Interview with Carolyn Sebron

With many thanks to Carolyn Sebron for interviewing me for her web series, C'est Sebron.  The twenty two year journey of creating The Gena Branscombe Project from finding Miss Branscombe's music, recording her songs, my one-woman show, the performance of Pilgrims of Destiny, all the people involved and now our scholarship fund are explained.  It's quite the journey and one for which I have great pride.  Thank you, Carolyn.  

 

#BringingBackBranscombe

Everyone meets one another

Twenty years have passed since I began my Gena Project, as I call it.  Many of you have read and heard how I discovered her music, my journey through her life, co-authoring and performing a one-woman show, writing articles and giving talks about composer Gena Branscombe.

Through the twenty years there have been countless people who have helped me, encouraged me, contacted me and been cheerleaders for the work I was doing.  As I look back, I have been blessed by each of these people, what they have generously given me and for their friendship.

Very few of my Gena people had met one another and in some ways, they were compartmentalized because of their location or expertise.  Yet, each day I have been thankful for all of their contributions to my work.

When Dan Ryan, Director of Choral Activities, at Clark University in Worcester, MA, announced he would be performing Gena Branscombe’s oratorio Pilgrims of Destiny on April 27, 2019, I knew that was the day all my Gena people would come together.  Following the concert at a reception, I would be able to thank each of them and they would be able to meet one another.

In attendance were Gena Branscombe’s grandsons, Roger Branscombe Phenix and his wife, Joanne, and Morgan Scott Phenix.  Gena’s family has been most generous with their time, sharing stories, pictures, newspaper clippings and more.  Their thanks for the work I have done warms my heart. 

Dr. Laurine Elkins Marlow and husband Bill.  Laurine met Gena and wrote her dissertation about her music, career and life.  Over the years Laurine shared with me her time spent with Gena as she listened to the composer tell her life story.  What a friend and generous colleague she has been and will continue to be. 

Allison Branscombe and husband Bob Remen.  Allison is Gena’s great niece and my writing mentor.  Allison makes sure to let me know I must continue writing and get that children’s book finished!

Martin Hennessy and partner, Tom.  Martin is my friend and fabulous pianist.  Truthfully, without Martin’s encouraging me to record Gena’s songs, the Pilgrims of Destiny concert would probably never have taken place. 

Heather Seaton, a friend and champion of Gena’s music.  The two of us photographed each and every page of the Pilgrims of Destiny score at the Library of Congress.  A dear person!

Linda Johnson and her sister, Carol, who are the great granddaughters of Gena’s publisher, Arthur P. Schmidt.  Linda found me on the internet and contacted me to recount her family’s story with Mr. Schmidt.  Someday soon, Linda and I will meet at the Library of Congress to look over the Schmidt Company business papers. 

 George Boziwick and his wife, Stephanie.  George, now retired, was head of the American Music Collection and Special Collections at the New York Public Library for the Performing Arts.  In the early days of my Gena Project, George listened as I explained all I wanted to do.  He gave me solid advice and over the years we would see one another as I made another trip to the library to look through Gena’s collection.  George’s encouragement was instrumental in my getting started on Gena’s life and music. 

Dan Ryan, conductor of that evening’s concert.  What a wise man, a good conductor and friend.  It has been a pleasure working with someone determined to present a piece of music composed by a woman.  He understood the historical importance of Pilgrims and will continue to put forth Gena’s music.  You have made my twenty years’ dream of having this work performed….a dream come true.  Thank you. 

Charles Peterson – my voice teacher from far longer ago than 20 years.  All those years ago he tapped me on the shoulder and invited me to study voice with him.  Several years later, he opened his studio door encouraging me to find my place in the music world.  I did!

Dan Holland – my husband of 33+ years and champion of the work I have done.  Thank you for comprehending what a project this was going to be, what it was and where it will go in the future.   

And, to all my other dear friends and neighbors who traveled to attend the concert, thank you.  

A weekend filled with real people, real Gena Branscombe people.  The conversation flowed, friendships were renewed, friendships were made and a dream came true.  Thank you all.  May Gena’s music live on in the 21^st century. 

