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Marian Anderson papers


Held at: University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts [Contact Us]3420 Walnut Street, Philadelphia, PA 19104-6206

This is a finding aid. It is a description of archival material held at the University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts. Unless otherwise noted, the materials described below are physically available in their reading room, and not digitally available through the web.

Overview and metadata sections

The legacy of extraordinary contralto Marian Anderson is not limited to her musical genius. She performed a repertoire that included over 200 songs and arias in German, Italian, English, French, Spanish, Portuguese, Swedish, Finnish, and other languages. A review of her concert in Los Angeles on 16 June 1931 suggests something of the power of her stage presence: "Even as she sings--rich, full-throated, glorious notes--you have the feeling that she is listening to voices from another world. She is vital and powerfully magnetic, yet there is an absorbed, almost-mystic look in her half-closed eyes and slow, measured motions" (Los Angeles Record, 17 June 1931). As a singer and as a symbol of progress in the advancement of civil rights in the twentieth century, Marian Anderson was perceived as larger-than-life, yet her approach to her life and career was practical and modest, with a deep understanding that nothing is accomplished without the assistance of others. Her career spanned the years from the early 1920s through the 1970s, although she formally retired from singing in 1965. Anderson's audiences in the United States would return year after year to her concerts. She was equally well received around the world, from her triumphs in the cities of Europe and South America at the height of her career in the 1930s to her tours of Asia for the United States Department of State in the 1950s. A strong believer in education as a key to racial and social equality and having a deep commitment to the well-being of children, she spent her retirement on the boards of dozens of non-profit organizations devoted to these causes.

Childhood and Education

On 27 February 1897 Marian Anderson was born at her parents' home at 1833 Webster Street in South Philadelphia. (Anderson's date of birth is from her birth certificate. On her passports and driver's license she gave her birth date as 27 February 1903.) Her father, John Berkeley Anderson--tall, good-looking, and popular--was remembered by neighbors as a fine singer. Her mother, Anna Delilah Rucker Anderson--small in stature, modest, and with a strong faith in God--had been a school teacher in her home town of Lynchburg, Virginia. Marian was born in a neighborhood that was the heart of African-American intellectual and social life in Philadelphia, and she grew up knowing many prominent families and individuals there, including Raymond Pace Alexander, J. C. Asbury, Dr. Henry Minton, Evelyn and Hobson Reynolds, Arthur Huff Fauset, Crystal Bird Fauset, and Bishop L. J. Coppin. Predominantly, it was a poor but vibrant neighborhood, home to Irish, Italian, and Jewish immigrants as well as African Americans moving from the rural southeastern states for job opportunities in the city. Marian played and went to school with children from varied backgrounds.

Marian Anderson was her parents' first child and was soon followed by her sister Alyse, born on 30 December 1899, and then Ethel, born on 14 January 1902. (On her certificate of graduation from elementary school Alyse's name is Alice Maud, her mother called her Maud. She used the name Alyse Anderson on her programs as a singer and actress and in her correspondence for the Marian Anderson Scholarship Fund.) Both of Marian Anderson's sisters were singers, who received some training in voice and performed locally. Marian remembers her childhood as happy, filled with music at church, singing with her family at home, and the love of her mother, who by all accounts was an extraordinary woman. About five years after her mother's death on 10 January 1964, Marian Anderson jotted down some notes about her: "She was the second of the 4 children born to Robert & Ellen Rucker and she was christened Annie Delilah. It was possibly 20+ years later when I first knew this (shy) human being who was my whole world" (Notebook, ca. 1969).

Anderson's father, a teamster who worked at the Reading Terminal Market, died when Marian was about twelve years old as a result of injuries suffered in an accident. Anna D. Anderson's strength and loving care of her family became even more central to her daughters' lives. The family lived with grandmother Anderson, and an aunt, Mary Pritchard, at various addresses in the same neighborhood. Marian's mother took in laundry and worked as a housekeeper at the John Wanamaker department store to support her daughters, and from an early age Marian, as the oldest child, felt responsibility to contribute to the family's income with money she was able to earn performing. Marian grew up with her sisters, cousins, and other children who were cared for in the home and remembered those years warmly.

Marian Anderson had been a member of the junior choir at Union Baptist Church since the age of six. This was her father's family church, where he was an officer and her aunt Mary Pritchard sang. From an early age Marian performed in church and soon was chosen to take part in special concerts. At one of these she met tenor Roland Hayes, visiting from Boston, whom she admired greatly and who gave her early encouragement.

