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The final official #Pride2026 episode on Countermelody introduces the Dutch composer, pianist, and critic Henriëtte Bosmans (1895 – 1952), a fascinating figure of extraordinary contrasts and contradictions. Both of Henriëtte’s parents were professional musicians; her father, a cellist in the Concertgebouw Orchestra, died while she was in infancy. Her mother, Sarah Bosmans-Benedicts was a professional pianist and piano teacher at the Amsterdam Conservatory as well as her daughter’s piano instructor. Bosmans received her initial renown as a concert pianist, also beginning to compose music, initially primarily instrumental works.  Henriëtte led her life openly as a bisexual woman, numbering among her relationships long-standing love affairs with Dutch cellist, conductor, and freedom fighter Frieda Belinanfante (1904 – 1995) and French mezzo-soprano Noémie Pérugia (1903–1992). She was also engaged to the violinist Francis Koene (1899 – 1934), who died tragically and prematurely of a brain tumor. At his death, Bosmans ceased composing for a number of years. During the war, her mother’s Jewish heritage became a threat to both her and her daughter’s lives. In fact, Sara was deported and sent away to the Westerbork concentration camp. Through some mysterious and miraculous machinations (possibly involving the intervention of conductor Willem Mengelberg, with whom mother and daughter had previously collaborated), Henriëtte was able, against all odds, to secure her mother’s release. During the war, prevented from public appearances, Bosmans began performing in clandestine concerts known “Black Evenings,” private musical events which were often invaded by the SS. Henriëtte herself, however, was never apprehended, and through these performances was able to earn a meager living. In the closing days of the war, she began to compose again, including songs of patriotism and hope. Upon meeting Pérugia in 1948, Henriëtte began to write music again in earnest, almost all songs composed for Noémie, with whom she performed and recorded some of the most distinctive and original of this repertoire. In the final years of her life, Bosmans suffered grievously from stomach cancer, a diagnosis which, however, was kept hidden from her, and she died at the age of only 56 on July 2, 1952. Instead of being forgotten, these days Henriëtte Bosmans has re-emerged as one of the most important Dutch compositional voices. Todays’ episode features rare radio recordings from the early 1950s by Bosmans and Pérugia, as well as later recordings by some of the most renowned Dutch singers, including Bernard Kruysen, Tania Kross, Julia Bronkhorst, Rachel Ann Morgan, Irene Maessen, Bettina Smith, and Max van Egmond. It is entirely appropriate that we commemorate Henriëtte Bosmans especially now, on the 74th anniversary of her death, and at the end of Pride Month.

Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody’s Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.