Sigma Alpha Iota

PAN PIPES • SPRING 2016 • sai-national.org 14 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z POETRY IN SONG By KaThleen shiMeTa Art song recitals have always been a creative adventure and joy for me. Searching for repertoire, whether it is standard or new, and craing a performance of different types of songs is a thrill. I weave together a recital theme developed through the poetry of songs. In 1999 I was contracted to perform a Valentine's Day recital. I began the task of creating a recital program of love songs. I discovered nearly all art songs are about love. e recital theme would be great love stories from the world of music: Robert and Elizabeth Barrett Browning's poetry set to music, and the friendship between composers Johannes Brahms and Clara and Robert Schumann. What I could not foresee was that a woman composer from the past would change my life. My research to find a song setting of Elizabeth Barrett Browning's poem, "How Do I Love ee, Let Me Count the Ways", written by a woman brought me to two different books. ere I found articles about Canadian/American composer Gena Branscombe (1881-1977), and mention of her song cycle Love in a Life. She had set six of Barrett Browning's poems, including "How Do I Love ee?" e music was ordered and when it arrived, I read through the setting of "How Do I Love ee?" with my pianist, Martin Hennessy. As each of the seven verses of the song unfolded, the music built to a climactic and emotional ending. When we finished reading through the entire song cycle, Martin asked, "Who is this woman?" and then stated, "You must record these songs." us began a musical journey I never expected in my life. On my recital, I performed Miss Branscombe's "How Do I Love ee?" and a few of her other settings of the Brownings' poetry. e songs were met with delight by the audience. Since 1999, the life and music of Gena Branscombe has led me down a new and exciting career path. I developed an affinity for doing research at the New York Public Library for the Performing Arts, where Miss Branscombe's collection of original manuscripts and published works are held. With the support and encouragement of Martin, I recorded twenty four of her romantic songs and he recorded four of her piano works. With a dear friend and colleague, Evan Pappas, we wrote a one-woman show, Life! Love! Song! A Visit with Gena Branscombe, with first-person dialogue and fieen of Miss Branscombe's songs. is one-woman show has now become my performing centerpiece. What is it that drew me to this woman from over 100 years ago? Why did her music touch my soul? Her life's story of hard work, determination, and financial struggle struck a familiar chord in me. She was a wife and working mother of four who had the courage to change the path of her musical career. Gena Branscombe was a leader of women, women composers, and also a champion promoter for American music. All this adds up to my fascination with her. My job was to bring her life and music alive in the 21 st century. Born in Picton, Ontario, November 4, 1881, Gena Branscombe's early life included piano and harmony lessons. Evidence of her musical talent and drive to succeed was obvious, making the decision to send her to college an easy one. With her mother's companionship during her first year, Gena attended the Chicago Musical College, beginning in 1896. She was only 15 years old. Chicago became her home for the next eleven years, as she became a sought aer accompanist and teacher, as well as a published composer. Following graduation she joined the faculty of this illustrious college, earning far less money than her male counterparts. Miss Branscombe's musical style is romantic with lush harmonies. ese characteristics were developed with the help of her composition teacher Alexander von Fielitz. Her songs have beautiful soaring melodies that nearly sing themselves and are supported by complex and challenging piano accompaniments. Von Fielitz said of his prize student, "I think hers a great and true talent. Some of her songs are so exquisite that I would be proud to have composed them." 1 By 1899, Gena's song "For Love's Abroad in Springtime" was published by Hatch Music Company of Philadelphia, and in 1901, four of her piano works were published in Canada. Quite an accomplishment for someone just 18 years old! During her lifetime, 22 different music companies published 74 of her choral compositions, 150 art songs, 13 piano pieces and 8 instrumental works. Among her publishers were Arthur P. Schmidt (renowned for publishing and promoting the music of American women composers), Gustav I Shall Hold to Life Above, Kathleen Shimeta. Below, Gena Branscombe, c.1950.

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