Radio, Royalties and Rules

 

Christmas Eve – the year 1906 - classical music was first broadcast on the radio from Brant Rock, Massachusetts.  Over the air-waves people heard a phonograph recording of Handel’s “Largo.” Reginald Fessenden and F.W. Alexanderson were the inventors’ team who created the broadcast with Fessenden closing the program with, “Merry Christmas.” 

A few short years later in 1910 Enrico Caruso was heard live from the Metropolitan Opera House in New York City. 

Radio became a major venue for classical music and by 1920 and into the 1930s programs such as “Bell Telephone Hour,” “Voice of Firestone,” and “Cities Service Concerts” filled the air with classical music.  

Arturo Toscanini led the NBC Symphony Orchestra. Live broadcasts from the Metropolitan Opera were heard.  These performances drew large audiences.  

Families gathered around their radios to listen to great performances by the top classical musicians of the day.

Those 20 years of broadcasts began the era of artists, whether a composer, conductor, soloist, orchestra or chorus, earning royalties from radio performances.  Up to that point, publishers paid composers royalties on the sales of their music.  But radio – no one knew what to expect.  Formulating guidelines, rules and payments became a pressing issue.

In early 1923 over WJZ in Newark, New Jersey, Gena Branscombe had two fifteen minute segments of her music performed live.  In her March 23, 1923 letter to Mr. Austin at Arthur P. Schmidt Publishing , she said:

“Am ever so thrilled about it – The possibilities are so limitless!”  

She hoped Mr. Austin would listen in, he didn’t own a radio, then asked if his friend in London would get up at 3 AM to listen if the broadcast would get across the pond. 

Thus began many years of Gena’s music being heard on the radio.  Her Branscombe Choral, violinists, pianists and famous singers of her era were heard live via broadcasts on WJZ, WNYC, WEAF and WOR.  Miss Branscombe understood the importance of this promotional publicity which might lead to sales of her music and royalties paid to her.

Radio broadcasts for Miss Branscombe were not an easy path to her copyrighted music being performed.  This new musical venue with great possibilities for the future had road blocks for the composer. 

In the 1930’s contentious letters between Gena and Mr. Austin regarding radio broadcasts of her music were nearly a daily occurrence.  Permission from Arthur P. Schmidt Publishing, who held the copyrights to her music, had to be sent to the radio stations where her music was to be performed.

Radio stations refused singers the performance of works published by Schmidt explaining they had not received the permission letters. 

From her May 22, 1930 letter to Mr. Austin she wrote:

“And now for something that’s on my mind.  Over two weeks ago a baritone came to me and told me that all his Schmidt numbers were being taken off – on his broadcasting program of the National Broadcasting Co.  Now a soprano comes along with the same story.  She is not allowed to do Schmidt numbers.  ….. How do you propose to handle this thing?  One’s opinion may vary as to the sales value of radio performances – but it will surely react unfavorably as to the whole catalogue if singers come to know generally that the works are taboo.  It seems a very serious situation to me.”

On July 23, 1930, after many letters back and forth, Mr. Austin replied,

“In any case, as we wrote you recently, any broadcasting you wish to have done of your compositions meets with our entire approval.”

 An unknown, unsolved issue for the broadcasting of Gena’s music was happening.  She did not let up with her vitriol in her July 26, 1930 letter to Mr. Austin,

“I wasn’t asking permission to have my things done, I was telling you of a condition which affects unfavorably all the works of the Schmidt catalogue, my own, included.  I have been told that this has been caused by some attitude on your part.  If this is not true, and you are not able, or do not consider it important, to clear the matter up, - there’s nothing more that I can do.”

 And on through the 1940s these discussions of permission letters to broadcasters, questions of where royalties originated and how they were paid to her were a constant in correspondence between Miss Branscombe and her publisher Mr. Austin at Arthur P. Schmidt.  They did come to an agreement and the mood of professionalism returned to their relationship. 