South Philadelphia was full of music, including opera, classical, choral, and church music, vaudeville, and jazz. Anderson and her aunt Mary sang with the People's Choral Society, an African-American choral group directed by Alfred J. Hill. Under the auspices of this group, a "Popular Benefit Concert to assist in Musical Education of Miss Marion E. Anderson" was held at Musical Fund Hall in Philadelphia on 23 June 1915 with William L. King as accompanist. (On her early programs Marian Anderson's name is often spelled "Marion" and in fact this alternate spelling occurs in printed materials throughout her career. Anderson always signed her correspondence "Marian Anderson" and the only document in this collection which uses her middle name is her induction into the American Academy of Arts and Sciences as Marian Elina-Blanche Anderson.) Marian Anderson sang Saint-Saëns' "My Heart at Thy Sweet Voice" on the program. At this time Anderson was a vocal student of Mary Saunders Patterson, an African-American soprano who had been giving free voice lessons to the young contralto. Marian Anderson appeared in Patterson's spring program on 14 May 1915 and was cast in the skit "The Awakening of Spring" as the "Recluse." She also sang two numbers on the program. On 6 April 1916 she appeared as contralto soloist, with Roland Hayes singing tenor, in the People's Choral Society performance of Handel's Messiah, with her Aunt Mary Pritchard singing in the chorus. By 1917 Anderson was studying voice with contralto Agnes Reifsnyder, who was teaching a weekly "Voice Culture Class" to Alfred J. Hill's students and members of the People's Choral Society. (Information on Marian Anderson's early performances has been taken from programs in the Musical Fund Society Records, Ms. Coll. 90, Rare Book & Manuscript Library, University of Pennsylvania.) In a letter dated 14 December 1916 Roland Hayes invited Anderson to sing the contralto solo in the oratorio Elijah in Boston on 26 April 1917. The noted composer H. T. Burleigh sang baritone; he, too, became a trusted friend and supporter of Anderson.

While she was beginning a career in music and starting to tour to help support her family, Marian continued her education. She had completed eight grades at the Stanton Elementary School in her neighborhood in June 1910. Anderson attended William Penn High School, taking a secretarial course that did not suit her inclinations or abilities, and at some later time transferred to South Philadelphia High School for Girls, where the principal, Dr. Lucy L. W. Wilson, encouraged Marian's talent, gave her opportunities to perform in school, and facilitated her first meeting with Giuseppe Boghetti, a demanding voice teacher who had studios in New York and Philadelphia. Boghetti taught Anderson the techniques of bel canto singing, worked on her Italian language and repertoire, and continued as her teacher through the 1920s and intermittently until his death in 1941. Anderson graduated with a diploma in the academic course from South Philadelphia High School for Girls on 20 June 1921.

Early Career and Concert Management

In July of 1922 in Columbus Ohio, Marian Anderson sang at the meeting of the National Association of Negro Musicians, where she received the Association's scholarship for the year. Accompanied by Carl R. Diton on the piano, she sang "O Mio Fernando" from La Favorita and closed with "Song of the Heart" by Rosamund Johnson. Anderson gave a recital in New York's Town Hall on 23 April 1924 that was poorly attended and for which she received some negative reviews. Realizing that she had not prepared well enough for such an important venue, for a time after this concert Anderson stopped practicing and thought of giving up music as a career. Some months later, with her mother's quiet encouragement, she decided to return to study with Boghetti, knowing she would have to master the languages of the songs in her repertoire, particularly German, if she was to succeed at a professional level. Boghetti entered Anderson in a voice competition in New York in 1925 against more than 300 other singers. She won the first prize, which included a performance with the New York Philharmonic Orchestra in Lewisohn Stadium on 26 August 1925 that received overwhelmingly positive reviews and gave her national exposure.

Some of Marian Anderson's early Philadelphia concerts were managed by G. Grant Williams and by Effie Diton (Mrs. Carl R. Diton). As early as 1915 Anderson often was accompanied at the piano by William L. King (Billy King) of Philadelphia. Billy King was a good musician and hard-working promoter and took care of the arrangements for Anderson's tours to African-American colleges and community organizations in the South and Midwest. In the mid-1920s Anderson had her own management, Marian Anderson Management, using her home at 762 Martin Street in South Philadelphia as her business address. Business correspondence was handled by J. M. Marquess, who appears to have had some conflict with Billy King and resigned in 1927. At that time King took over the correspondence and booking of their appearances.

Anderson made her first record for Victor Talking Records of Camden, New Jersey, on 10 December 1923, recording the two songs "Deep River" and "I Am So Glad." She next recorded for Gramophone, Inc. (later EMI Records) in England beginning in 1928, and it appears that she did not sign a formal contract with RCA Victor in the United States until sometime in the 1930s--the earliest account and royalty statements in the Marian Anderson Papers date from 1936. She recorded with RCA Victor throughout her career.

