the show to another level. I gave Evan the video tape of the first performance and from there he took control of Gena Branscombe on stage. He kept the outline of Norm Carlberg’s staging adding more comedic buttons as well as making the dramatic moments more poignant. In rehearsal we continued to rewrite the script, restage sections, and experiment with new ways of presenting the material we had written. The show began to sparkle in a way I had dreamed about yet did not know how to make possible. Our next performances had a new verve and the audiences loved it.

Several months passed and once again it was time to go back into rehearsal for future performances. Evan had been in a touring production of On Golden Pond when tragedy literally struck his life. Driving a vehicle that was broadsided, Evan was near death, spending two months recovering in the hospital. Devastating is the only word that comes to mind. This vibrant, multi-talented, loving and charming person nearly had his life taken and all we could do was hope and pray for his complete recovery.

His return from the tour was to have been the beginning of our rehearsal period. For a second time, I was without a director. As had happened during the entire inception of my Gena Project, someone was close at hand to help me.

Friend and neighbor, Ellen Harvey agreed to step in and rehearse the show. What a blessing. Ellen is a veteran actor/singer having performed in the Music Man and Thou Shalt Not on Broadway and toured in Mama Mia, Disney’s High School Musical and Mary Poppins. She studied our script and Gena’s music, then made some suggestions for script clarity changes. We ran through the show and from there Ellen’s insights gave us crisper character thoughts and timing. Again this one-woman show took on new facets for performance. Thanks to Ellen our next performances of Life! Love! Song! were well received.

We are thankful that Evan fully recovered from his car accident and has returned to being my director. In the ensuing few years we have rehearsed, making small changes here and there, always looking for new ways to improve the show. A special heartfelt thank you to Evan for his belief in Life! Love! Song!, his brilliant knowledge of theatre and for being a co-author, director and friend.

As I write these blogs about people who helped me along the way, the words “thank you” recur frequently. It may seem trite, yet without people like Norm, Evan and Ellen, my Gena show would not be the gem it is today. They unselfishly gave of themselves believing in the beauty of Gena Branscombe’s life and music and my determination to present it to the world.

So, a one-woman show and my three directors …..lucky and blessed am I to have had these brilliant and talented people be part of my Gena Project. Mille grazie!

Julie

2010-10-22T14:27:00.000-07:00

There is no need to tally up the years one has had a dedicated friend as the number is meaningless, the quality of friendship, a blessing in one’s life and, ….well, priceless, to quote an advertisement. Thus it is with my treasured friend Julie TeSlaa.

We met while Julie was in Junior High School and I was in college. It’s frightening to say that I was Julie’s voice teacher….what did I know about vocal technique in those years? Oh, dear me…..next to nothing. Still, Julie and I became fast friends.

She was introduced to opera when I took her to hear/see the Metropolitan Opera during their Spring tour in Minneapolis. She heard art song recitals by the great singers when they also came to Minneapolis. She was a sponge taking it all in.

As for Julie as a singer, with a 1000 watt smile, her sweet voice comes with the heart and soul of a performer. Standing a mere 4’10” she had the ability to draw you into her world of a song touching the audience’s soul.

So time marches on and so does our friendship. Julie, ever the true friend, has traveled to visit me in Cincinnati and New York. Without hesitation she used New York City’s public transportation and she loves every minute she has spent here. Hooked on New York is Julie!

She has two beautiful adult children though she never has or ever will look old enough to have had children! How can someone continue to look so youthful and now be a grandmother?

Previous postings on my blog are about Gena Branscombe and the supportive people surrounding me as I developed my project. So now it is time to talk about Julie, her husband, Orlin, and their help as well as dedication to my CD and one-woman show.

Stated in the booklet included with my CD is a paragraph thanking the people who helped me. Listed first are Julie and Orlin. These two cherished friends blew wind into the sails of my Gena Branscombe journey and without them I doubt Martin and I would have made the progress we did. It may sound dramatic yet it is true.

When I first shared with Julie my intentions of making a recording, her response was, “What can we do to help?” Speechless, yes, me speechless, I did not know how to respond. Shortly thereafter, Julie and Orlin sent financial help that covered the cost of recording and editing sessions. To say the least, I was thankful and finding the continuing words to say “Thank You” was difficult.

Their support is more than just money. It found deeper meaning in the many years of our friendship, the connection that music is what first brought us together and music continues to connect us so deep in our souls, plus their open-hearted, selfless gift of themselves. They have continued to be generous and supportive, always cheering me on every time there is a radio interview where my CD is given air time, or when we book yet another performance of “Life! Love! Song! A Visit with Gena Branscombe.”

Just when I need a pick-me-up, there is Julie on the phone checking to see how the Gena project is going. Ever sympathetic and understanding, she reminds me that I have so much to be thankful for……sincerely good and cherished friends, performing music of a woman composer whose heartfelt compositions speak to me and thus I can give that to the audience and, I have made a difference in the music world at large.

Trite as the words, “thank you for all you have done for me” may sound, they will have to suffice for you know that you deeply touch my heart.

Gena Branscombe's Life in Pictures

2010-10-11T13:30:00.000-07:00

As I have written my blog entries, I realized recently that more has been said about my Gena Branscombe project than about Gena Branscombe the person.

When I perform my lecture recital, “Gena Branscombe: Her Life in Poetry & Song” after singing the opening song, I begin speaking with the statement,

“Gena Branscombe born Picton, Ontario, November 4, 1881 died New York City July 1977. Daughter, woman, wife, working mother with four daughters, pianist, accompanist, composer, conductor; founder, conductor, fund raiser and organizer for over twenty years of her women’s chorus The Branscombe Choral, leader of women holding executive offices in such organizations as the National League of American Pen Women, General Federation of Women’s Clubs, National Federation of Music Clubs, Society of American Women Composers, Altrusa International and more…..oh, and did I mention, she was the mother of four?”

Here in pictures is Gena’s life with a little commentary. I trust this will explain my fascination and dedication with this woman composer from one hundred years ago.

Gena Branscombe and her mother, Sara Alison Branscombe. The photo was taken in Picton, Ontario, Canada where Gena was born. Sara Branscombe was a poet and newspaper woman. Throughout her composing years, Gena set many of her mother's poems.....quite successfully!

Portraits of a young Gena Branscombe. Unfortunately there are no dates to these pictures yet look how gorgeous she was!

From the Summer of 1909 to June 1910 Gena along with her friend, Lillian Boulter, spent one year studying piano and composition in Berlin, Germany. During that time she had the honor of studying with the real Englebert Humperdinck. This picture was taken near his home. Imagine a woman traveling alone.....100 years ago. What spirit and what an inspiration!

The National League of American Pen Women's composers. Gena is in the back row, second from the right. Mrs Amy Beach is in the front row, second from the left. All the composers autographed this photo. These were the famous women composers of the early 20th century.

John Ferguson Tenney, Gena's husband. Originally from Methuen, MA, he was a lawyer. Gena and John met in Walla Walla, Washington where she was on the faculty of Whitman Conservatory. They were married in Picton, Ontario, August 1910. He insisted they live in New York City to further Gena's career. He was a dedicated husband and father babysitting his daughters so his wife could compose.

Gena Branscombe with her eldest daughter, Gena Tenney. Both mother and daughter were musicians. Gena Tenney went on to major in music at Barnard College, studied at the Royal Conservatory of Music in London and returned to New York City where she was head of the Music Department at Barnard.

Gena Branscombe with her husband John Ferguson Tenney, his parents and their three daughters.

Gena's daughters Vivian, Beatrice and Gena Tenney.

Spring concerts for the Branscombe Choral were performed at Town Hall in New York City. This photo is from 1949.

The Branscombe Choral performing Christmas Carols for the communters at Grand Central Station. An annual event for the Choral.

Grandsons - Roger and Morgan Phenix

This picture taken in 1975 just two years before her death. She looks youthful at age 94.

Radio Interview

2010-09-24T09:58:00.000-07:00

My CD was out in 2003 ….actually released for distribution and what a thrill it was. Now what……?

Albany Records sent copies of my CD to their list of radio stations as part of the release and in hopes of enticing them to play it during programming. Stations are inundated with new CDs each and every day so I realized without some leg work on my part, my CD would not get air time. In today’s world radio stations are part of a conglomerate where programming is an executive decision and the broadcasts are sent out from a central studio to stations around the country.

The creative and business part of my brain took over as I scoured the internet for classical radio programs featuring women in music projects and new works programs. My job was to find independent and community supported stations whose announcers were creative as well as inquisitive with their programming. Would they dare to play a CD of a non-famous performer, of a forgotten composer from the past? Would announcers and programmers take that chance? Are they progressive enough to understand a project like mine and my dedication to this woman composer Gena Branscombe?

I found eight stations whose program hosts were inspired by my story and took the time to interview me and play my CD. Every interview was done by a woman who put forth a woman in music venture. I am thankful to them and their stations for giving me air time.

While performing with the Acadia Choral Society in Bar Harbor, I noticed an advertisement in the concert program for WERU’s “Women’s Voices” program. Little did I know the announcer for the program was Choral Society member Marge May. I sent my CD and a letter to the station mentioning that I had frequently performed in the Bar Harbor area, my project was about a woman composer and hopefully we could tie it in to their program. A while later a response came from Marge saying she would be happy to feature my CD as well do an interview for her program. Marge had done her homework preparing questions and insights into our project. Following our telephone interview she went to work intertwining cuts from the CD with our taped remarks. The flow from music to us speaking and back to music was effortless highlighting the fluidity of Gena’s life and career. What a beautiful job she did. Thanks to Marge May, known as Magdalen on the air, we had our first successful interview! Some day soon, I promise to share this interview on my website!