The beginning of classical music on radio broadcasts was not easy for the creative spirit.  Yet, through the trials and tribulations of developing rules and laws to protect artists, a path was laid down for today’s musicians.  All is not perfect as we know from news reports that performers accuse producers, agents, record companies and others of fraud. 

This is sad as we artists work long hard hours to share the soulful depth of our art.  Being paid for that work….. ART TAKES WORK….is essential to our livelihood and the ongoing endeavor of artistic creativity.

 #BringingBackBranscombe

·    Letters between Gena Branscombe and Arthur P. Schmidt Publishing Company are held in the Arthur P. Schmidt Publishing Company business papers at the Library of Congress.

 

 

Will Wickham

 

“I’ve been a wedding photographer and worked in a winery, all to support myself as an artist.”  - Will Wickham

Are there people in any field of the arts who would not have a list of jobs they have worked to support the art that fills their soul and an art that allows them to share their creative beauty?  I would think not!

 My friend, Will Wickham, was recently honored in Times Square as one of the recipients of a grant from “Creatives Rebuild New York” (CRNY) which was a three-year, $125 million initiative that provided guaranteed income and employment opportunities to artists across New York State. 

On the very cold, blustery evening of Wednesday, January 15^th in Times Square, several of the recipients of these grants were honored.  A video of each artist was played on one of the huge screens.  Larger than life each artist told the story of the jobs that supported their art – a photographer, clothing designer, dancer, painter, and weaver.  All were recipients of grants from New York State that supported their art.  And, there was my friend Will Wickham.     https://fb.watch/xfHrlthXl8/

All of us in attendance for the video presentation and speeches were given an “Art Takes Work” winter hat!  We needed the hat to stay warm!  

Take a look at the website, www.ArtTakesWork.com to learn more about support for artists and the campaign partners. 

Living in the Elmira, New York area, Will is an entrepreneurial artist.  His genius of creating art to share with the residents of his surrounding area is exemplary.  Conducting three concerts a season with his Cantata Singers, they present programs of music composed by area composers including his own compositions.  All concerts are free and open to one and all.

In 2008 Will established the “Festival of Women in the Arts” which showcased women artists in the Elmira area including wine makers, fabric artists, poets and writers, presentations of all music genres, jewelry designers and more.  A highlight for me was to have been invited to open the first year’s festival performing my one woman show, “Life! Love! Song! A Visit with Gena Branscombe.”  What a special honor to be part of that community which has blossomed into 17 years of friendships created from that concert.

When The Gena Branscombe Project was creating a new orchestral score of the composer's dramatic oratorio, "Pilgrims of Destiny," we were struggling to enter the music note by note into the music program, Finale.  The concert was approaching and we needed as many people helping us with this tedious task.  Who offered to help?  Of course, Will Wickham!  With his talent using Finale, Will helped us reach our deadline of having the score ready for rehearsals and the performance.  Thanks, Will!

Composer, conductor, piano tuner, director of plays, playing in pit orchestras and teaching at a local college, Will Wickham is an all-around accomplished, down-to-earth artist well deserving of a grant to further his creative goals.  Job well done, Will!  Congratulations. 

                                            (photo credit: ATW: SiteImages)

#BringingBackBranscombe

Bayreuth - 2024 - Women Conductors

 

The glass ceiling for women conductors is being shattered this summer when three women lead performances of Wagner’s operas at the Bayreuth Festival.  YES!

 

In  2021, Ukrainian Oksana Lyniv became the first woman to conduct at Richard Wagner’s theatre, Bayreuth.  Wagner initiated his company in 1876 ---- it only took 145 years for a woman to conduct there.  Maestra Lyniv debuted conducting “Der Fliegende Holländer (The Flying Dutchman)” and has returned this summer to lead that same opera.

Simone Young, the first Australian conductor at Bayreuth, will lead performances of Wagner’s “Ring Cycle.” She is the first woman to ever perform those four wonderful operas at Wagner’s Bayreuth festival ---- 147 years after its founding.