Giuseppe Boghetti was anxious for Marian to appear at larger venues and on an equal footing with other great singers of the time. He was involved in negotiating her contract with concert manager Arthur Judson early in 1928. Judson, who managed the Philadelphia Orchestra, left Anderson's schedule in the hands of George Leyden Colledge. Although Marian Anderson and Billy King had high hopes for her career with professional management, and though she was receiving more money per concert, Anderson was disappointed when her schedule did not expand much beyond engagements she and King had played for years. King continued to do most of the legwork in arranging concert dates. But the Depression years of the early 1930s made it even more difficult for Judson Management to obtain dates for Anderson in the United States, and this was part of her motivation to live and study abroad.

Study and Performances Abroad

Anderson made her first trip to England in October 1927 to study German lieder with Maestro Raymond Muehlen in Sussex. She stayed in London at the home of John Payne, an American-born musician and actor who had settled there, who knew Anderson's family and had told her she would always be welcome to stay with him in London. Payne was the arranger of the spiritual "Crucifixion," one of her most requested and dramatic pieces. She started lessons with Muehlen, but after a few weeks he became ill and was unable to continue. She made many friends in London, however, and spent time with the composer Roger Quilter, who had offered to help her before she came to London and whose songs she learned there and continued to perform for years. She studied French with Madame Myriam Morena Pasquier and German with Frederic Morena. She took some lessons from Ira Amanda Aldrich (Montague Ring), a composer and daughter of the African-American Shakespearian actor Ira Aldrich, and spent time with Alberta Hunter and other performers, including Paul Robeson, who were appearing in the 1928 London opening of "Showboat". Anderson returned to the United States in September 1928 for scheduled performances but was eager to return to London. She also began to plan a trip to Germany to immerse herself in the language and the study of German repertoire. With funding from the Julius Rosenwald Foundation in 1930, she finally was able to take that trip, staying in Berlin with Gertrud and Matthias von Erdberg. She returned to Berlin in 1931, using an additional grant from the foundation.

Her talent caught the attention of Swedish concert manager Helmer Enwall, who asked Finnish pianist Kosti Vehanen and Norwegian concert promoter Rudolf (Rulle) Rasmussen to go to Berlin to hear Anderson sing. As a result she was invited to Sweden and Norway for a concert tour, which, though short, proved to be enormously successful. Enwall, head of the management firm Konsertbolaget, became Anderson's manager for all her European tours, and he and his wife Thérèse became Anderson's friends and hosts for her extended tours and vacations in Scandinavia. Vehanen, who had accompanied the American-born Madame Sara Cahier and other noted singers, became Anderson's regular accompanist and worked assiduously to expand the singer's repertoire to include songs by Jean Sibelius, Edvard Grieg, and Yrjö Kilpinen, in addition to the German lieder she loved to perform. When Anderson returned to Europe in 1933, Kosti Vehanen arranged for her to sing for Jean Sibelius. Anderson's record of this momentous event is on a scrap of stationery, perhaps the beginning of a letter, dated 6 November: "Was guest to-day of Sibelius and his wife in their home. Sang Aus Banger Brust' and before Kosti had finished the postlude Sibelius with tears in his eyes came over and embraced me."

In December 1933 Marian Anderson was told abruptly that she would not be allowed to continue her scheduled concerts in Denmark, for the ostensible reason that "foreign artists" were taking too much currency out of the country. A letter from Ida Bachmann dated 8 December 1933 reveals some of the explanation for the policy. "I wish I were mistaken about the real reason for the government's prohibition of foreign artists,' But I feel Nazism come sneaking in on us. There has been a long series of restrictions, and by some mysterious chance they might without exception all have been dictated by Hitler. You said to me in the vestibule of the town-hall that you would come to my town and sing spirituals. If it could ever come true! But Maribo is a small and out-of-your-way town . . ."

In 1934 Anderson made her Paris debut and invited her mother to Paris to share the occasion. At one of her concerts in Paris that summer she was heard by concert manager Sol Hurok of New York, who came backstage to meet her. The following day he offered her a better contract than she had with Arthur Judson. She signed with Hurok on 15 July 1934 in Paris after a number of telegrams back and forth from her attorney in the United States, Hubert Delany, who obtained Anderson's release from her contract with Judson Management. Anderson spent 1934 and almost all of 1935 touring Europe with great success. She visited Eastern European capitals and Russia and returned again to Scandinavia, where "Marian fever" had spread to small towns and villages where she had thousands of fans.