“The Latest Score” hosted by Canary Burton of WOMR in Provincetown, MA features new works by composers, newly released CDs and promotes unique music projects and performances. What an enthusiastic, supportive person she is. Canary interviewed Martin, Laurine and I and played cuts from the CD. Not only did she interview us in November 2004 but in April 2007, she interviewed us a second time helping to promote our upcoming performance of “Life! Love! Song! A Visit with Gena Branscombe” in Quincy, Massachusetts. Canary endorsed our performance encouraging her listening audience to attend!

Canary’s interview style is friendly, laid back and relaxed allowing us to explain in detail Gena’s life, music and the development of our project. Occasionally I will receive an e-mail from her advising me that she will be rebroadcasting the interviews! Thank you Canary, you are a dear!

It came as quite a surprise when Deirdre Saravia of Texas Public Radio invited me for an interview. Via telephone she asked me about Gena, the recording and how the entire project evolved. Later she merged the interview with the music and it was broadcast in March 2005. To know that listeners in Texas were introduced to Gena’s music was encouraging!

Marvin Rosen of “Classical Discoveries” on WPRB in Princeton, NJ played selections from my CD. He features new and unusual music on his program.

Sarah Cahill and I met at a women in music festival entitled “Ladyfingers” whose main objective was the performance of piano compositions by women composers. Though I do not play piano in a way that would draw an audience, I did sing chant by the medieval composer Hildegard von Bingen. Sarah invited me to be on her KALW program, “Then and Now” should I ever be in San Francisco. In May 2005 Dan and I were in the Bay Area. Sarah interviewed me live in the studio and played selections from my CD.

Sarah is a brilliant pianist with twelve recordings of her own. An avid performer of contemporary composers and their music, her playing is at once lyrical and can reach the demands of extended piano techniques. As a radio interviewer she is friendly and willing to help out a fellow musician.

A 7 AM live and in person interview at WORT in Madison, Wisconsin found me arriving at the station at 6:45 AM. I was met by Jessica Courtier, host of the show, “Other Voices.” We spent 20 minutes playing songs from the CD and discussing Gena Branscombe’s influence on the music world at large. What a way to start your day!

Marian Mapes-Bouck of KMUD in Garberville, California interviewed me live via telephone, twice. For her show “Women in Music, Marian had requested CDs of women composers or performers. Quickly I submitted my CD with a letter and Marian contacted me shortly thereafter.

When we set the interview time for early March 2008 I had no idea what to expect of her questions to me. What we thought would be a 15 minute interview including cuts from the CD went on for nearly 25 minutes. Marian had done her homework and knew an extensive amount about Gena and her music. Her questions were thought provoking and I found myself digging deeper into my well of information on Gena Branscombe. As we arrived at the subject of my one-woman show, her questions turned to how I came upon the idea of doing the show, how we wrote the dialogue, how did we choose the portions of Gena’s life to highlight, how the show was produced, where we had performed and would be performing. She understood the importance of my show and with her questions her listening audience realized the creativity it took to make it all this a reality.

Later that month Marian invited me to return to the air with her while KMUD was doing their fund-raising week. I offered three free CDs to listeners who donated to the station. We need stations like KMUD!

Marian passed away in November 2009. To have lost the hero of KMUD’s “Women in Music” is a loss to the music world at large. A true champion for women, a teacher, a musician and singer herself, she leaves behind those of us blessed to have been touched by her enthusiasm for our projects.

Radio station CKWR in Waterloo, Ontario requested women to submit CDs for their show, “Women in Music” hosted by Mary Lou Schagena. With the usual sending out of my CD and a letter explaining that Gena was born and raised in nearby Picton, Ontario, I received an e-mail not only expressing interest in a live 8 PM telephone interview, in addition, my CD would be highlighted for play on the 9 PM show, “Monday Evening Concert” hosted by Tom Quick. A double whammy of radio time!

Mary Lou had done her home work and her lively personality made for a fun interview. Her questions about Gena again made me dig deep for further details and then we hit upon my one-woman show. Mary Lou’s enthusiasm was infectious and she quickly inquired about possible Canadian performances. What was to have been a ten minute interviewed spilled over to 25 minutes. Several days later in a private phone conversation she gave me names, theatres and concert series in Canada and suggestions about whom we could send our publicity materials.

So this is an extensive blog filled with names and dates, details and fond memories of radio interviews. Most important are the people and hosts I met along the way, their passion for promoting women in music and their fearless faith that their listening audiences would catch on. I have been interviewed on both the East and West Coasts and in the middle of our country. How lucky I have been.

There seems to be a pattern that when offered a ten minute interview, it quietly extends itself because of the passion I have for Gena’s life and music and because the show’s hosts “got it.” Well, maybe it means I like to talk…..a lot…..!

Thank you to all of you brilliant radio hosts and your loyal listening audiences.

Elizabeth Leif

2010-09-16T12:22:00.000-07:00

"Patron of the Arts" is a term long familiar to the creative world at large. The history of music shows that the courts of England, Germany, Austria and Italy supported such composers as Mozart, Handel, Haydn and Monteverdi. These composers were commissioned to write and perform pieces for specific occasions where musicians were hired, choral anthems, operas, chamber music or symphonies were performed all to entertain the court and the common people and, most important, paid for by royalty!

Times have not changed in over 500 years. Today, we in the arts continue to rely on the generosity of people who understand that music, dance and art influence our daily lives. Music soothes our aural and spiritual souls. Art inhabits our visual and spiritual souls. Dance thrills us, leaving our physical and spiritual souls with heightened awareness of the beauty the human body can express.

The price of concert tickets does not cover the expenses for performances so we have billion dollar corporations who donate money to keep symphony orchestras, opera and ballet companies as well as concert venues alive to serve their audiences.

Individual performers often wonder if their creative projects will find a person or a venue who will help fund their expenses. We search far and wide, and then one day someone to whom you have sent your publicity packet actually takes the time to open it, read it, and considers presenting and promoting your creative work. Thus was the story with a beautiful and charming lady by the name of Elizabeth Leif.

In Elizabeth we found a woman whose worldly life and special curiosity led her to read through my publicity packet and decide that this one-woman show about Gena Branscombe must be presented in the Quincy, Massachusetts area. A phone call from Elizabeth to my agent expressing her interest was the beginning of a beautiful and continuing friendship for all of us.

A registered nurse with her initial training from Quincy Hospital, Elizabeth soon found herself living in England for one year's study of mid-wifery. As a specialist in maternal and child health care, she spent three and a half years working in Tanzania. She obtained her Masters degree in Public Health from Yale Medical School and worked for the United Nations in Central America again as a maternal and child health specialist. To round off her career, she worked as a consultant to the National Academy of Pediatrics for Maternal and Child Health helping to set up clinics in high risk areas. What a calling and one where I know she served her patients with the utmost love, respect and care.

What made a registered nurse take a second glance at an unusual publicity packet? Having been President of the Old Stoughton Musical Society and President of the Old Stoughton Historical Society, Elizabeth wrote the first journal of the music society entitled, "The Chorister." This retrospecitve recounts the history of Stoughton and its music society; the oldest continuing performing organization in the United States dating back to the 1700s. In addition Elizabeth researched the history of Stoughton, the birth place of American Freedom.

Our registered nurse and historian knew when she read our packet that this was an important and historical woman composer with close ties to Massachusetts. Elizabeth understood deep down the significance of Gena Branscombe and the mission of the Old Stoughton Musical Society.

Using her own personal funds and ingenuity, Elizabeth produced "Life! Love! Song! A Visit with Gena Branscombe." With determination Elizabeth set forth booking a concert hall at Eastern Nazarene College, arranged for the piano, found us housing, provided the necesssary stage furniture and a lighting person. Lydia Wallace, Elizabeth's long time friend and a professional graphic artist, created colorful programs, tickets and flyers. With the help of friends, Elizabeth papered the towns, churches and schools with flyers inviting one and all to attend.

Martin, Elizabeth and I were interviewed on the radio by Canary Burton of WOMR in Provincetown, MA, not far from Quincy! We managed to get the word out about our upcoming performances!

Not a detail was missed and against some seemingly insurmountable odds, Elizabeth gave us the opportunity to perform two Gena shows for the people of Stoughton and Quincy!

What a fun time we had with these lovely and dear women. They gave of themselves emotionally and financially. How blessed we were and are. From this experience we have remained friends and on occasion I call to chat with them. A treasured memory on the path of exposing the world to the life and music of Gena Branscombe.

Thank you Elizabeth and Lydia!

Martin

2010-07-29T12:56:00.000-07:00

Twenty years of collaboration….how does one write about those twenty years without sounding sentimental, saccharin and overly emotional? My job now is putting into words what it has been like to have an accompanist, collaborator, cheerleader and dear friend named Martin Hennessy.

“Concerts to Go” was a program sponsored by the music series at Trinity Church in New York City. With a baritone friend, Martin and me, we traveled subways and buses to perform opera arias, duets and show tunes in nursing homes throughout the five boroughs. Touching these elderly people’s lives with the gift of music and watching the smiles on their faces was a reward beyond what words can express.

Martin became my coach and accompanist from that original collaboration. Over the past twenty years we have prepared and performed countless recital programs. He has helped me learn oratorios that I have sung from New York to Maine. He knew which of my buttons to push to make me reach deeper inside myself allowing me to find ways to express the music and words in a more profound way. His knowledge and ability to teach musical style and languages are a singer’s dream of an accompanist!

Then, ten years ago I came to Martin with the first songs of Gena Branscombe’s that I had found. We read through the songs and immediately Martin said, “Who is this woman?” and “You need to record these songs.”

Truthfully, if it had not been for Martin’s encouragement I doubt I would have begun work on Gena’s music. He seemed to know that this project would change my career and give me a direction to use all of my creative abilities from researching, preparing and recording music, the business aspects of promotion for such a project, to writing and performing a one-woman show. Yes, Martin knew, encouraged and cheered me on. He had a vision of the dress I would wear for the CD cover pictures and was able to describe it in great detail long before the dress became a reality. Yes, he knew!