#BringingBackBranscombe

Agnes Conway

Earlier today the funeral of former Branscombe Choral member, Agnes Conway, was held in East Rockaway, New York.  She died at the age of 95 on December 31^st.  I send her daughter, Mary, and extended family my sincerest sympathy for their loss.

When Martin Hennessy and I performed, Life! Love! Song!  A Visit with Gena Branscombe, at Hofstra University in 2008, Agnes attended the performance. 

An ad for our concert appeared in her local newspaper.  She ordered tickets for herself and her daughter.  Days before seeing the ad, she had been sorting through her possessions trying to decide what to keep and what to throw out.  When she came across her Branscombe Choral memorabilia, she chose not to throw any of it away.  After making the arrangements to attend our concert and much to our surprise, she gathered her Branscombe Choral pictures, programs, letters and more, cross-stitched book covers, put the items in binders and gave me her treasured possessions. 

As I have said frequently in my blog postings about Branscombe Choral items and Gena Branscombe personal letters that come my way, I am astounded by how long the women of the Choral held on to these items.  Gena Branscombe was not only charismatic, a fine conductor, a well-rounded teacher of music but also a kind, caring human being who cherished the people with whom she came in contact.  In return for Gena’s dedication to the Branscombe Choral, the women singers were loyal members who performed to the highest ability they could muster for their conductor.

In the Fall of 1953 Agnes joined the Branscombe Choral on the suggestion of a friend.  She performed the Christmas concert of 1953 at the Broadway Tabernacle Church, the spring 1954 Town Hall concert and the final Branscombe Choral concert of Christmas 1954 again at the church.  For fifty four years Agnes preserved her programs, personal letters, pictures and articles about Miss Branscombe. 

Since 2008, Agnes and I were friends on Facebook.  We occasionally communicated by e-mail.   As part of an ongoing project about Miss Branscombe, I asked Agnes to please answer a list of questions about Miss Branscombe, her rehearsal and conducting style, and her own personal experiences singing with the Choral.  She graciously and with great detail took the time to type answers to each and every question. 

Agnes may be the last Branscombe Choral member to have died.  If there are other members alive, they have not found me nor I them.  A passing of an era as 63 years has gone by since the Choral’s final concert.

The universal language of music is a mystery, something that words fail to define yet our mind frees our souls to absorb its impact on us.  In Agnes’s case, music’s subtle language touched her as a member of a women’s Choral performing with a revered conductor.  How lucky she was. 

Dear Lad O'Mine

Just four days after the events of September 11, 2001, Martin and I had a recording session.  It was an arduous two hours as we were changing microphones, repositioning microphones as well as changing where I would stand.  Then we dealt with various other technical glitches that had to be fixed.  As the session drew to a close we had not recorded what had been planned for the day.  David Smith, our recording engineer, called up from the booth to suggest we record one more song before calling it a day.

Looking through our prepared songs, I chose the shortest one, “Dear Lad O’Mine.”  Martin found his copy, I positioned my sheet music on the music stand preparing to begin recording, when we heard David say from the booth, “oh, my.”  David had read the first line of the poetry, “War gods have descended, the world burns up in fine.”  Oh, my, indeed. 

Strong words, strong musical setting and an emotional connection to what had forever changed our city and world four days earlier gave us the strength to record the song in one take. 

To clarify the use of the word, “fine,” Webster’s Dictionary’s seventh usage of the word is “awful” used in the most intensive way possible. 

Canadian Poet Katherine Hale collaborated with Gena Branscombe on this song.  The two women donated the proceeds from the publication of this work to the Canadian Red Cross World War I effort.  In a letter to her publisher, Arthur Schmidt, Miss Branscombe stated she was not happy about working with Miss Hale. 

How true the words of the poem ring out in our world today.  War is war that starts with an evil act against innocent people.  Our dear soldiers are remembered every second they are parted from their loved ones, prayers are raised for their protection and we wish them a speedy, safe return home.   These soldiers are our cherished fathers, brothers, sisters, nephews, nieces, husbands, wives and friends who have given of themselves and their lives to protect us. 

