Music Meets Drama

 At the University of Toronto is held a collection of Gena Branscombe's music, some in manuscript, some original published works.  And, this photograph is in the collection.   Signed to her darling daughter, Vivian, the picture is dated May 17, 1938, Vivian's birthday.  A beautiful photograph of an elegant, talented, dedicated mother and professional musician.   #BringingBackBranscombe

  Today marks 46 years since Gena Branscombe left this world leaving behind two daughters, two grandsons, nieces and nephews, friends, colleagues, beloved members of her Branscombe Choral and a collection of music that resides at the New York Public Library for the Performing Arts.   Luckily before Gena died Laurine Elkins Marlow met her, interviewed her over 18 months and wrote her dissertation about her life and music.   Even with the gift of the dissertation, Miss Branscombe slipped into a “woman composer forgotten” category.   In the ensuing 46 years there were occasional performances of her songs and choral works then came a burst of interest in the past 25 years. In 1998 Kathleen happened upon the name of Gena Branscombe and her 150 art songs.   The rest is history as told in my many blog postings.   What a 25 year journey it has been #BringingBackBranscombe to the 20 th and now 21 st century.   The homage we pay to her life and her music i...

  Today The Gena Branscombe Project announced its 2023 Scholarship Winners.   Congratulations to Conductor Hannah Nacheman, Composer Brittney Benton and Arts Administrator Roslinde Rivera!   These three women exemplify Miss Branscombe’s belief in the importance of education to further one’s career and life.   They are dedicated to professionalism, integrity, being leaders and promoting inclusivity for composers, conductors and arts administrators with whom they will have contact.     It is an honor to keep Gena Branscombe’s legacy alive awarding these yearly scholarships.   Applications for the 2024 scholarships will be accepted   in March 2024.   Keep watching for the official announcement.   Go to www.thegenabranscombeproject.com to read more about The Project and this year’s scholarship winners.      #BringingBackBranscombe

  For Gena Branscombe the years 1919-1920 were ones of deep sorrow, depression and a time for her compositional creativity to be a healing agent following the deep loss of her 3 year old daughter Betty.   As I have written in the past, her largest work ever, Pilgrims of Destiny , was composed during these years.   Though Miss Branscombe’s 150 art songs lead the number of compositions she wrote, there were also piano and choral works, chamber music and instrumental pieces including her Sonata in One Movement for Violin and Pianoforte.   This is a tour-de-force piece that was denied publication because it was deemed too difficult by publishers.   The one movement sonata opens restless seeming to seek out its development then settles into three contrasting thematic groups.   It is florid and extroverted based in the late German romantic style.  Making its way to the concert stage, the sonata’s first performers used the original manuscript loaned ...

  Recently the Canadian Music Centre honored Miss Branscombe by naming her an Associate Composer.  https://on.cmccanada.org/earmark-gena-branscombe/ https://collections.cmccanada.org/final/Portal/Composer-Showcase.aspx?lang=en-CA Miss Branscombe lived most of her life in the United States, but, she was first and always a Canadian.   She was born in Picton, Ontario in 1881 where she began her musical training. During her adult life  she returned to her beloved home frequently performing concerts and visiting with friends and family.    The Bay of Quinte was her place of inspiration for water calmed her and allowed her musical creativity to bring forth her beautiful music. Canada was in her heart.  Gena composed works that honored the country of her birth; its history, culture, nature's beauty   and military.   Congratulations, Miss Branscombe…..a well-deserved honor.   #BringingBackBranscombe

  It only took me three years to complete this particular Gena project.  Three years, yet, I kept at it even though I did take extended breaks at times to work on other Gena projects that needed attention.  Three years……   Yes, for three years I transcribed Gena Branscombe’s letters to her publisher, The Arthur P. Schmidt Co. of Boston.   Held at the Library of Congress, the Schmidt business books, letters to/from all composers they published, photos and more are in the stacks available for research.   Five years ago I photographed every letter Gena Branscombe wrote to Mr. Schmidt, Miss Emery, Miss Allen, Mr. Austin and others at the company.     From December 1910 to December 1951 Gena wrote hundreds of letters to these people.   Forty-one years of handwritten letters almost impossible to decipher at times because of her terrible penmanship and she always wrote in haste….even she admitted that.     In two different lette...

  Imagine you are in a 19 th century public library where you are about to check out a book you are most anxious to read. You approach the checkout desk, but first, the librarian retrieves a large ledger book, opens it to the page where your name appears.   The librarian then begins to enter the title of the book and author, date checked out, date due back and eventually the date you returned the book.   Now you may leave the library with the book you are excited to read.   The process takes about 10 minutes.   Compare that to today's world where the book checkout takes less than one   minute.   Originally libraries were non-circulating meaning you went to the library to read and could not check out books.   Private libraries at the YMCA, membership libraries or Sunday schools began to issue library cards allowing their members the honor of taking books out of the building. The 19 th century public library movement enabled the everyday person...