As I discovered that Gena wrote 150 art songs and a multitude of piano works, the whittling down of repertoire for the CD became important. With Martin’s help we made artistic decisions as to which songs would create a complete picture of Gena’s stylistic output. Martin offered to record four of the piano works written for Gena’s daughters. To sit back in the recording session and experience the heart and beauty of his playing touched my soul. Listen to the CD and you will understand.

Martin had previously recorded at Town Hall and recommended we record there using David Smith as our sound engineer. Recording is an animal in and of itself yet with Martin’s support and David’s expertise we produced a beautiful homage to the music of Gena Branscombe. During sessions though we were concentrated on doing a good job, Martin managed always to see the bright side and kept us laughing at our mistakes. We did need to lighten our attitudes even in the midst of intense work.

Albany Records picked up our recording for publishing and distribution. We were honored. Our CD, “Ah! Love, I Shall Find Thee: Songs of Gena Branscombe” was released late 2003 and signaled the beginning of our work on the one-woman show.

There was Martin encouraging me to continue down an unknown creative pathway. He carefully nudged me on to build a complete woman’s music project. He gave me strength and courage to face it all. Where does this incredible man find the depth of spirit to shout his approval of a woman composer from the past and a female singer fashioning a whole new world of women’s music for her career?

As we went into rehearsals for the premiere of “Life! Love! Song! A Visit with Gena Branscombe,” Martin embraced being musical director of the show and also participated as a dramatic character. He suggested and created his entrance to the stage which has purpose and it works beautifully. Martin improvised, played fillers and eventually was given a singing solo! He has done all this work with a great professional quality and a passion every singer should have the joy to experience.

There was never a doubt in my mind that Martin was there for me at every note, beat, dramatic moment or my personal ups and downs. He is always at my side, front and center! Every singer should be blessed with such an accompanist as Martin.

We began taking “Life! Love! Song!” on the road. Performing partners do not always travel well together. Not us…..we have the best time laughing, driving, flying and enjoying one another’s lives and hearts. I always have the feeling Martin is taking care of me while we travel, concerned that I am OK and have all the necessary encouragement to perform at my best.

Martin will now join my colleague, Barbara Dana, and I as music director of our Emily Dickinson show, “I Told My Soul to Sing.” His acting abilities will be tested and we know he will love the challenge! His pianistic and collaborative qualities without a doubt will be the best he has to give us.

I admit to having waxed poetic about Martin yet every word is true. Still there are many facets to his personality and life. On occasion I refer to him as my Irish leprechaun as he does have a devilish and deliciously wicked sense of humor. His smile and personality light up our lives and the stage where he performs with us.

His knowledge of wine, well, contact him and he can give you terrific, tasty suggestions with most of them under $15. He’s a fabulous cook, a gracious host, loving, crazy and generous to those of us lucky enough to work with him. You will hear Martin talking about and promoting nearly every one of his colleagues with whom he works. How lucky we are!

He is a composer whose music reaches such depth of soul whether it be his songs, piano or instrumental works. His music will be remembered for many decades to come.

So, this is my accompanist, dear friend, cheerleader and the reason my Gena Project has become what it is. Thank you dear, dear Martin.

Gena Sis

2010-07-08T13:21:00.000-07:00

Satin covered buttons attached to the back of a hand sewn lace dress, snaps lovingly fastened under those buttons to ensure the lace does not tear. Small even stitches join the silk lining to the bodice of the dress. Yes, the dress was made by Gena Branscombe! We surmise she wore it to perform.

In March 2002 my colleague and friend Laurine Elkins Marlow gifted me this dress because, “You need to have the dress near you.” A beautiful and treasured item!

What does this dress represent?….a ten year friendship that has meant the world to me and born out of my Gena Branscombe project. It is now time for me to tell the story of people behind the scenes.

For three continuous days after Gena Branscombe’s death in July 1977, Laurine labored in Miss Branscombe’s apartment to organize and catalogue her original manuscripts and published music. Gena’s music was everywhere …..on top of the piano, under the piano, on the floor, on tables, under tables…….piles of music needing attention. Months later the collection was donated to the New York Public Library for the Performing Arts.

Laurine was given access to Miss Branscombe’s correspondence, calendars, news articles, programs, recordings and much more. Gena’s daughter’s gave Laurine the tea cup she used during her interview sessions with the composer and, Gena’s lace dress was a gift to her.

She has regaled me with Gena stories in such detail that I felt as if I were in the room at that very moment being described. Laurine spent 18 months interviewing Miss Branscombe, taking notes, looking at this woman’s life story, her career in music and deciding it needed to be told to the world. Then, imagine it is 1975 and you appear before your Doctoral committee proposing a dissertation on a living woman composer. Unheard of even in the liberal days of 1975! Yet Laurine with the help of her advisor persevered and thus her dissertation.

Dr. Laurine Elkins Marlow, college professor at Texas A&M, researcher bar-none and author of “Gena Branscombe: American Composer and Conductor, A Study of Her Life and Works; Doctoral Dissertation.” She is the authority on Gena Branscombe.

Her lilting Southern accent, her friendly no-nonsense way and her warmth flowed through the telephone lines the day we first spoke. In the ensuing years we have had countless phone conversations, meetings and e-mails. Laurine dubbed me her “Gena-sis” and she has been there for me ever since!

Generous of spirit, Laurine saw to it that I received copies of songs not in the library, a copy of her dissertation, access to her at all times when I needed help with song interpretation or she patiently listened as I peppered her with questions about Gena, her personality, what drove her, her daily routine, her music, her background, her children, husband and family life. Details, details and more details . She allowed me to dig through her boxes of Gena research which included calendars, newspaper articles, and some correspondence. Her writing expertise and knowledge of Miss Branscombe shown through the liner notes she wrote for my CD. Thanks to Laurine, I have twice appeared at Texas A&M performing my lecture recital and one-woman show.

As a team we spent two days at the Library of Congress where they hold Miss Branscombe’s original score and orchestra parts to her oratorio “Pilgrims of Destiny.” Laurine read through Miss Branscombe’s letters to her publisher Arthur P Schmidt, while I researched the same publisher’s photos of Gena and the accounting of how she was paid royalties. We drove to western Virginia to interview Gena Tenney Phenix spending several hours questioning her about her mother. What a sweet and memorable time it was!

Together we presented a lecture recital at the Festival of Women Composers in Pennsylvania.

Laurine flew to New York for the premiere of Life! Love! Song! A Visit with Gena Branscombe.” Having her in the audience was a thrill and a four year culmination of her teaching me about Gena Branscombe.

My friend and colleague Laurine is a zany lady with a fun sense of humor, an unending curiosity and willingness to learn; generous and loving, open hearted and my Gena-sis! Without her Gena Branscombe’s life and music would not have come into the 21st century.

There is more to Laurine than her music career. All of her life she has been an avid horse woman. Owning up to three horses at one time, Laurine now shelters her one horse just outside College Station. Each morning and evening she drives out to feed and ride her beloved Roo. I have learned more about horses, their personalities, trading horses, horse paraphernalia, horse shows, horse vets and horse trailers from Laurine! Yet, all this speaks of who Laurine is…a caring, curious and nurturing person comfortable both in the classical music world and pitching hay to her horse.

Guardian Angels

2010-06-22T15:37:00.000-07:00

During the past year I have lost two dear friends….both part of my cheering section during the development of my Gena Project, the recording of my CD and my one-woman show.

Loss is always a difficult item for us to face. As children we are invincible, as teenagers infallible, as young adults we know we have years to accomplish what we want – the world is ours on a silver platter. The years fly by and slowly we have reached the age where we notice those few lines on our faces, our bodies have those creaks and pains and then a stark reality, a dear friend dies. What happened to our invincibility, infallibility and the abundant years?

So, I have faced this kind of loss not just once but recently, twice. Two lovely, strong women, individuals in their own right, supporters of the arts and music, and people whose footprints will forever be on my heart.

I met Millie McGonagle while I was a student at St. Cloud State University in Minnesota. She attended student recitals and opera productions encouraging all of us to keep up our studies.

After I left Minnesota to attend graduate school, Millie would write asking me to keep her informed of my performances and auditions. When I returned home we would meet for lunch to discuss my career or concerts and operas we had attended. We always had a great time laughing and enjoying one another’s company.

When I shared with Millie my having found the music of Gena Branscombe and the recording of a CD, her enthusiasm was infectious. She cheered me on. Her Christmas cards arrived with questions as to how the entire project was going. Our infrequent phone conversations were filled with our passion for classical music and the continuance of our sweet friendship.

A trained pianist and at one time a music teacher, Millie was a big fan of the Metropolitan Opera’s Spring Tour to Minneapolis where she attended all seven operas presented. She supported the Minnesota Orchestra’s concerts performed at nearby St. Benedict’s College.

Millie passed away on June 6, 2010. A dear person, gracious, elegant, humor-filled and one whose enthusiasm reached the level of guardian angel for many a young singer. Millie you are missed. Knowing her as I did, it is my belief she is still watching over each and every one of us. Thank you for deeply touching my life.

My dear friend Kathy Neeb died on April 18, 2009. Acquaintances since High School and dear friends from our days as music majors at St. Cloud State, eventually Kathy went on to become a registered nurse and a published author of a textbook on Fundamentals of Mental Health Nursing. Impressive, indeed! She remained a choir singer and a big fan of classical music.

Through thick and thin Kathy stuck by me as a friend. She waved goodbye as I left Minnesota to attend graduate school and then on to New York City. She called or wrote to discuss what was up with my career. Her ability to be my friend through my own personal difficult times reached depths I was unable to accept or comprehend yet there she was with a smile, a hug, her quick cackling laugh and forgiveness. A down-home, no-nonsense person she was!

Kathy was the first of my friends with whom I shared the idea that I might take on my Gena project. This unusual music I found….no one had performed it, maybe a CD and all the other items that came my way during my project found Kathy’s enthusiasm and cheering almost deafening. She kept telling me to follow my instincts, follow the road that was ahead of me and her advice on how I might proceed, was wisdom filled.