Recently a copy of the original 1915 edition of the song came up for sale on Amazon.  It now has a home in my collection of Gena Branscombe's sheet music.

The poem:

War gods have descended

The world burns up in fine.

Warm your hands at the trenches fire, dear lad o’mine.

Sometime bullets cease at night,

Only songs are heard.

When you feel a phantom step

‘Twas my heart that stirred.

If you see a dreamy light,

‘Tis the Christ-Child’s eyes;

I believe he watches us,

Wonderful and wise.

Let me come to say goodnight,

Through the camplights shine;

Warm your hands at the trenches fire,

They still hold mine.

Dear lad, dear lad o’mine. 

(Reprinted with permission from Katherine Hale’s niece.)

Agnes Conway

In March 2008, Martin and I presented “Life! Love! Song!  A Visit with Gena Branscombe” at Hofstra University.  Little did we know that in the audience that day was a former member of the Branscombe Choral, Agnes Conway.  At the talk-back after our concert, a woman raised her hand and said she had her personal pictures and programs of the Branscombe Choral and letters from Gena Branscombe that she would like to give me.  To say the least, the audience was as surprised as we were!  A Branscombe Choral member was in our midst! 

In a binder lovingly cross-stitched with Gena Branscombe’s name and a fancy border, we found two Christmas greetings from Gena, copies of two articles written by the composer/conductor for the “Showcase, Music Clubs Magazine,” an invitation to a tea in honor of Gena’s 90^th birthday, concert programs, and letters from the composer to Agnes.  In addition a small photo album again with cross-stitch, “The Branscombe Choral 1954” on the cover, filled with black and white photos of the chorus members.  Agnes had identified as many of the women as possible.  What treasured gifts.  

How did Agnes come to attend the concert at Hofstra?  Visiting a friend, she was looking through the local paper when she came upon the ad for “Life! Love! Song!  A Visit with Gena Branscombe.”  Surprised, she was!  Upon returning home, she immediately purchased tickets to the performance for herself and her daughter.  Then, those Branscombe Choral items she was thinking of throwing away……well, she went to work creating the cross-stitch covers and placed her memorabilia in the binders. 

 

After the talk back, Agnes and her daughter came up on the stage and looked at all of our props, pictures, tea tray, and more.  She even knew that during the show when Gena answers the telephone, then says, “Hello, Emma,” that Emma was Emma Davidson, President of the Branscombe Choral and dear friend of Gena’s.  She caught the detail!  

Agnes Conway sang in the final three concerts of The Branscombe Choral, December 1953, Spring 1954 and December 1954.  Her memories of her conductor, Gena Branscombe, were sweet ones of a leader who encouraged high musical standards and one who made music performance a joy!

Today, Agnes and I are friends on Facebook.  She comments on my postings about women composers or my general postings about life!  What a dear person and a connection some 60 years later to Gena Branscombe, her leader, teacher and conductor!

Radio Arts Indonesia

More good news!  Radio Arts Indonesia will be broadcasting numerous cuts from my CD, "Ah! Love, I Shall Find Thee: Songs of Gena Branscombe."  Thanks to Charles Conrad for introducing Indonesia to Miss Branscombe's beautiful romantic music. 


My wonderful pianist, Martin Hennessy, will be featured for the solo piano pieces he recorded.  I did say and mean wonderful!  Martin's expressive and musical playing of these lovely piano works written for Gena's daughters will capture your heart!  Enjoy!


Please go to their website http://radio.artsindonesia.com/ and click on their "Listings" button.  There you will find the days, times and titles of the pieces Mr. Conrad will air.  

Wider Than the Sky - Emily Dickinson International Society

Founded in 1988 and now celebrating its 25th year of existence, the Emily Dickinson International Society (EDIS) encourages the continuing study of our great poet's life and works.

Their presence is felt in local chapters worldwide, through continued publication of scholarly papers published in journals, sponsoring international conferences and awarding scholarships to promote the continued study of Emily's impact not only in the literary world but on the world stage. 