 

French conductor Nathalie Stutzmann made her Bayreuth debut in 2023 leading performances of “Tannhauser.”  She returns this summer to lead an open air concert and “Tannhauser.”  

 

Congratulations to these three women conductors who have made an indelible mark on the music world.  Thank you to Bayreuth for helping to shatter the glass ceiling for women conductors.

#BringingBackBranscombe

Musicians' Club of New York

 

In 1911 instrumentalists from the New  York Philharmonic, singers from the Metropolitan Opera, composers and church musicians organized and formed The Musicians’ Club of New York.  It is one of the oldest such clubs in the United States. 

"The organization was formed to establish a higher standard of ethics in the various branches of the music profession and to bring a better understanding and closer fellowship among musicians."

Two of the club’s presidents were Walter Damrosch, one of Gena Branscombe’s conducting teachers, and Olga Koussevitzky,

wife of conductor Serge Koussevitzky.  The Musicians’ Club of New York funds the annual Young Artist Awards, a competition for living composers and an International Recording Award.  Quite impressive!

On December 12, 1954 at the prestigious Musicians’ Club of New York, the Branscombe Choral led by Gena Branscombe performed Christmas music on an afternoon concert. 

They were joined on that program by pianist Samuel Sorin.   

The Choral’s next concerts were on December 15^th at the National Opera Club and at the Broadway Tabernacle Church on December 19^th. 

December 1954 marked the final month that the Branscombe Choral would perform after which they disbanded having left a deep impression on New York City’s music scene.  Twenty years had passed since the Choral had set up their charter, elected a Board of Directors and began rehearsals with their conductor, composer, arts administrator and marketing genius, Gena Branscombe. 

During those twenty years Miss Branscombe organized concert programs that impressed the New York critics, programs that featured American composers and most important programs that included the music of American women composers.  The 60-75 members of the Choral sang yearly concerts at Town Hall and the Broadway Tabernacle Church. 

The Branscombe Choral sang at the first United Nations in Lake Success, NY and on radio stations that broadcast across the United States and Canada.  Now their musical journey would come to end with one of their final concerts at the Musicians’ Club of New York!

 

#BringingBackBranscombe

Scrapbooks, Part II

 

Back in 2005 I received an e-mail from Elsa Jean Davidson informing me she had in her possession the two Branscombe Choral scrapbooks that dated from 1934-1954.  Her grandmother and mother had been members of the Choral and were  keepers of the scrapbooks.  The scrapbooks were handed down to Elsa Jean to preserve.  

The Branscombe Choral scrapbooks reside with Gena Branscombe’s collection at the New York Public Library for the Performing Arts. 

Scrapbooks – books that hold mementos, pictures, documents, dried leaves or flowers, postcards, letters, announcements and more.  They help us reach back to precious memories of times gone by whether joy-filled, bittersweet or sad.  Scrapbooking is personal storytelling!

In 1872 Mark Twain, the author of The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn, patented a self-pasting scrapbook that had an adhesive grid pattern on each page.  Who knew this famous author was also an inventor? 

Gena Branscombe’s daughter, Gena Tenney Phenix, kept a scrapbook during her younger years including her years studying at the Royal Conservatory in London.  The scrapbook is in the possession of her son, Roger Phenix. 

Recently Roger shared pictures of his mother’s scrapbook that included an article written by poet and author Katherine Hale. Miss Hale writes of Gena Branscombe's life, studies and her compositional goals.  The article was published in a Canadian newspaper. 

There is a partial article, a recital program with her mother's Violin Sonata in A Minor as the last piece and a typed out commendation.  

What beautiful remembrances and a partial story of her mother’s life cherished by her daughter. 

#BringingBackBranscombe

The Gena Branscombe Project has MERCHANDISE!

The Gena Branscombe Project has merchandise!  For sale is promotional merchandise that supports our mission of #BringingBackBranscombe and increases our scholarship funds. 