She was unable to travel to New York for the premiere of “Life! Love! Song! A Visit with Gena Branscombe.” Though her physical presence was not there, her heart and spirit were with me.

December 27, 2008 I called to wish Kathy a Belated Happy Birthday when she told me she was not feeling well. A few weeks later Kathy was still under the weather and at the end of January 2009 saw a doctor. Early February 2009 she was diagnosed with pancreatic cancer. Devastating news! Yet true to her indomitable spirit she fought as hard as any person could possibly fight. Her family surrounded her with support, research for cancer treatments and trips to Chicago for the best care possible. She lost her battle.

Two great women….now my personal guardian angels. Thank you for sharing your lives with the music world. You are missed.

The Phenix Family

2010-06-04T10:51:00.001-07:00

Each day that I add another posting to my blog I realize how fortunate I am to have created and developed a project about a woman composer. As I write my story I often wonder if my readers think my narrative sounds like a fairy tale filled with unbelievable happenings and magical coincidences.

My mission was to put forth Gena Branscombe’s music through the recording of her songs and piano works, then tell her life’s story in a one-woman show. This undertaking took countless hours of research at the New York Public Library for the Performing Arts, innumerable hours learning, practicing and rehearsing songs for recording sessions. I could go on about the myriad of details that made this all happen, yet each second of it was and is a joy for me.

One of the greatest blessings of my Gena Branscombe Project was meeting Gena Branscombe’s eldest daughter, Gena Tenney Phenix, her husband, Philip, and their two sons Roger and Morgan Scott. From the first day Gena Phenix and I spoke by telephone in 2000, I have had the continued support of the family. Generous with sharing stories, pictures, letters, music and photos of their beloved family member, they continue to be open hearted and appreciative of my dedicated work.

For the opening night of “Life! Love! Song! A Visit with Gena Branscombe” it was my hope that Gena Phenix, Roger, Morgan Scott and their families would be able to attend. In her advanced years Gena Phenix had become frail and was unable to make the trip from her home in Virginia where she lived with Morgan and his family.

Roger Phenix and his lovely wife, Joanne, attended that first performance. What a thrill it was for me knowing they were in the audience watching as Roger’s grandmother came to life on the stage. At the curtain call and to the surprise of the audience I introduced Roger as Gena Branscombe’s grandson. The post performance reception found him surrounded by audience members peppering him with questions about his grandmother.

Pictures were taken of Roger, Laurine, Martin and me. Roger’s reaction to the overall performance was touching. First, the set reminded him of his grandmother’s living room. Was the tea set I used hers? Then, he told me there were times during the performance that I looked and sounded just like his grandmother. What better compliment could there have been?

In the ensuing years by telephone I spoke to Gena Tenney Phenix often asking additional questions about her mother, trying to dig deeper into what drove her mother’s life. On occasion Gena Phenix would call me to thank me for bringing her mother’s life and music into the 21st century. Roger and Morgan have offered their stories of their Grandmother. Roger, being the family historian, has shared items from the family archives. I will never forget Morgan’s call when his mother passed away three years ago. Roger and Morgan continue the example set by their grandmother and parents of being an open hearted family!

Roger and Joanne attended the weekend celebration of Gena Branscombe’s music at the 2009 Festival of Women Composers in Hartford, Connecticut. Following my performance there was a “talk back” where I was surprised Roger had a question. “How is it that you never met my Grandmother and yet, you portray her completely?”

Thank you to the Phenix family for opening your hearts to me.

One More Branscombe Choral Member Comes Forward

2010-06-02T11:21:00.000-07:00

One More Member Comes Forward!

Just when a person needs a small pick-me-up in life, something happens to put a smile on your face. In my e-mail today came the following message from a former Branscombe Choral member. Diane sang one concert with the Choral in Spring 1948. Look at the memory she has of that one concert!

“Yes, I sang with the Branscombe Corale in the 40's. I remember the concert in Town Hall. I sang solo with them. I can't remember the name of the number. I do remember Gena in a red velvet gown with open back and a big bow. She always conducted her music from memory. That was a long time ago and I do not remember all the details. I know I'm on the photo of the group. We've all changed and the photo is not too clear.Just thought I'd let you know. As I am 85 years old, I'm not too sure how many of us are still walking the earth!

All the best with your search.

Diane N………..”

I responded to Diane asking many questions and thanking her for contacting me. I gave her a brief recounting of my connection with three other members. Here’s to hoping that more members come forward.

Women Composers of America – 28

2010-04-26T13:04:00.000-07:00

The title of the December 11, 1909 article taken from the publication Musical America was “Women Composers of America – 28: A Versatile and Productive Muse is Gena Branscombe’s, Whose Songs Celebrities Sing” authored by Stella Reid Crothers. Imagine one hundred one years ago at the age of 28 Gena Branscombe was the featured interview in the prestigious magazine of the music world.

At the time of the article Gena was studying piano and composition in Berlin yet back in America she was being hailed as an accomplished composer of art songs, orchestral and instrumental works. A well-known authority who remained nameless was quoted in the article, “In her brilliant handling of the harmonic material at her command she is ever mindful of the fact that a melody is meant to sing – that it is written for the voice, and that the richest resources a generous fancy and an artistic skill may lavish can never justify the creation of a song that is unvocal in character. A proof of the composer’s nice discrimination in every detail of her art work is in the taste and judgment that mark her selection of the lyrics she has set to music.” Herbert Witherspoon, David Bispham, George Hamlin and Madame Lillian Nordica were a few of the great singers of the era who performed her songs in concert.

Indeed her songs are melodic with an undercurrent of late German romantic harmony bubbling below the singer which dictates the interpretation of the poetry. Complex songs with the attention she gave to tempi and dynamic markings might be called obsessive today yet if the interpreter follows them, her passionate songs come alive and soar.

Being featured and promoted in this magazine while studying abroad helped Gena's career move forward and kept her in the public eye upon her return home. What a fine tribute to a woman composer struggling to get her music heard!

This 101 year old article came to me through EBAY!

One Page Letter 1944

2010-04-15T10:01:00.000-07:00

Dated May the 17th, 1944, Gena Branscombe’s letter to a Mrs. Gladys Ewing Coombes of Forest Hills, New York, written on delicate paper with a New York World-Telegram review of the premiere performance of Gena’s “Coventry’s Choir” at Town Hall lovingly enclosed.

A thank you for a beautiful gift, an enjoyment of “Camellias,” the beautiful Browning medley and the enjoyment of sitting next to Mrs. Coombes at a breakfast all carefully mentioned on one piece of paper. A sliver of a look into the life of Gena Branscombe during World War II.

Once again EBAY brought this beautiful addition to my Gena collection. Now I would like to know, who is Mrs. Gladys Ewing Coombes? How did she and Gena meet? What breakfast did they attend? Maybe this posting will bring an answer to my questions.

It takes a team to make a one-woman show….…

2010-04-08T12:07:00.000-07:00

In the initial stages of my Gena Branscombe project, creative thoughts and plans seemed to come to me like never before in my life. There was finding Gena’s music, researching her life, making the recording and then, one evening I attended an off-Broadway performance of Elizabeth Perry’s one-woman show, “Sunflower.”

I sat in the theatre watching, listening, and enveloped in the life story of Elizabeth Cady Stanton. A woman……wife, mother and suffragette activist bar-none and the reason women now have the right to vote. Elizabeth Perry wrote and starred in her own show. Her knowledge of Mrs. Cady Stanton was inspired, her attention to detail in portraying a woman from over 100 years ago - impeccable, and her passionate acting made one feel the very essence of this important historic woman.

Leaving the theatre knowing my future would be telling Gena Branscombe’s life story in a one-woman show, though, mine would include music, I had to figure out how this was going to evolve. I blindly forged ahead.

Dr. Laurine Marlow encouraged me to use her dissertation as an outline of important events, family happenings or quotations I could use. I began my attempt at writing something theatrical…..I had never done this in my life and for someone who finds writing a chore, the task at hand was daunting. An extensive outline emerged with an over-abundance of dry facts, an occasional full scene written though missing was continuity, humorous moments, the where and why the show takes place and most important character development and Gena’s own verbiage.

One evening in the midst of my writing phase, I had dinner with my colleague and friend Norm Carlberg, who at that time was Director of Opera at the Liederkranz Club. I began sharing details of my Gena Branscombe project and particularly the idea of a one-woman show. Without forethought I blurted out, “Will you direct me in this show?” Without hesitation Norm replied, “Yes!”

OK, now I have a director, an offer to premiere the show at the Liederkranz Club, no real polished or finished script and no idea how to get to that point. I sent Norm what I had written and he encouraged me to start cutting down on the facts and write developed scenes. What and How?

My Gena project has always taken care of itself as if Gena were guiding me, her chosen person to tell her story. The right people seemed to appear to steer me - Martin encouraged me, Gena Tenney Phenix told me I was chosen as did Dr. Marlow, Norm now my director and the next person to be added to the list was my former upstairs neighbor and friend, Evan Pappas.

It was through Evan I found my voice teacher, Stephanie Samaras and it was Stephanie who told me to call Evan for writing help. Again, another person without hesitation said,

“Yes!” A Broadway veteran actor, singer, dancer, director - there he was…now my co-author! A real gift to the Gena project.

Months, days and hours Evan and I spent writing, rewriting, creating, uproariously laughing and sweating over this one-woman show. With his intense knowledge of how theatre works, Evan gave dramatic shape to a show that would be a monologue of personal and musical accomplishments, joys and heart break through humorous buttons, an understanding of humanity, the life of an artist and the reason why this show would exist, taken directly from Laurine Marlow’s experience with Gena Branscombe…..a tea party! Gena Branscombe enters the stage ready to have tea with her interviewer of that day, ready to discuss her life and passions, disappoints and humor, and maybe even dance a little jig!

