Poets - All

With 150 art songs in her compositional output, Gena Branscombe set the words of famous and not-so-famous poets to music.  Her mother's poetry became song and her own poems set to music were dedicated to her mother and her daughters. 

One often wonders why a specific poem catches the attention of a composer.  When reading a poem that touches their inner feelings, does a melody form in their mind?  Maybe the poet approached the composer with their own works suggesting a collaboration.

Whatever Gena Branscombe felt about the poems she set, her songs beautifully imbue the words with melody, complex harmony and quivering emotion that grasps not only the performers but the audience as well.  The poets must have been pleased.

As a young ambitious music student, Canadian Katherine Hale (1878-1956) foresaw herself on the operatic stage with a career that took her around the world to perform in all the major opera houses.  Her singing career transformed to a literary career.  Miss Hale authored travel books, critiques, prose and poems.  Knowing of Canadian/American Gena Branscombe, Katherine Hale travelled to New York City to interview the composer.  During their conversation Katherine suggested the two women collaborate on a song based on her poem, "In the Trenches."  The title of the song became "Dear Lad O'Mine" and was published in 1915.  The song appears on my CD.   Proceeds from the sale of the sheet music went to the Canadian Red Cross World War I effort.  All was not happiness in this partnership as Miss Branscombe wrote to her publisher, Arthur Schmidt, that she was not particularly interested in composing this song.  She had other things to attend to!

Six poems of writer Laurence Hope (1865-1904) were set to music by Gena.  In the real world Laurence Hope was born Adela Florence Cory.  Easier to get your poems published using a man's name!  At the age of 16 she travelled from Great Britain to Lahore, India joining her father who was editor of the Military Gazette.  She married Colonel Malcolm Hassels Nicolson who was twice her age. 

Much of her poetry is infused with her life experience of residing in India.  Gena must have come across the Laurence Hope 1902 collection, India's Love Lyrics, for she set two of the poems.  I perform "Starlight" in my one-woman show where the song is positioned during a time of uncertainty in Miss Branscombe's life.  The music and poetry combine to convey  imagery of the heavenly stars, sadness, a sense of despair and unrequited love.

In 1906 Gena Branscombe set Richard Le Gallienne's (1866-1947) poem, "Sleep, Then, Ah, Sleep."  A dark, ruminating poem about the death of a loved one.  LeGallienne's first wife, Mildred, died in 1894 and I wonder if these words were an expression of his loss.  The musical setting is slow, with dissonant harmonies and outbursts of anger.  How could a composer only 25 years old comprehend and compose a work permeated with the finality of death?  Richard Le Gallienne's daughter is the famous American actor, Eva Le Gallienne.

Joining forces in 1923 for a New York State Federation of Women's Clubs pageant showcasing the progress women had made in the past 50 years, poet Louise Driscoll (1875-1957) and Gena wrote "Spirit of Motherhood."  Performed as a choral work for the pageant, it was also performed frequently by the Branscombe Choral.  In 1934 Gena arranged and published the piece for solo voice.  The words and music are, in today's world, a sentimental tribute to the most difficult job in the world - motherhood.

Miss Driscoll was born in Poughkeepsie, NY.  Though her poems have not been set in a collection for publication,  she contributed her poems to some of the best magazines.  "Metal Checks", an early poem, received a $100 prize offered by "Poetry: A Magazine of Verse."

The poetry of Arthur Stringer (1870-1954) and Kendall Banning (1879-1944) was a mainstay of numerous of Miss Branscombe's vocal compositions.  Fellow Canadian and neighbor of Miss Branscombe and her family, Arthur Stringer provided witty and humorous poems for musical settings.  Poet and composer combined forces during World War II to publish the song "Blow Softly Maple Leaves" honoring their Canadian troops. 

Kendall Banning's poems became two of Gena's four song cycles.  Songs of the Unafraid and The Sun Dial are poems of wide open spaces, wandering, travel, adventure and the unknown.  Miss Branscombe's music has an expansiveness to it with sweeping accompaniments that challenge the pianist.  The singer rides above the piano with melody that expresses the deepest part of the poetry.  Banning's Christmas poem, "Hail Ye Tyme of Holiedayes" became one of Gena's most famous and financially productive pieces.  She set the poem for women's, men's and four-part chorus and solo voice.