The University of Maryland at College Park hosted this year's international conference from August 8-11th.  A gathering of Emily scholars celebrated "Emily Dickinson, World Citizen"  with research papers, panel discussions, creative presentations and performances by a variety of actors and musicians. 

 To fit into an evening of Emily Dickinson musical performances, Barbara Dana trimmed "Wider Than the Sky" to 30 minutes highlighting scenes from the show.  Again, we had the lovely Elizabeth Morton as Emily and Martin Hennessy playing piano. Jamie Smithson and Laurie McCants joined us to create several characters in Emily's life. 

Having an audience filled with Emily Dickinson scholars and afficianados could be a bit daunting.  Yet, they were attentive and drawn into the story and show Barbara and I have developed.  What a pleasure it was to bring a new facet of Emily to the Emily Dickinson International Society conference.

"Wider Than the Sky", as I've said several times, continues to be a work in progress and a journey ever so worth the process!

Emily Dickinson - The Next Chapter

"I Told Myself to Sing" is now titled "Wider Than The Sky".  Powerful new avenues have come to Barbara Dana's and my dream of a play with music.  With each revision the show gets stronger and deeper.  Emily Dickinson's spirit and spunk sparkle with intensity and purpose.

 

On Friday evening June 7th, Hudson Stage Company in Croton-on-Hudson sponsored our staged reading of "Wider Than The Sky".  The newest version of Barbara's brilliant script inspired all of us to new levels of performance.  With songs and music that were further adapted to fit the flow of Emily's journey of accepting her own death, the show was an emotional success for the actors and audience members alike.

We welcomed Susannah Jones and Morgan Auld to the cast who found voices for multiples of characters who enter Emily's life.  Elizabeth Morton as Emily delved into the poet's soul with elegance.   Again, Martin Hennessy and I offered our musical and dramatic talents.

Also, new to this reading was our director, Anthony Arkin.  A veteran actor and film director, Anthony brought great insights to the show, to our characters and the overall shape of the story. 

Thank you to Hudson StageCompany, Denise Bessette, Dan Foster and Olivia Sklar for making this performance possible, for providing dinner between the rehearsal and performance and for your dedicated audience who attended. 

Emily Dickinson has taken us on an ever evolving dramatic journey.  Next stop on our staged readings calendar was a performance for the Emily Dickinson International Society's conference in College Park, MD.  As I have said before, "Wider Than the Sky" is a work in progress.  Emily Dickinson's inspiring life and poetry cheer us on. 

The Gift of Emily Dickinson

Friends will surprise you with the most wonderful, thoughtful gifts.  During a visit with Ina Torton, friend, massage therapist extraordinaire and real estate agent, she handed me a beautiful volume of Emily Dickinson poems. 

Gold lettering, white lilies with gold stems and a bee on a turquoise blue cloth cover.  Beautiful, just beautiful.  Having gone through her bookshelves, Ina came upon this volume of Emily's poems and gave it to me. 

What an appropriate gift as Ina knew that along with my friend, Barbara Dana, our Emily Dickinson show, “A Voice of Her Own” had just had its second reading here in New York City. 

In November 2011, “A Voice of Her Own” had its first reading for an invited audience. See my blog posting of February 24, 2012.  My ending statement was that the show was a work in progress and indeed over the past year, we have worked hard as a team….Kate Bushman, Barbara Dana, Martin Hennessy, Amelia Campbell Arkin and me.

Barbara revised the script numerous times, we read through the scripts after each revision, rehearsed songs, Martin wrote more and more wonderful incidental music that bound the show together. Kate, our director, made suggestions for the flow of the show and character development. Amelia joined our group to read the part of Emily so Barbara could be in the audience experiencing her own writing.

On Sunday, December 9, 2012, “A Voice of Her Own” had its second reading in the exact same rehearsal room as in November 2011. The invited audience included people who had attended one year earlier. In 90 short, fast moving minutes, Emily Dickinson’s life came alive from Barbara’s passionate script. So filled with the depth of Emily’s convictions about her writing, her observations of life and others, the performance soared with Amelia’s deep understanding of the ardent poet. Dialogue flowed into song flowed into dialogue without interruption and the incidental music underscored emotional passages binding the story together.