Life! Love! Song! A Visit with Gena Branscombe” came to life with 15 songs interspersed between dialogue, songs that drew from the spoken text for added emotional impact.

Meetings with Norm, Evan and I further honed the show and in March 2004 rehearsals began. Dear me, I had sung my entire career now I would have dialogue that led into song that led into more dialogue. A new adventure for me and one I was excited to tackle. Rehearsals went on as rehearsals do with me floundering for lines, missing the entrances of songs, trying to remember where I was on stage, what my motivation was, Martin playing beautifully and reminding me of musical items and going through all the misgivings we performers have!

I learned that Norm’s way of directing was to give you an outline of staging, a few key words for character then he left you to use your imagination, emotions and intelligence. Phone calls to Norm after rehearsals were similar to the pain of pulling teeth. I would ask what suggestions/criticisms he had and his response would be….”just keep going in the direction you are.” Or maybe….”mumble to yourself a little more” or “don’t worry it’s fine.” We singers are more insecure than that and he knew it. We need to be stroked, yet I learned in his quiet way he was allowing me to grow as an artist …telling me to be stronger and more self sufficient, and watching me grow as a singing actress

Opening night of “Life! Love! Song! A Visit with Gena Branscombe” took place at the Liederkranz Club on April 17, 2004. What a debut it was with a packed audience that included my dear friend Julie, Laurine who flew in from Texas and Gena Branscombe’s grandson Roger Phenix with his wife Joanne. What a thrill! More on Roger’s reactions in the next blog about the show.

A few days after the performance Norm called and said in his low bass voice, “It was really good!” Four simple words……discreet, understated, sincere and filled with pride of our partnership. A more kind and understanding colleague one could not find and as a friend, a blessing to my life. Rehearsals for future performances were to take place in the Fall of 2005 but unfortunately Norm died suddenly that summer. The show continues with the spirit of Norm infused in its original staging. The show must go on…………….

Festival of Women Composers

2010-04-01T08:45:00.000-07:00

Attending the Festival of Women Composers at Indiana University of Pennsylvania for the third time was an experience I shall never forget. Organized by Dr. Susan Wheatley, Dr. Sarah Mantel and their graduate assistant Rachel Hagar, the Festival presents concerts, lectures and presentations on the works of women composers, musicologists and performers both present day and historical.

Several years ago, Dr. Laurine Marlow and I offered a lecture recital on the vocal works and life of Gena Branscombe. This year, I attended as an audience member to take in the wide variety of presentations, to meet new composers and old friends. The Composers-in-Residence were Dr. Deborah Kavasch and Dr. Rosephanye Dunn Powell and Hasu Patel, sitar, was Artist-in-Residence.

From Wednesday, March 17 through Saturday, March 20th the days were filled with music by women. Dr. Kavasch presented a Master Class on extended vocal techniques and then performed a recital of her own works. Hasu Patel gave a lecture presentation on the art of the sitar and tabla then appeared in concert.

Presenters and performers came from universities and colleges across the United States offering music for piano, chamber ensemble, voice, electronic music, instrumental works by composers such as Rebecca Clark, Graznyna Bacewicz, Lili Boulanger, Emma Lou Diemer, Anne Kilstofte, Clara Schumann, Fanny Mendelssohn and Alma Mahler, Dora Pejacevic, Jennifer Higdon, Elizabeth Bell, Sally Reid, Barbara Harbach and more.

Dr. Katherine Eberle performed her one-woman show “Pauline Viardot: Composer, Singer, and Forgotten Muse.” Katherine and I were classmates at CCM quite a number of years ago and I had the pleasure of introducing her performance. Her concert done in period costume and accompanying herself was enthralling as she spun out the story of Viardot’s life as a much sought after performer, composer and lady of the day. With humor, beautiful singing and poignant acting, Katherine did a great job.

One particular lecture that was of interest “Call Me Dika – Dika Newlin’s Irreverent Influence on 20th Century Music.” I had never heard of this woman and soon learned she was a child genius, child prodigy whose symphonic composition written at age 11 was played by the Cincinnati Symphony. More important she was the last surviving student of Schonberg with whom she studied at a young age. She kept extensive diaries of her times with him. Dika Newlin was composer, performer, teacher and a bridge between eras of our musical heritage and who has been overlooked …. one does wonder why.

Having composers in attendance at your concert to hear their works is a thrill for the composer and a bit unnerving for the performers! Dr. Eleanor Elkins, Dr. Christine Buckstead and Dr. Timothy Bonenfant of Angelo State University in San Angelo, TX presented works by Barbara Harbach, Elizabeth Bell and Deborah Kavasch. The latter two were at the concert and I am sure they were more than pleased with the performances by these three accomplished musicians!

My colleague and friend, Dr. Marlow lectured on “Blacks and Bays: Female Organists in Texas Horse Shows.” Laurine’s love of horses and all activities surrounding that subject came to life when she shared the history of horse shows from the clothing, horse adornments and then the importance of the women organists who play for the shows.

The final concert of the Festival was given by the wind ensemble and chorus of Indiana University of Pennsylvania performing works of women composers including Dr. Kavasch and conducted by guest conductor Dr. Kristin Tjornehoj and four alumna conductors of the University.

Thanks to Dr. Wheatley, Dr. Mantel and Rachel Hagan for an inspiring Ninth Festival of Women Composers. I look forward to attending the Tenth Festival in two years time.

Scrapbooks

2010-03-02T15:09:00.001-08:00

Finding the few surviving Branscombe Choral members as well as my acquiring the two Branscombe Choral scrapbooks has been a joy. Those dear books, one dated from 1934-1944 and the other 1944-1954, have been in my possession for over four years.

I have gone through the yellowed pages of programs, letters, telegrams, newspaper articles, reviews, meeting agendas, mailing lists, and pictures all lovingly scotch-taped onto the pages of the scrapbooks. Branscombe Choral member Emma Davidson was the creator, keeper and conservator. The Davidson family lovingly protected the books through three generations until they came to me.

These scrapbooks are filled with memories of a women's chorus created 76 years ago, then disbanded 56 years ago. A piece of history that impacted the musical life of New York City and the lives of the members who adored their conductor and leader. Touching the fragile pages one can nearly feel the vibrancy of life for those 20 years the chorus rehearsed and performed.

When I received the scrapbooks, I called Mrs. Gena Tenney Phenix, Gena Branscombe’s daughter, and her two sons to tell them I had been given the scrapbooks and thought they as a family should decide where the scrapbooks would finally reside. A few days later I was told that when I finished using the scrapbooks they should be added to the Gena Branscombe collection at the New York Public Library for the Performing Arts at Lincoln Center.

On my website, http://www.kathleenshimeta.com, is a complete list of Branscombe Choral members from 1934-1954. Twenty years of members! As I worked on that list and all those names, many of whom sang with the Choral for 15, 18 or 20 years, I felt as if they became my friends.

Today is the day I took the scrapbooks to the Library, gave them to George Boziwick, Chief of the Music Division, and Jonathan Hiam, Curator of American Music Collections, where they will now reside with Gena’s collection of original manuscripts and published works.

The Branscombe Choral

2010-02-07T14:46:00.001-08:00

A 60 voice women’s choir….women coming to rehearsal after work or commuting into New York from New Jersey or Connecticut to sing and perform…women dedicated to the existence of the Branscombe Choral from 1934-1954. For 20 years these women performed Christmas concerts at the Broadway Tabernacle Church and in the Spring at Town Hall. There were Christmas carols to be sung for the commuters at Grand Central Station and Pennsylvania Station, radio broadcasts on WJZ and WOR, concerts at the first United Nations in Spring Lake Park and at the World’s Fair. Dedication, music making and friendship centered around their leader, fund raiser, organizer, inspiration and conductor, Gena Branscombe.

As I read the sections about the Branscombe Choral in Dr. Marlow’s dissertation I kept wondering if I would possibly find one of the Choral members…maybe even interview her? Finding someone who actually knew Gena as a conductor and teacher would add depth of character for my one-woman show. Who were these ladies? What were their lives like? Possibly find one and how would I do that since over 50 years had passed since their final concert?

Again, the web and websites are a blessing in this age of research. I posted on choral websites asking if anyone knew a woman who had been in the Branscombe Choral. A conductor responded that one of her women’s choir members mentioned she had been a member but we could not now find her. Darn! On another website I posted a picture of the Branscombe Choral from 1949 with all the names of the members. Slowly inquiries came in….one person had a bought a house from a Choral member, though she did not think the member was still alive, another recognized her grandmother as a member but she also was not alive. Another e-mail came from a niece of one of the members who recognized her aunt, Amy Flashner, in the Branscombe Choral picture! Amy had been a 20 year member of the Choral. A nephew contacted me surprised to find out his Aunt Edith had any interest in music much less performing in a women's chorus.

Months and months would go by between inquiries, and then one Sunday afternoon in June 2005 I opened an e-mail from Elsa Jean Davidson who stated that her grandmother and mother had been in the Branscombe Choral for years. She had in her possession the Branscombe Choral scrapbooks, would I like them? I put my head down on my desk in disbelief. How did this happen? I immediately responded, “YES, I would like the scrapbooks.” The writer worked in Manhattan and we immediately made arrangements to have lunch and for me to pick up the scrapbooks.

Emma Davidson had been a member of the Branscombe Choral for nearly 20 years and was the caretaker of the scrapbooks. Upon Emma’s death, her daughter took the books and eventually they came to Elsa Jean. Cleaning out her house and being a musician herself, Elsa Jean knew the books were important, should not be thrown away but did not know what to do with them. Surfing the web she found my website and contacted me.

Twenty years of Branscombe Choral history were in those books. Reviews, letters, telegrams, programs, newspaper articles, the by-laws of the Choral, and much more.

Imagine the surprise in the voices of Dr. Marlow and the Branscombe-Phenix family when I called them to tell them I had the scrapbooks!

Little did I know that in 2008 I would have the pleasure of meeting two surviving Branscombe Choral members. Each experience was different as one was a complete surprise and the other came via e-mail.