Kendall Banning worked in the literary circles of New York City.  His own poems and prose were written about and described in New York Times' articles.  He won awards for his writing.  There seem to be no pictures readily available of him yet his impact on the world of writing was great.  It is unknown if he and Miss Branscombe knew one another.

Settings of Robert and Elizabeth Barrett Browning's poetry are part of the reason I found Gena Branscombe's music.  As I have said in previous blog posts, I found her song cycle, Love in a Life with poetry from Elizabeth's Sonnets from the Portuguese.  I recorded these six songs and in my opinion, her setting of "How do I Love Thee?  Let me Count the Ways" is plush with the understanding of young blossoming naive love.  She pours forth such emotion in the complex harmonic and rhythmic language to express the depth of the text. 

Robert Browning's poem "Serenade" from his collection In a Gondola was the first song I learned and performed of Miss Branscombe's.  She set it with a gentle, enticing opening line inviting the true love in, then moves forward with urgency the desire for a life-long love.  One of her most complicated songs is Robert's "The Best is Yet to Be" where Gena went full force with a motion filled and demanding accompaniment.  The singer rides above that foundation declaring life's challenges and expectations, faith and understanding; all the while assuring us that growing old with the one you love is not to be feared.  In my words, she nailed this piece!

Robert and Elizabeth Browning's journey is one of the greatest love stories in all of the literary world.  Brought together by their admiration for one another's poetry, Elizabeth's father nearly kept her a recluse because of health issues.  With great strength she and Robert arranged to meet one another in late evening outside her house, elope and leave England.  She was never to see her father again.  Yet with their determination to be together for life, Robert and Elizabeth gifted the world extraordinary poetry that will live on for centuries to come.

With a rippling, complicated accompaniment that surges forth to accept the challenges and responsibilities of life, Gena composed what I call her own "personal national anthem" with poetry by Josephine Hancock Logan (1862-1943).  "I Shall Hold to Life" published in 1934 finds Miss Branscombe's comprehension of the words to be exactly what she has experienced in her own life.  She acknowledges the challenges of being a leader of women, strives to fulfill her dreams while eager hearts lean upon her for guidance.  It is a joy to perform this song in my show.  Mrs. Logan was a poet, author and philanthropist.  She founded and was president of the Society for Sanity in Art.  She and her husband created the Logan Medal of Arts prize in 1907 and they were associated with the Art Institute of Chicago. 

Among other poets she set are Katherine Tynan, Anna Moody, Margaret Widdemer, Eichendorff, Harry Kemp, SSU-K'UNG T'U, Li Po,K'AO-SHIH(three poets from the Age of Enlightenment in China), Mary Alice Ogden, Houseman,Alfred Kreymborg, Paris Nesbit K.C., Elizabeth Vera Loeb and more.

Emotions from love to rage, introspection to outburst, self doubt to confidence and always faith in God, Gena Branscombe found a way to set words to music. Her understanding of word painting through harmony, rhythm and melody are attributes young composers of today should study. The human voice is given flowing lines supported by colorful and complex piano accompaniments. From lullabies to lengthy songs of dramatic proportion, she wrote it all. Wed together all these components and you have Gena Branscombe's 150 art songs!

The Elusive Mr. Schmidt





The Elusive Arthur P. Schmidt

Gena Branscombe's music publishers were numerous and among them was Arthur P. Schmidt of Boston, Massachusetts.   In  my January 2011 blog entry, I wrote the following paragraphs about him.....

"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."

After reading the above, one could easily question "elusive"?  Arthur Schmidt, elusive?  Not really, yet amidst all of his business papers, there was not one photograph of Mr. Schmidt.  An online search brought forth no photos of this important business man from the world of music publishing.

 Enter into my life, Linda Johnson from the state of Washington.  She found my website and blog where I had written about Mr. Schmidt, her great grandfather.  Linda wrote me an e-mail and offered to send me a photo of an elusive music publisher from the early 20th century!  Now, the much wanted image of Mr. Schmidt makes him no longer elusive!   Thank you Linda and we will have great discussions in the near future. 