Touching the hearts of performers and audience members alike, Emily Dickinson was the star and the gift to all on that day. And, our show “A Voice of Her Own” continues to be a work in progress until our next reading in June 2013.

5 1/2 years in the making

Anyone who has done a home improvement project knows from experience that your actual completion date is always weeks, maybe months after your desired or planned for completion date. The reality time line wins out….it takes twice as long to do the work than you expected. In the creative world of the arts, the same is true. Reality is painful and discomforting…even Emily Dickinson would agree with that statement!

Brought together through the death of our friend, Tim Vernon, Barbara Dana and I have become friends and creative colleagues. My blog of January 20, 2010 introduced our collaboration on an Emily Dickinson project.

Barbara has written a book about Emily, “A Voice of Her Own: Becoming Emily Dickinson.” Beginning in the summer of 2006 we began discussing the possibility of working together on an Emily show based upon Barbara’s book and including song settings of Emily’s poetry. Upon completion of her book, Barbara began the task of writing a script for the show. The premise of the story would be Barbara performing Emily and I would be the eternal Emily, the one who cared for and challenged Emily from her soul. As the show evolved, Barbara decided that I would not only sing, I would speak lines for six different characters including Emily’s mother, sister, father, girlfriends, a doctor and shop keeper. A challenge for my acting skills made easy by Barbara’s loving script.

I researched hundreds of Emily songs, whittling that number down to 50, and eventually we came to 8 -10 songs to be intertwined with the script. We invited five composers, Martin Hennessy, Drew Hemenger, Michael Conley, Shirley Hoffman Warren and Shirley Smith, to write songs for me. Martin was invited to be our musical director and accompanist. In addition, he composed all the incidental music that gave “I Told my Soul to Sing” a magical feeling in performance.  Six beautiful songs to premiere is quite an honor.

Kate Bushmann was asked to be our director.  She guided us through the many versions of the script with her depth of theatrical knowledge.  Her input into our project was invaluable. The story line changed and took shape with each script improvement.

Delays are delays. Barbara is not only an author and playwright, she is a wonderful actor. While writing our script, she was performing the Emily Dickinson play, “Belle of Amherst” by William Luce. I was performing my Gena show. And, Kate, well, our director Kate was hit by a truck one morning on her way to a read through of the show at my apartment. She spent weeks in the hospital undergoing a number of surgeries. Once out of the hospital, Kate had months of rehab.  Thankfully Kate is fully recovered and working as hard as ever.

We remained on track by staying in touch, continuing our work whether rewriting the script, learning new songs or doing research on Emily. Gradually in the spring and summer of 2011 we began detailed readings of the script inserting the songs. Amelia Campbell joined us for two readings while Barbara sat back and listened to her written words. We had a good working script that molded the story of Emily Dickinson’s life from age 9 to 24. Her life during those 15 years unfolded in front of our eyes….Emily’s humor, doubts, strengths, love, insecurities and fears, friends, love of nature, family issues and her self-realization that … she was a poet flowed through Barbara’s words and the songs that I sang. What a joy to come to this point in our work.

Throughout October and early November 2011 we rehearsed diligently, working on lines, pacing, characterization and incorporating the music. Our first performance, a semi-staged reading was held Sunday, November 20th in a rehearsal space in Manhattan. We were using the 9th revised copy of the script....yes 9 revisions in 5 1/2 years.  An invited audience of 35 people including the composers was in attendance.

For 90 minutes Emily Dickinson’s story based on Barbara’s book flowed from us. To say the least, it was a thrill to perform this new work. I think Emily would have been pleased, too.

Now, where do we go from here? Suggestions and ideas from the audience gave us a new perspective and now Barbara is rewriting the script yet again. Some of the songs will be eliminated. And, we continue to work and discuss this marvelous new work.

5 ½ years in the creative making for “I Told my Soul to Sing” to have its first performance….and it is still a work in progress.

Sometimes you get just plain lucky!

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.

Martin

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.

We're Making a CD

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/.

#BringingBackBranscombe