March 30, 2008 after a performance of my one-woman show, “Life! Love! Song! A Visit with Gena Branscombe” at Hofstra University, we had a talk back where the audience is free to ask us questions. A woman raised her hand and said, “My mother was a member of the Branscombe Choral and she has some things she would like to give you.” Martin and I looked at one another in complete shock and then I said, “She’s here?” Agnes Conway, former Branscombe Choral member, had seen a newspaper advertisement for my performance and immediately ordered tickets. Agnes had been cleaning out her house and had come across her pictures, programs and letters from Gena Branscombe. She could not throw them out and then, there was my concert! Agnes put the pictures in a photo album and all the remaining memorabilia she put into a folder embroidered by her with the Branscombe Choral name! What a shock to meet her.

I received an e-mail from a man in Jamestown, NY whose 94 year old grandmother had been a member of the Branscombe Choral and she was alive! What a thrill. The e-mail exchange began and eventually I interviewed Mrs. Marie Zieres via telephone. We had several long conversations about Gena Branscombe, her conducting, her example to these women and the power of their music making. In June 2008 Dan and I drove to Jamestown to meet Mrs. Zieres in person. I brought with me the Branscombe Choral scrapbooks to share with her. Her memory of her work with Miss Branscombe’s mission to help the members of the Choral make music to the best of their ability which then would make an impact on the world as a whole was clear. Much to our surprise, Mrs. Zieres had brought out her Branscombe Choral programs, her choral folder that was covered in the red material of their performance robes, acetate recordings of the concerts and some letters she had received from Miss Branscombe. She had saved these items for over 60 years. How many of us save items for their sentimental value yet I knew that Gena Branscombe had created a unique bond with the members of Choral and they treasured her boundless gifts to them. We bid farewell to Mrs. Zieres and her grandson knowing we had made new friends. Sadly Mrs. Zieres died in June 2009, one year after our meeting. I shall never forget her.

Recently through a friend of a friend I made contact with Henrietta Pelta of Los Angeles, California. Henrietta had been an accompanist for a 1946 Branscombe Choral concert at Town Hall. Her memories of working with Gena were professional and filled with strength of character as a woman and musician.

The history of the Branscombe Choral carries on from the memories of these women, their memorabilia and the impact that Gena Branscombe left on their lives and music making. Enjoy the pictures of these ladies and feel the spirit they felt while singing for the world!

The CD Becomes Reality

2010-02-02T09:50:00.000-08:00

Now we return to the history of my Gena Branscombe Project. With a few fantastic diversions for performances in Texas and Georgia, plus the purchase of Gena’s sheet music, we revisit the development of my CD and one-woman show.

Martin and I continued recording throughout mid to late 2001. Sessions were intense yet with the support of wonderful Martin and our recording engineer David Smith we continued to make progress. One session during this time comes to mind. Just four days after the events of 9/11 here in New York City, we were scheduled to record. I seriously thought about cancelling our reserved time in the studio yet thought better of it as we needed to move forward.

Saturday, September 15, 2001 was a particularly arduous recording session. We were trying new microphone placements in relation to the piano to get a better balance and sound. Maybe a small piece of carpet under my feet would help, maybe the piano needed to be closer, maybe a different microphone would work better - stop and start, stop and start. We only succeeded in laying down two songs. Nearing the end of our time, David Smith called up from the sound booth and offered to give us an additional half hour to compensate for all the technical adjustments. How great, we could do one more short song.

I quickly looked through the songs we had planned to record that day and decided on “Dear Lad O’Mine.” From the sound booth I heard David paging through the music he had for the session, then heard him say, “Oh” and from Martin just a slight gasp. Not realizing the words of the song at the time of my decision, I had surprised myself and found the opening line of the poem appropriate for what had happened in our beautiful city. The line - ”War gods have descended, the world burns up in fine!” Those words written by Canadian poet Katherine Hale could not have been more true. In our fervor we recorded the song in one take feeling the devastation that had happened to us all four days earlier.

The word “fine” is correct and having gone to the dictionary to make sure I understood what the poet meant, I found one of the extended definitions to be “ominous and in darkness.” How true.

Martin agreed to record four of Gena’s piano pieces that were written for her daughters. Several sessions later I sat back and listened to Martin imbue these charming works with his beautiful playing, tone color and sensitivity! What a gift to this recording. I know Gena Branscombe would have been pleased.

By June 2002 we had our final recording session laying down four songs. I was thrilled to be finished recording as it is an arduous task. Recording is nothing like performing as there is no audience, mistakes and glitches are stopped and you can re-record with as many takes as you like. In the editing process one can cut and paste cuts together until you have a product that satisfies the music, the performers and the record company. The technical recording process at times seemed cold and clinical all the while I was pouring my heart and soul into making Gena Branscombe’s music come alive for the 21st century audience.

With extensive editing, discussions of song order, program notes written by Dr. Marlow, cover art, photographs for the booklet and many other details, our finished product, “Ah! Love, I Shall Find Thee: Songs of Gena Branscombe” was sent off to Albany Records and released in November 2003. We celebrated the release that November with Martin, his partner Tom, my sister Judy to whom I dedicated my CD, my voice teacher Stephanie Samaras and of course, wonderful husband Dan. Champagne was opened and we toasted the newly released CD.

Now it was time for me to continue my Gena project and figure out how I was going to create a one-woman show!

Across the Blue Aegean Sea

2010-01-26T09:42:00.000-08:00

Hunting for Gena Branscombe’s published music has become a hobby for me. In my first blog post I wrote about an original three-measure manuscript that I found online.

Searching E-bay and other internet sites countless times for Gena’s sheet music has made me lucky enough to buy many of her compositions. Along the way I communicated with sellers asking if they had any of Gena’s other works or if they would be so kind as to remember me if they found additional songs or piano works. I have made E-bay/internet vintage sheet music friends!

Many of the sellers went to my website and read about my project and commented what a remarkable story I have told over the past 10 years.

Of all these transactions and communications the most recent one touches my heart deeply. Listed on E-bay was a book of piano pieces Gena had published in the early 1900’s. I quickly put a bid on it then waited for the days to pass, all the while hoping I won the auction, and, of course, I did. The seller notified me that he was mailing the music the next day and added, “I hope our E-bay paths cross again sometime in the future.” My response was the usual that if he found any other pieces to please let me know.

One day later I received an e-mail from him saying he had found a song of Gena’s and would gladly sell it to me. In addition, he had quite a pile of vintage sheet music and would continue searching through it to see if there was any of her other works. He held on to that song and if anything else was found he would then put everything together in one sale.

Imagine my surprise during Christmas week when an envelope arrived from the seller, enclosed was the song….no invoice included for the sale ….just a note saying that now the song was home where it belonged and this was a little Christmas gift from him to me!

In a season filled with mindless over-spending, gift giving, here was a gift given from the heart to a stranger many miles away. It gave me pause and a moment to reflect on the true meaning of Christmas. Something so simple, so true, kind, selfless and from the heart.

The internet is a marvelous tool. The seller searched my website, read all about my project and commented what an act of love this was. I, in turn, found his website where I learned he is a living legend St. Louis Blues performer! No wonder we found one another and we are both mid West people!

When I e-mailed my heart-felt thank you, in response I received one of the most poetic replies I have ever read, quoted verbatim below:

“Over 75 years ago in New York City, Anna Moody wrote those poignant words to “Across the Blue Aegean Sea.” Gena Branscombe, in her inimitable way, composed the perfect musical accompaniment for them. A publisher on 46th Street printed the women’s composition onto fragile pages of paper, and flung the sheet music to the four winds. One of those pieces drifted west toward the heartland of America, and settled to earth upon Midwestern soils.
Through the Depression Era, and for decades to come, Midwestern hearts cherished Ms. Moody’s words and Ms. Branscombe’s music; they passed those fragile bits of paper from generation to generation of steady Midwestern hands. A fractured soul in Missouri kept it safe and dry through spring and autumn Mississippi River flooding; a joyful spirit in Oklahoma kept it safe and dry through dust storms and wildfires; a librarian in Arkansas kept it safe and dry through summer thunderstorms and tornadoes; a piano teacher in Illinois kept it safe and dry through blizzards and snowstorms; a migrant farmer in Tennessee kept it safe and dry through hail storms and heat waves.

And now, 75 years later, grateful Midwestern hearts return this precious gem back to New York where its journey began, to the one person on earth who would truly know its worth: Ms. Kathleen Shimeta. Remember us, Ms. Shimeta. Remember the steady Midwestern hands that kept Ms. Moody’s words and Ms. Branscombe’s fragile legacy safe and dry, so they could return home to you…where they belong.”

I read and reread his words overwhelmed with the philosophy of how connected we all are. The history of who touched, protected, played/sang and loved that piece of music over the past 75 years until it came to me is priceless.

My seller purchased one of my CDs as a gift to his brother-in-law who was intrigued by Gena Branscombe’s music and my project. I autographed the CD then gift wrapped it sending it off knowing how deeply our souls are connected through the power of music.

We are hoping that one day in the future I will be able to take my Gena show to the St. Louis area and there get to meet my new found dear friends.

By the way, I have kept my seller’s name private, yet I think now is the time to thank Mr. Leroy Jodie Pierson for his thoughtfulness, kindness and friendship. Thank you Leroy!

Something New!

2010-01-20T12:40:00.000-08:00

Nearly three and a half years ago I had the pleasure of meeting Barbara Dana, wonderful actor and author. Our friendship began as we lost our mutual friend, Tim, and as we were both dealing with our deep sense of loss.

I soon learned that Barbara was writing a young adult book about Emily Dickinson, "A Voice of Her Own." Now published and for sale at AMAZON.com. Her author's journey included years of researching Emily, her life, her poetry and her very essence as a person.

At the time of our meeting Barbara was finishing her writing and close to submitting the manuscript to her publisher. What an act of love and admiration for one of our nation's most beloved poets.