Leaders of Women

In the early 20th century two women stood out as leaders of women composers, promoters of American music and in particular American women composers.  These women were friends and colleagues  ... Mrs. Amy Beach and Gena Branscombe.  Their intersecting lives left an indelible mark on American music and today's women composers benefit from the paths these two laid down for them. 

Mrs. Amy Beach was born Amy Marcy Cheney in Henniker, New Hampshire in 1867 and became Mrs. H.H.A. Beach in 1885 when at the age of 18 she married the famous physician, Henry Harris Aubrey Beach.  She was a child prodigy on the piano making her concert debut at the age of 16 in Boston. 

Imagine my surprise when I first met Gena Tenney Phenix in 2000 and asked her if during her childhood had she ever met Mrs. Beach?  Her response was, "Oh, you mean Aunt Amy?  No, I do not remember meeting her though I know she was in our home when we lived on West 82nd Street."  Aunt Amy? ... this famous woman composer and performer was called Aunt Amy? 

Little did I know that during her lifetime as a mentor to women composers and performers, Mrs. Beach became known as " Aunt Amy" for she was their principal role model, a caretaker, pathfinder and advocate.   Her "nieces" were members of the Society of American Women Composers, National Federation of Music Clubs and the National League of American Pen Women.

Gena Branscombe and Amy Beach had personal lives that were quite dissimilar.  Gena was a mother with four daughters whose musical career was woven into the fabric of her family life.  She composed while her husband took the girls to Central Park.  Gena's husband, John Ferguson Tenney, was a strong supporter of his wife's musical  profession.  Within her career as a pianist and composer, she became a conductor of choruses. 

Amy Beach was a concert pianist and composer.  When she married Dr. Beach, her husband insisted she not accept payment for her recitals and she even curtailed her performing appearances.  She was encouraged to compose though no formal composition lessons were taken.  Upon her husband's death in 1910, Mrs. Beach's career blossomed with travel to Europe and across the United States concertizing and composing. 

Professionally these two women composers and performers were linked by their leadership roles and memberships in the National League of American Pen Women, the Society of American Women Composers, the National Federation of Music Clubs and their publisher, Mr. Arthur P. Schmidt of Boston, MA.  Their friendship and musical goals grew out of these associations. 

In the early 1920's both Mrs. Beach and Gena became members of the National League of American Pen Women.  A Composers' Unit was organized and Mrs. Beach was elected chair.  This was the first group of women composers linked to a major organization in the United States.  Women composers were considered second rate musical citizens and their determination to move forward to change that image is commendable.  The NLAPW made it possible for these women composers of the day to support one another and attend performances of their works. 

Among the other women composers who joined the NLAPW were Pearl Curran, Mary Turner Salter, Lily Strickland, Harriet Ware and Mary Howe.  Their compositions were performed at the League's meetings in late April 1924.  The Music Unit later presented the American Women Composers First Festival of Music at the Women's City Club of Washington, DC. 

Because of their active involvement and leadership for the NLAPW and their individual talents, both Gena and Amy were honored as outstanding members.   In 1929 the NLAPW awarded Miss Branscombe their National Best Composition of the Year prize for her oratorio Pilgrims of Destiny and in 1934 Mrs. Beach was presented  with a medal for her work in music.

As an outgrowth of the NLAPW's Composer Unit, Amy Beach, Gena and 18 other women founded the Society of American Women Composers.  Mrs. Beach proclaimed "This Society may come to mean much in the future of American music, if we go about the work in the right way."  In October 1925, Mrs. Beach was elected President.  Gena succeeded her as President in 1928.  Setting high membership standards, new women composers were recommended based on their personal and professional qualifications.  Once a majority approval was made by the Board, an invitation for membership would be granted.  Concerts were presented at various venues in New York City including Chickering Hall and Steinway Hall.  The Society disbanded in 1932, yet during its seven short years of existence, the members' music was heard and reviews in the papers kept them in the forefront of the music world. 