 

Go to the hyperlink below and purchase t-shirts, sweatshirts, mugs and stickers with our logo or pictures of Miss Branscombe conducting.  And, we suggest musical organizations program the music of women composers.

For another 20 hours today, September 6^th, we have a discount sale.  It’s back –to-school-time, the holidays are a few short months away.  Buy The Gena Branscombe Project merchandise as special gifts for friends and family.  Someone in your circle of friends and family needs a new coffee mug with an image of Gena Branscombe!

https://www.teepublic.com/user/the-gena-branscombe-project?utm_source%20=designer&utm_utm_campaign=PBZpaMBXqn0

By purchasing any of our items you are helping us fund our yearly scholarships granted to an up-and-coming arts administrator, composer and conductor! 

#BringingBackBranscombe

The Harmony Club of Binghamton, New York

 

Binghamton musicians added to the value of events musical in this city yesterday when the Harmony Club presented a program of Gena Branscombe compositions at a musicale in the Monday Afternoon club.

With this popular composer as conductor and honor guest, with an audience that taxed the capacity of the clubroom auditorium, and with a well balanced and artistically presented musical menu, the event proved one of those pleasant, artistic hours of music such as gladden the hearts and find instant response in the minds of music lovers.

Proof that American music has made marked strides during the last few years is evidenced by the artistry of the Branscombe compositions, full of color and of charm. Vocal and instrumental numbers were interpretated in an interesting manner.  The Binghamton Press, Tuesday evening, February 28, 1928

 Among Gena Branscombe’s 1928 letters to her publisher, Mr. Austin, at Arthur P. Schmidt Publishing, is the original newspaper article from The Binghamton Press (NY) with a picture of the composer.  There is no letter explaining how Miss Branscombe came to be invited to the Harmony Club and there is no letter reporting on how the event went.      

For 97 years, The Harmony Club of Binghamton, New York, has been sponsoring concerts, sing-a-longs, puppet shows and performances by members at their meetings.  They have awarded scholarships to local high school graduates!  Clubs such as this one were the main-stay of American music in villages, towns and cities across our country.  Professional musicians, famous musicians and local talents would perform a wide variety of music for these groups introducing new and familiar works. 

 

In 1928, Gena Branscombe’s music was considered new music for the audience of The Harmony Club.  She accompanied singers and instrumentalists as well as conducted the club’s chorus, who were all local musicians.  They learned and performed her beautiful, lyrical new music.

In 2016, The Harmony Club of Binghamton member, Dori Schriber, volunteered to be the club historian.  She has patched together, researched and created books of newspaper articles, programs and the club’s members through the years.  Their history is important to Binghamton and the arts world! 

As I have said in several blog postings, Gena Branscombe was a self-promoter who reached out to share her talent as a composer of music that touched the hearts and souls of those who heard it.

As The Binghamton Press said:   Miss Branscombe is a musician of ability, possessing charm and fine spirit.

#BringingBackBranscombe

Festival Prelude/Festival March - Part II

 

Posted on The Gena Branscombe Project Facebook page on May 9, 2022 was the following:

Tuesday, May 3^rd at Berklee College of Music in Boston, Gena Branscombe’s 1913 composition “Festival Prelude/March” was given its 21^st century premiere.  The Gena Branscombe Project 2020 conductor scholarship winner, Damali Willingham, not only conducted the performance but also arranged this orchestral piece for wind ensemble. 

Willingham poured musical talents into the arrangement creating a score filled with lush textures, delicacy of melody and rhythmic drive.  Damali conducted the piece with authority knowing every note and phrase then drew it together with her ensemble to make heartfelt music.  The Gena Branscombe Project thanks Damali and professor, Dr. Dominick Ferrara, for your dedication to this beautiful piece of music. 

Now to get this piece published!

 

The concert was indeed wonderful.  The Gena Branscombe Project sponsored a post-concert reception as a thank you to Damali, Dr. Ferrara and the members of the wind ensemble.  We are making one more step forward promoting the performance of Gena Branscombe’s music.