Barbara's passion for Emily Dickinson was infectious. Once her book was published her dream was to create an Emily one-woman show with text taken from her book. I asked Barbara if she would be open to collaborating on this project by adding song settings of Emily’s poetry. She quickly responded, “Yes!” Thus began our journey of creating an Emily Dickinson show where music meets drama having two Emilys on stage with one being the real life Emily and the other the “eternal” Emily. How exciting!

As an added piece of information, Barbara has performed and will continue performing the “Belle of Amherst” by William Luce. It was a privilege to observe Barbara in her final rehearsals before her first performance of the Belle! She is amazing as Emily and I highly recommend you try to attend one of her performances!

I immediately went to work researching songs trying to find compositions that were attentive and sensitive to Emily’s succinct yet passionate poetry. There are thousands of songs with Emily Dickinson poetry yet many of them are not true to the poetry and seem too “Wagnerian” rather than of Emily’s inner soul. I struggled finding what I thought were effective songs. Barbara gave me a list of her favorite poems and I searched long and hard for song settings.

Eventually I came forward with over 50 songs that we would consider. In those songs were four or five by women composers, one of which is the first known setting of an Emily poem dating from 1896, then Arthur Farwell, Clarence Dickinson, Floy Little Bartlett and many others. We invited three composers to write songs for me and they came forward with lovely settings. Now, how to whittle 50 songs down to 20 and eventually 10-13 for the performance.

Barbara and I spent several afternoons considering the songs, their musical content and how the composer handled the poetry also if that particular poem would fit into the script and story line Barbara was writing. After several sessions we narrowed the songs down to 18 and still, we must cut a few more songs!

At Barbara’s suggestion we invited Kate Bushman to be our director and help us develop our idea into a well polished and intriguing show. One year ago we had our first meeting and our show, “I Told My Soul to Sing” is now in the creative process.

Stay Tuned!

Macon State College

2009-11-16T08:52:00.000-08:00

In our crazy and wonderful music business one is never sure where or when our next performance may come to us. We will work diligently to send our publicity packets to the right people, try to market ourselves and network as best as we can. Then, what seems to be out of left field, we will receive a phone call or an e-mail inviting us to perform in a place we had not imagined.

In the early days of my Gena Branscombe project I came across the music of composer Kathleen Lockhart Manning. I considered recording a few of her songs which did not happen, yet I kept her music in mind for future concerts. In November 2008 I was again drawn to Lockhart Manning's music and began an internet search for some of her songs. Up came a website "Lanning not Manning" and to my surprise I found mezzo-soprano Rebecca Lanning was doing a project on Lockhart Manning in the vein of my Gena project. I was thrilled to find someone who had found a woman composer whose life and music needed to be brought forth and Gena and Kathleen were from the same era! How exciting!

I wrote Rebecca an effusive e-mail saying how thrilled I was for her and all she was doing to expose the music and life of Lockhart Manning. Several weeks passed before a return e-mail came and throughout that time I thought I had gone overboard in my enthusiasm and probably scared her off. Really the internet is a wonderful thing but sometimes some weird people contact you!

Rebecca wrote back that she appreciated my e-mail and was glad to find someone else who had a similar project. Thus began our sharing of project information and a friendship. We spoke via old fashioned telephone about her Lockhart Manning project, where she wanted to go and what needed to be done to achieve that.

My Gena project had brought people to me that I could never have imagined and people who gave of themselves willingly to help me fulfill my dream. Now, it was my turn to give back to someone and what a pleasure it was.

During the early Spring 2009, Rebecca called me to say that Macon State College, where she is Associate Professor of Music, had funds to bring in visiting artists. Rebecca invited me to submit my Gena show materials for consideration. What a surprise! About two months later we received word that our proposal was accepted and the funds were available! How exciting.

On November 10, 2009, Martin and I performed Life! Love! Song! A Visit with Gena Branscombe for the students, faculty and visitors at Macon State College. What a warm, attentive and responsive audience we had.

Rebecca Lanning did an outstanding job organizing and producing our performance. Thank you Rebecca for all you did to make our trip and performance possible. We had the privilege of hearing five of Rebecca's students in Master Class. What lovely young people who were prepared and willing to take suggestions.

We are always honored and blessed to have people recommend us for performances and thankful to have the work! Thank you Rebecca for making our stay in Georgia a memorable one!

An Art Song Recital

2009-11-04T11:43:00.000-08:00

Performing my Gena Branscombe show is always a delight and something I enjoy doing. Yet, there are more facets to music making and I have tried to develop those interests and avenues of performance.

Imagine my surprise this past June when I met Dr. Eleanor Elkins, Assistant Professor of Piano at Angelo State University, who invited me to perform on a recital with her as accompanist and share the the program with the University's trumpet teacher, Dr. John Irish.

A return to something I love to do, perform art songs of various composers with poetry by the great writers, creating a mini drama in three minutes of a song. I love the creative process of finding composers whose songs blend together a story over the evening of a recital.

My usual way of researching is to pull music scores from my personal library, open each book, read through songs, search the poetry for a hint of a theme for the recital. I leave the scores open to songs and scatter them over my living room floor, arranging and rearranging the order of songs. I then omit songs, dig deeper to find another that would be more appropriate and eventually settle on the recital repertoire.

The recital at Angelo State University would be slightly different. Sharing the program with the Dr. Irish, I realized his repertoire would be American composers, Kent Kennan and Leonard Bernstein. Making the recital cohesive was important so American composers it was for me as well.

Immediately I included two melodic and touching songs by Richard Hundley followed by Four Songs of Jean Berger with poetry by Langston Hughes. Berger was German born and immigrated to the United States at the early stages of World War II. He and Langston Hughes met and collaborated on these songs over the telephone. These two great men understood the power of discrimination; Berger, a Jew forced out of Germany and Hughes growing up in the South facing Jim Crowe laws. What a group of Four Songs and a pleasure to cull the depths of their hidden meanings.

I did include five songs of Gena Branscombe, Canadian/American, with poetry by Arthur Stringer, Elizabeth Barrett Browning, Gena, Eichendorff (translation by Gena) and Canadian Katherine Hale. What a group.

Dr. Irish suggested we collaborate on at least one if not two pieces. Several years ago I performed Henry Purcell's "Ode on St. Cecilia's Day." There is one of those miracle mezzo arias with two trumpets. This time the mezzo gets to sing with trumpets and not the soprano. There also is a lovely short aria with violins. Well, Purcell is not American but his music is in English!

Not only would Dr. Irish be playing but he invited friends from Oklahoma State University to join us. Included were trumpeter Jonathan Martin, Cellist Meredith Blecha, Laura Talbott, violin and Daniel McCloud, timpani. What a group of wonderful musicians and it was a real kick to perform with them. Thank you for sharing your talents.

Dr. Laurine Elkins Marlow and her husband, Dr. William Marlow drove to San Angelo from College Station to attend the recital. I was able to introduce my friend, Laurine, to the audience and explain that she had worked with Gena Branscombe from 1975-1977.

Now, Dr. Eleanor Elkins! What a pianist, accompanist and musician! It was an absolute pleasure to work with Eleanor. She was prepared, willing to collaborate and unite us as two musicians making music as one. Thank you Eleanor.

In addition while in San Angelo I worked with the Musical Theatre/Opera Workshop students. They were in the process of staging scenes for an upcoming performance. A few days later singers from the two voice studios sang for me and I was able to critique them and add suggestions to their performances. What open, willing and alert singers they are. Thank you for sharing your talents with me.

Every job we get in the music business is a blessing as we are able to share our musical talent with others, grow from the experience, and meet other musicians in this our small world of music. Most important we can say we are working! Thank you Eleanor for this wonderful sharing of music!

Meet the Family Part II

2009-10-04T08:54:00.001-07:00

After finishing my initial phone conversation with Dr. Laurine Elkins-Marlow inspired me to continue my recording work and research into the life of Canadian/American composer Gena Branscombe. I now had a support system which included Gena Branscombe's daughter, Gena Tenney Phenix, and Dr. Marlow who worked with Gena Branscombe. Of course, I must add that my dear husband, Dan, and my wonderful accompanist, Martin, were encouraging me and cheering me on as well. What a team!

In August 2000 I was able to arrange an in-person meeting with Gena Tenney Phenix and her husband Philip. Dan and I traveled to Bridgewater, Virginia where they lived in a retirement community.

I am sure that Mr. & Mrs. Phenix were as apprehensive as Dan and I were. How would this meeting between strangers go? Would conversation flow easily? All our doubts and worries evaporated when we were met at the door by two warm and enthusiastic people. We entered their home and immediately felt part of their lives.

To my surprise and delight, Mrs. Phenix had brought out photos of her mother and family, as well as programs and sheet music. I carefully looked through all of the items noting that one picture of Gena Branscombe conducting her Branscombe Choral looked as if it had been taken at Carnegie Hall. I was quickly told, "No, Dear, Mother's Spring concerts were at Town Hall." I nearly dropped the picture on the floor. For in that picture where Gena Branscombe stood on the Town Hall stage, I had been recording her songs in that very spot. We looked at one another knowing I had been chosen.

Our conversation turned to my interviewing Mr. & Mrs. Phenix about their relationship with Gena Branscombe, mother and mother-in-law. The answers to my questions were filled with pathos, admiration, and love for her as well as honesty about Gena's strength of character and determination. When I asked Mr. Phenix about his father-in-law, John Ferguson Tenney, his response was, "He was a saint!" Mr. Phenix went on to explain that John Tenney was a man ahead of his time, promoting his wife's career, assisting in the production of her concerts, caring for his daughters while his wife worked and maintaining his own career. Mr. Tenney served as editorial assistant and historical advisor for his wife's oratorio, Pilgrim's of Destiny. He reminded me that all this took place in the early part of the 20th century. Nearly unheard of in those days.