The Daughters of the American Revolution  figured into both Amy Beach and Gena's professional lives.  In 1927 the New Netherlands chapter of the DAR purchased a place for Gena's  name to be perpetually inscribed in the new Constitution Hall’s Honor Roll in Washington, DC.  Her oratorio Pilgrims of Destiny had won her this most prestigious honor.    Amy Beach was proposed for membership in 1926 by the Hillsborough, NH chapter. 

What drew these two women even closer was their publisher, Mr. Arthur Schmidt of Boston, MA.   The Library of Congress houses the entire Schmidt collection of letters, business files and photographs.  Letters from Gena and Amy to their publisher are held in this collection.  They mention one another frequently in their correspondence to him.  They requested complimentary copies of their songs or choral pieces to be sent to the same singer or conductor.  One young conductor of the time was a recipient of both women's choral works.....the young Robert Shaw.   To be published by Mr. Schmidt was an honor and he took great pride in promoting women composers of the day. 

Founded in 1898, the National Federation of Music Clubs was and continues to be a leading organization in the promotion of musical and cultural experiences in communities through sponsorship of concerts and educational programs. 

Mrs. Beach composed choral works for the women's choruses of the NFMC.  Her piano concerts were sponsored by local chapters and she attended meetings of those chapters.  When at these gatherings she mentored and guided young women composers and performers.   She presented piano recitals on the national level at NFMC annual conventions.  Her renown as a dedicated and loyal member is exemplified when NFMC choruses and clubs changed their  names to the Beach Choral Society or the Beach Music Club.  In addition, Amy won awards for her music compositions.

Gena Branscombe was also an active, dedicated member of the NFMC.  She conducted women's choruses for local chapters across the country.  Miss Branscombe was Chairman of American Music for the New York State Federation of Music Clubs and eventually a member of the Board on the state level.  Her leadership role was that of conductor, organizer and guest speaker.  The NFMC honored her by sponsoring the first complete performance of her oratorio, Pilgrims of Destiny in Plymouth, MA.

Memberships in clubs and being the recipient of awards from those clubs does not a leader make.  Yet, I believe that Mrs. Amy Beach and Miss Gena Branscombe left their marks on each of the women's clubs of their day.  By their dedication to the promotion of American women composers, they changed the course of music history and its women.  They attended meetings, upheld their high musical standards, created performance opportunities for themselves and fellow members.  They sought out women on the local level to sing in choruses, play music for one another at club meetings and encouraged those local members to be active in their own communities.  They were leaders by example and their  own music.

In their day, women composers' music was heard at women's clubs and rarely on the main stages of American performance spaces.  Within their world, they strove to make a better place for women composers and performers.  In my opinion, their work and dedication has made a difference for us all. 

It's Roger's Fault

Blame……as human beings we often blame or find fault with others for our failings or missteps while as individuals we fall short of being aware that it was “me” who is at the center of personal controversy. Yet, maybe blaming someone else could have a positive effect on a friendship, especially all in good humor, is a good thing!

Over the past few years as I’ve written my blog about composer Gena Branscombe, I have also given tribute to people who helped me down this unknown path of recording, creating a one-woman show, writing a blog and what to do next.

It’s my turn to say “It’s Roger’s Fault”…..who’s Roger? Roger DeWitt, my former upstairs neighbor.

Of course, some could question, former? Did he leave because I drove him out with my practicing? No, Roger left by his own decision yet before doing that his foot prints on my life and Gena project were made indelible.

In 1998 Roger purchased the apartment above Dan’s and mine from Evan Pappas, yes the Evan who is the director of my one-woman show. Music theatre person sold to a music theatre person! Knocking on our door the day he took possession of the apartment, Roger and his dog, Buddy, entered our lives with love, friendship and a great deal of entertaining humor. Our apartment became Buddy’s second home where he was comfortable enough to stay with us when Roger was out of town.

Possessing a beautiful singing voice, wonderful acting skills and a razor sharp ability to imitate people, Roger has been in the casts of Phantom of the Opera, Jekyll and Hyde, Woman in White, The Adding Machine, Our Town and 1776 to name a few. He’s a hard working and determined professional.

Roger and I have enjoyed a warm and treasured friendship. We challenge each other’s humor exchanging sharp, loving barbs, offering each other advice and just plain being at peace with one another.

