Florence Macbeth, Coloratura Soprano

 

The summer of 2023 I completed transcribing what I thought were all of Miss Branscombe’s letters to her publisher, Arthur P. Schmidt.  As I wrote in my blog of that July, it was a journey of dedication to her legacy as well as an eye-opening learning experience of her humanity, business acumen and musical genius.  Also in those letters her every day life of emotions, ups and downs, raising children, losing her husband and two daughters came alive. 

One problem arose as I transcribed the letters from 1910-1954, somehow I had missed scanning the years 1921 and 1922.  Well, we’re all human when under time constraints.  I missed those two years.

My recent trip to the Library of Congress allowed me the time to right my mistake.  I scanned the folders of letters from 1921 and 1922.  Returning home I began to transcribe those two years of letters. Doing so allows me to travel back to that era, imagining her life’s experience at that moment and I read with interest Mr. Austin’s replies.  Mr. Austin worked for the Arthur P. Schmidt Company.   In the years leading up to and following the death of Mr. Schmidt in 1921 he was the main correspondent to all of the composers the Schmidt Company published.

 In her letter dated September 1, 1921, Gena requests that Mr. Austin send soprano Florence Macbeth a copy of her song, “The Best is Yet to Be” in the high key.  I stopped typing as I had never heard of Florence Macbeth.  Who was she?  Relying on a quick Google search, I learned Florence Macbeth (1889-1966) was born in Mankato, Minnesota, a place where her musical training began at an early age  which led to an international career.

 She became a star at the Chicago Opera Company and the Metropolitan Opera.  Her high coloratura voice has been reported as being effortless with an ability to move between her lowest register to her highest notes without a break in sound.  She concertized regularly in Europe and the United States.

What’s interesting about Miss Branscombe’s 1921 letter is three years prior to that letter, Florence Macbeth made her New York City Aeolian Hall debut in March 1918.  On that program she performed songs of women composers of the day including Mana Zucca, Harriet Ware, Rosalie Hausman and Gena Branscombe.  These women composers were friends, colleagues and well known in their era.  The New York Times reviewer highly praised Miss Macbeth for her choice of an artistic recital of charming songs! 

Here is yet another famous singer who over 100 years ago performed Miss Branscombe’s music on her concert tours.  How did Gena and Florence meet?  How did they connect for Gena to introduce or give Florence her songs and then have her perform them?  Questions are unanswered!

#BringingBackBranscombe

Lucielle Browning, Mezzo-Soprano

 

“To Miss Lucielle Browning – With all good wishes – of Gena Branscombe”  inscribed on a piece of Gena Branscombe’s sheet music.  Who was Lucielle Browning?  An internet search offered information about Miss Browning.   Lucielle was born Lucielle Raynor Brown on February 19, 1913, in Jacksonville, NC and died on August 8, 2011 in Florida.   

 A number of my blog posts have been about discovering Miss Branscombe’s compositions either on E-bay or Amazon.  On occasion the works found are ones that I own yet I will buy them because they are autographed or inscribed to someone.  On other occasions a piece not in my collection appears for sale and obviously I purchase it.  This blog posting will be about these very reasons for a recent purchase of Gena’s music. 

With friend and poet, Arthur Stringer, the two New York based Canadians collaborated on a patriotic hymn written for the Royal Canadian Navy.  “Our Canada, From Sea to Sea” (When Maples Leaves Turn Red) was published as a solo song and four part choral arrangement in 1939 by Toronto based Gordon V. Thompson, Limited. 

 Yes, a copy of the song was for sale on E-bay which I purchased.  As the seller was about to send me the song, he found another of Gena’s pieces among his collection, “Hail Ye Tyme of Holiedayes.”  I own several copies of that song yet this one was inscribed and autographed.  I purchased it.

When the music arrived I began my research and what came next was an education as I had never heard of Lucielle Browning.  According to her obituary, she received a full scholarship to Juilliard School of Music in 1932 and went on to perform with Sigmund Romberg on the Swift Hour as well as working with Andre Kostelanetz, Paul Whiteman and Wilfred Pelletier.  Her opera debut was in Falstaff with Fritz Reiner conducting the production for the Philadelphia Opera Company. Offered a contract in her final year at Juilliard, Lucielle joined The Metropolitan Opera.  She became a principal mezzo-soprano with the company from 1936-1951 singing over 500 performances of which 75 were Suzuki in Madama Butterfly.  Life after her  years with the Metropolitan Opera included concerts and performing on television. 

How did Miss Browning happen to have Gena Branscombe’s songs with the inscription to her?  Did she perform the two songs on her concerts?  I don’t have the answers to the questions.  Miss Branscombe was a constant self-promoter of her music.  Instructing her publishers to send copies of songs to singers, the publisher encouraged  performances of her songs.  At home Gena kept a small inventory of some of her published songs.  When meeting singers, their accompanists or their managers she would autograph and inscribe them, again in hopes of having a performance of her work. 

Two songs added to my Branscombe sheet music collection and an introduction to mezzo-soprano Lucielle Browning.  One day I do hope to learn even more about Lucielle, her life and career. 

#BringingBackBranscombe