Mrs. Phenix, in a clear and succinct manner, drew a verbal picture of her mother as one who also was ahead of her time, a working mother who composed piano works that coincided with her daughter's pianisitic abilities, who held tea parties for them, composing songs and creating plays to be performed by them. A determined and hard working woman who kept her career moving forward until just months before her death in 1977. Deeply involved in promoting American music and in particular, American women composers, she created choral programs for her own women's chorus, The Branscombe Choral, that were 50% American music. For women's and music organizations around the country suggested concert programs were created that were American in accent. Through her speeches she encouraged women to return to music through whatever venue they could for it was through community that the profound message of music would reach people. Gena Branscombe crossed the milkmen's picket line to purchase milk for her daughters explaining to the striking men that the health of her young daughters was at hand! The very essence and spirit of this woman composer was coming to life for me through her own daughter's words.

After nearly an hour and a half our visit was drawing to a close. My husband, Dan, noticed a painting of a young girl on the livingroom wall. Dan called me over to have a closer look at the painting and remarked how much I looked like the young girl. When asked, Mrs Phenix explained that the girl was her younger sister, Betty, who died during the great influenza epidemic of 1919. I looked like her sister. Another connection, unexplainable!

As we prepared to leave, we hugged one another knowing we had become friends for a lifetime, we shared the common bond of promoting Gena Branscombe's music and life, and the spirit of that woman was with us and guiding us. With tears in our eyes we drove off. I turned to look back, Mr. and Mrs. Phenix were waving good-bye. A picture emblazoned in my memory forever.

Meet the Family Branscombe/Tenney/Phenix

2009-09-27T08:35:00.000-07:00

As I continued my work recording the songs of Gena Branscombe, it was my desire to meet any surviving members of her family. After reading Dr. Marlow's dissertation I knew two of Miss Branscombe's daughters had died during her lifetime and then, hoping that genetic longevity played a factor, maybe one of the two oldest daughters would be alive.

Gena Branscombe lived from 1881-1977; 96 years! Her eldest daughter Gena Tenney was born in 1910, second daughter Vivian in 1913, daughter Betty was born in 1916 and died in 1919 and fourth daughter Beatrice was born in 1919 and died in 1954. Maybe just maybe, one of those ladies was alive.

In continued research I discovered that Miss Branscombe's music was under copyright. Martin suggested I call ASCAP to inquire if there was someone holding those rights. I called the ASCAP office, inquired about the holder of the rights, there was silence so I asked further, "Would this person be old?" The answer, "Yes, if they are still alive!" From that I knew that one or hopefully both of the two oldest daughters was alive! ASCAP would not give out the name or address of the person.

Following this lead one step further, I wrote a "Dear Family Member" letter explaining the beginnings of my project, how I discovered Gena's music in the New York Public Library, the recording of the songs and my wanting to meet family members. I gave my contact information and asked if they would be so kind as to be in contact with me. I sealed the letter and put it into an envelope addressed to ASCAP asking them to forward it to the copyright holder of Gena Branscombe's music. Then the wait....what seemed to be an interminable wait...

I continued my work at the New York Public Library Special Collections Department looking at every song, looking at her manuscripts and published works. I was in awe of the output of this woman who had composed songs, chamber music, choral works, an opera, instrumental works...so much yet she seemed to be unknown. Studying one of her manuscript orchestral works I put my hands on that paper where her hands had worked and touched those very lines and I said, "Gena, please have your family contact me!" My palms of hand began to tingle. Why is that happening? It had been 10 days since I sent my letter to ASCAP!

At 9:45AM the next day my phone rang, I answered and then a very proper voice on the other end inquired, "Is this Kathleen Shimeta"..."yes"...."This is Gena Tenney Phenix. I am Gena Branscombe's oldest daughter!" My heart began pounding. Mrs. Phenix continued to speak, reassuring me that my recording of her mother's songs was wonderful idea and she approved 100%. Most important she was thrilled I had found her mother's music in the library as it deserved a chance to be heard now. Our conversation flowed easily as if we had known one another all of our lives.

We spoke for 45 minutes on subjects ranging from her family, her sisters, father, her mother's career and her own life. Dr. Vivian Tenney had died in 1989 and she, Gena Tenney Phenix was the sole survivor of her mother. I asked Mrs. Phenix to recall any of her mother's songs that she would like included on the CD and I would gladly record them.

As we finished our conversation she gave me Dr. Laurine Elkins Marlow's phone number. Mrs. Phenix had been with Dr. Marlow as she interviewed her mother, Gena Branscombe, for her dissertation. She spoke highly of Dr. Marlow and told me it was an absolute must for me to be in touch with her. Finally, I had a contact number for Dr. Marlow. I had read her dissertation and had not gotten around to finding her.

As we began our goodbyes, Mrs. Phenix said to me, "I know my mother is looking down on you, pleased that you found her music. You were chosen by mother to do this work!" I was speechless as I hung up the phone. Me speechless.....

Moments later I picked up the phone and dialed Dr. Marlow. A sweet voice answered and I asked for Dr. Marlow...response...."speaking." I explained who I was, Gena Tenney Phenix had given me her number, then all the details of my finding the music, the beginning of the recording and my continuing work on the collection in the library. There was dead silence.... my heart skipped a beat, then I thought "darn, someone else beat me to this collection and has already completed a CD"....when Dr. Marlow said, "I've been waiting for someone to find that collection!" I nearly jumped for joy.

From Dr. Marlow I learned that when Gena Branscombe died, she went to the apartment where for 18 months she had interviewed Miss Branscombe and had begun the work on her dissertation. There amidst the piles of music, articles and books piled under the piano, on the piano, on tables and chairs, Dr. Marlow began the work of organizing all the manuscripts and published works, recordings and programs. She put them in alphabetical order and then began the process of typing, yes typing a catalogue list of each work. This is tedious work especially organizing works of a composer.

Gena had written multiple manuscripts of any given work, changing the instrumentation whether for full orchestra, then chamber orchestra, or piano with several instruments. Her choral works would be written for women's chorus, then 4 part men's chorus or SATB. Each piece was a separate entry.

When Dr. Marlow completed her cataloguing, she, Gena Tenney Phenix and Dr. Vivian Tenney donated the collection to the New York Public Library Special Collections department.

As Laurine and I completed our one hour conversation, she said to me, "You were chosen for this work!" Twice in two hours I was told I was chosen.

My first contact with Gena Branscombe's daughter, Gena Tenney Phenix and Dr. Laurine Elkins Marlow was now the beginning of our work together. Part II.....of Meet the Family will come in a few days. Thank you Gena Branscombe!

We're Making a CD

2009-09-15T06:14:00.000-07:00

With Martin's encouragement we used David Smith as our sound engineer and guide during the recording process. What a process it is. So technical, the lack of an audience for whom you perform, take after take because the piano bench squeaked or I sang a wrong note or something else went wrong. This is followed by the pain of editing; listening to yourself, Martin's playing then the combination of Martin's work and mine to find the best take to wed together with a few previous measures. A painful process indeed.

Finally with five good songs knitted together, I applied to several labels asking that they pick up this Gena Branscombe recording for its unique qualities and its importance to American music especially American women composers. Albany Records picked us up! How thrilled we were!

Not only were there Gena's beautiful, melodic songs, but Martin agreed to play four of Gena's piano works. These charming pieces were written for her daughters at their various stages of piano lessons. Martin's playing.....simply exquisite!

Our CD was released in November 2003....Ah! Love, I Shall Find Thee: Songs of Gena Branscombe on the Albany Records label....Troy #599. Available on my website http://www.kathleenshimeta.com/.

A Journey Begins

2009-09-03T15:08:00.000-07:00

An art song recital for Valentine's Day, it should be fairly easy to find repertoire to fill out a program. My thought.....what is the greatest love story in the literary world? Why that would be Elizabeth Barrett Browning and Robert Browning. Is there a a woman composer who set Elizabeth Barrett Browning's poem, How Do I Love Thee? Two women-in-music reference books listed Gena Branscombe's settings of six of the Sonnets from the Portuguese as fine pieces of music. Her setting of How Do I Love Thee? was noted as being one of the best of her era. A small music publisher in Texas had reissued the song cycle, Love in a Life, which included the song I wanted. Who is this woman and why am I now being drawn to her music?

When the music arrived I took it to my accompanist Martin Hennessy. His immediate reaction was, "You must record these songs. And, who is she? She composes beautifully." Thus began my journey.

Several trips to the New York Public Library for the Performing Arts at Lincoln Center provided me with more information. There was a doctoral dissertation written about Miss Branscombe and the author, Dr. Laurine Elkins Marlow, worked with Gena for 18 months before her death gathering all the necessary information. I found that nearly all of Miss Branscombe's original manuscripts and published works were held in the Special Collections Department. There were 150 art songs, instrumental works, piano pieces, chamber music, an oratorio, unfinished opera and choral music. A true treasure trove of music to be explored and reintroduced to people.

Reading through her songs, Martin and I began to choose those we thought would be the best representation of Miss Branscombe's art songs and piano works. We were going to record a CD....something I never thought I would do!

I'm up and running in the 21st century

2009-09-02T06:00:00.001-07:00

Today, I have entered the 21st century technical world. I am officially on Facebook and have this blog. How exciting is that! More to come in the next few days. How exciting!

2009-08-27T08:46:00.000-07:00

Three simple measures -- an original piece of manuscript -- her signature. What a find! A collector's item for sale on e-bay and I must own it. This is one of the first two Branscombe songs I learned in 2000 and it is the opening song on my CD, "Ah! Love, I Shall Find Thee: Songs of Gena Branscombe." Serenade is sung in my one-woman show, "Life! Love! Song! A Visit with Gena Branscombe."

My performing career expanded from art song recitals, contemporary music and oratorio to performing the music of this lovely woman composer , famous in her day. After her death her music and original manuscripts were held in boxes at the New York Public Library for the Performing Arts until I discovered them and thus began my journey!