So, what’s Roger’s fault? Among his other talents being a listener who offers thought provoking advice is a strong one. As I began my research into Gena Branscombe in 1999, I would talk to Roger about what I had found, questioning myself about what direction I should go and wondering where I would end up. Ever encouraging, Roger advised me that the unknown is a good place to go for creativity is limitless. He kept asking me what would be the problem if I ventured forth not knowing the end result? As human beings we all look for security yet I took Roger’s advice and moved forward to what looked to be the unknown. See Roger….it’s your fault! Gena Branscombe has entered the conscience of the 21st century music world because of your advice.

Roger’s abilities as advice giver led him to attend Coaching University and he has become a certified life coach. Not only is he certified, he now teaches courses, continues his coaching education attending seminars and keeps a constant clientele challenged! As he says he’s Chief Everything Officer at Coaching NYC, Inc!

With Roger’s support and wisdom, he has spent hours helping me with performance issues. His insights, gentle nudging and guidance have helped me to grow as a person, musician and performer. See, Roger, it’s your fault!

On August 27, 2009 I posted my first blog and that’s Roger’s fault, also. Nearly a month earlier, I was having coffee with Roger. Ever a techie and someone who knows a great deal about the workings of the internet, Roger advised me to begin writing a blog. He told me I had an unusual story to tell and that a blog would be a good way for the world to learn of my journey. Meeting up against my Irish stubbornness, he gently kept chipping away at my protests of not enjoying the act of writing. “Just do it,” was his advice. OK, I did it and now have been writing a blog for 2 ½ years. See, Roger, it’s your fault that I have learned to enjoy writing and actually look forward to creating my next entry!

A man of great depth, wicked humor who is a gourmet chef, mixes great cocktails, throws a New Years’ Eve party not to be missed and is married to one of my favorite people, Brad Florin, is my friend, Roger DeWitt.

Buddy, the dog, went to doggie heaven a few years ago and now Buster, dear little Buster dog is part of our lives.

I thank Roger for his help, prodding and friendship, yet he reminds me that it is me who has done the work. Yes, I have done the work with the rallying help of Roger….how blessed am I.

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.

The Singers of the Era

Having composed 150 art songs during her long career, Gena Branscombe’s vocal works were performed by renowned opera singers of her era who gloried in singing beautiful, romantic music. A famous person putting forth her music in concert meant audience members might seek her out, then purchase her sheet music!

In addition to the well-known singers, there were voice teachers, Broadway and Vaudeville performers, oratorio and recital specialists and even church choir members who promoted the expressive and lilting songs by Miss Branscombe.

During a number of our talk-backs after performances of “Life! Love! Song! A Visit with Gena Branscombe,” Martin and I have answered questions about Miss Branscombe’s life, family and music, our work together and much more. One of the questions that seems to recur is, “Who sang her songs during her lifetime? And, where did they perform them?” Now for the answer to those questions.

Recently I purchased a copy of her song, “The Morning Wind” and found on the back cover of the sheet music a list of sixteen of Gena’s songs with names of singers who had performed them.  Madame Frances Alda, Paul Althouse, David Bispham, Herbert Witherspoon and Lillian Nordica jumped out at me …all Metropolitan Opera stars.  Common during the early 20^th century were cross country recital tours by famous singers  who appeared at local concert halls and opera houses.  Presenting a wide variety of French, German and Italian repertoire, these singers also included songs of living composers and Gena was one of them.

In David Bispham’s collection of music held at the New York Public Library for the Performing Arts is the sheet music for Gena’s song, “Serenade” inscribed to him. When I discovered this sheet music of “Serenade,” I made a copy and from it I learned the song and recorded it for my CD.  Mr. Bispham also performed “Hail Ye Tyme of Holiedayes” and “Sleep Then, Ah Sleep”.  Known for his commanding operatic performances throughout Europe and at the Metropolitan Opera, Mr. Bispham enjoyed the comfort of his own railway car taking him to his concert appearances.  How he and Gena met is a mystery yet audiences in concerts across the country heard him sing her songs!

How thrilling it must have been for Miss Branscombe to be an audience member when in 1908 soprano Lillian Nordica presented a recital in Seattle.  This great artist had taken the stage at Bayreuth, the Royal Opera and at the Metropolitan Opera and there she was singing the composer’s “Hail Bounteous May.”  Again, the same questions arise as to how they met, how did Gena’s song reach someone so famous and did they possibly remain in contact? 

A voice teacher’s impact on their students lives and repertoire can be amazing!  Tenor Paul Althouse performed works from Gounod to Wagner at all the major opera houses world-wide.  During the 1920’s he was renowned for his concerts and oratorio appearances.  When he retired in 1945, he taught such well-known singers as Richard Tucker, Eleanor Steber and Leopold Simoneau.  Among his many other students was soprano Mary Bothwell who presented recitals at the Hague in the Netherlands and Town Hall in New York City where she sang songs of Miss Branscombe’s.  Teacher and student were known for performing Gena’s “Three Mystic Ships.”

Two vaudeville performers, Llora Hoffman and Constance Purdy performed, “Heartsease” and “A Lovely Maiden Roaming” the latter which was dedicated to Gena’s nearby neighbor, soprano Gladys Buckhout. 



Peabody Conservatory educated and daughter of President Woodrow Wilson, Margaret Woodrow Wilson was an independent, talented and passionate woman of her era.  She was a suffragette and a famous concert singer. During the First World War she traveled around America performing to raise funds for the Red Cross.  With great courage she sang at the front of war-torn France giving her support to our troops.  She honored Gena by singing the song “The Morning Wind.”

Famous and not-so-famous singers have performed Gena’s beautiful, romantic songs.  How thrilled she must have been each time she was informed that her music was being presented in concert.  My hope is that there will be a resurgence of performances of her 150 art songs, not just by me, but by singers across the country!

Here are pictures of additional singer who performed Miss Branscombe’s songs

Mary Jo Steebner

March 12, 2012, an e-mail from Melissa Maize, Director of Resource Development at the Good Samaritan Society Quiburi Mission in Benson, Arizona,  “I believe that one of our residents, Mary Jo Steebner, is in your photo! Please contact me.”

The photo mentioned is of the Branscombe Choral performing at Town Hall in 1949 and is posted on my website.

Of all the stories I could recount about my contact with former Branscombe Choral members or their family members, the one that touches me the most is Melissa’s.  A resident in their dementia unit, who though not very communicative, had told Melissa she had sung with the Branscombe Choral.  There were no family members or friends to corroborate Mary Jo’s life journey.  Melissa asked if I would have any information that would help her engage her resident to tell her story. 

My response was that Miss Steebner had been a member for only one concert, December 1954, the final concert of the Choral’s existence.  I had no knowledge as to how or why Mary Jo sang with the Branscombe Choral yet for four months of her life, she rehearsed and sang with Gena Branscombe.

Over the past five months, Melissa and I have exchanged numerous e-mails. Though I could offer little background information, I did have pictures of Miss Branscombe and the Choral. In addition I have a few individual pictures of the Choral members from 1954 that I sent to Melissa. Together we hoped these photos would jog Mary Jo’s memory. Indeed! She recognized the picture of her beloved conductor, Gena Branscombe.

A copy of my CD was ordered in hopes that playing it for Mary Jo the songs would bring back memories of her singing past.

Finding this research, our on-going discussions and the Branscombe Choral pictures intriguing, Melissa Maize took it upon herself to write an article for the Good Samaritan News and Events online publication.  Mary Jo’s story of being a member of a renowned New York City women’s chorus came to life.

Now it has been my turn to tell Mary Jo Steebner’s story…..a member of the Branscombe Choral.  There are no pictures of Mary Jo in the Choral scrapbooks though her name appears in the one program of December 1954.  We know little else about Mary Jo’s life and yet her most vivid memory is that of being a Branscombe Choral member.

Mary Jo Steebner’s name appears on my website, this, my newest blog entry and in Melissa’s online article.  Our hope is that a friend or family member will search for her on the internet and find her name mentioned.  Then, maybe then, Melissa and her staff will be able to fill in additional details of Mary Jo’s life. 

One thing is for sure, she will always be a Branscombe Choral member!