Hurok Management and Success in the United States

Marian Anderson's return to the United States in December 1935, under Sol Hurok's management, was triumphant. Anderson had made the difficult decision earlier in the summer of 1935 to bring her Finnish accompanist Kosti Vehanen to the United State for this tour, rather than to resume her work with Billy King. King was understandably upset at losing the opportunity to continue to perform with Anderson, whom he had promoted for so many years. He tried to change her mind by telling her, her family, and her supporters that the American public would not accept a white man as her accompanist. This angered Anderson and alienated her for a time from King. Characteristically, she made her final decision based on her musical judgment--on the strength of the repertoire and musicianship she had achieved through many hours of work on her programs with Kosti Vehanen. He continued as her accompanist until 1940, when after a period of illness and hospitalization he returned to Finland. She met and performed with Vehanen again in Finland in 1956, a year before his death.

On 19 February 1936, after magnificent concerts at Town Hall in New York and at the Academy of Music in Philadelphia, Marian Anderson performed for the first time at the White House. The occasion was a private gathering for Franklin D. and Eleanor Roosevelt, which had been arranged through faculty at Howard University. Eleanor Roosevelt praises Marian Anderson's singing at this gathering in her column, "My Day," 21 February 1936, Washington Daily News. This was three years before Eleanor Roosevelt resigned from the Daughters of the American Revolution in 1939 because she could not support their official policy of "white performers only" in Constitution Hall, which the DAR owned. Anderson and Eleanor Roosevelt remained lifelong friends. Their correspondence, though not extensive, continued to the time of Eleanor's death in 1962.

Anderson returned again to Europe in 1936 for the winter season. While there she received the news of the November 21st birth of her sister Ethel's son, named James De Preist after his father. She toured South America in 1937 and again in 1938, where she was a sensation, particularly in Buenos Aires, where Bernarbo and Maria Iriberri were her concert promoters.

In January 1939 Sol Hurok attempted to book Anderson in concert at Constitution Hall in Washington, D.C., in a performance sponsored by Howard University. Hurok's request for an April 9th concert date was denied due to a previous commitment for the hall. He then asked for other dates in April and was again denied, although he found out shortly thereafter that those dates had been available to other (white) performers. This incident of discrimination against Anderson, substantiated in the correspondence between Constitution Hall's owners, the Daughters of the American Revolution, their manager, Fred Hand, and Charles Cecil Cohen of Howard University, led to Marian Anderson's appearance in an open-air concert in front of the Lincoln Memorial on Easter Sunday, 9 April 1939, arranged through Secretary of the Interior Harold Ickes. More than 75,000 people heard her sing in person there, and millions more heard her voice in a radio broadcast of the event.

In June 1939 Anderson was again a guest at the Roosevelt White House, this time at a formal concert for the King and Queen of England. On 2 July 1939, Eleanor Roosevelt presented Marian Anderson with the Spingarn Medal of the National Association for the Advancement of Colored People.

In October 1940 Marian Anderson began performing with pianist Franz Rupp, who remained with her for the duration of her career. A native of Bavaria, Rupp was an accomplished pianist, who had toured with Fritz Kreisler in South America and emigrated to the United States in 1938 to escape Hitler. An excellent accompanist, he was also an enjoyable traveling companion and friend. At about the same time, Isaac A. Jofe, business manger for Hurok, began to travel with Anderson, making arrangements and handling the details for Anderson's extensive tours. Franz Rupp's wife, Steffi, a singer, became a good friend and was a vocal coach for Marian Anderson.

The impending World War caused Anderson to put off a planned trip to Australia and also kept her from Europe for some time; but at this point her career in the United States was well established. Anderson performed for servicemen and women and cooperated with the U.S. Office of War Information. She bought a farm on Joe's Hill Road in Mill Plain near Danbury, Connecticut, in 1940. She named the farm "Marianna," a combination of her name and her mother's, and built a studio there next to a pond. She loved animals and enjoyed gardening and cooking and soon had horses, lambs, and a number of cats and dogs on the farm. She married architect Orpheus Hodge Fisher, of Wilmington, Delaware, in a private ceremony performed by Methodist minister Jack Grenfell on 24 July 1943. From references in her letters it seems they planned to have children, and Anderson might have given up her career singing to stay home with them if she had. But she continued with a grueling concert schedule, never spending as much time at the farm as she had envisioned.

Anderson had known Fisher, also known as "Razz" or "Razzle" and later as "King" Fisher, since she was in high school. He and his brother Leon were frequent visitors to the Anderson household on Martin Street. Mr. Fisher proposed marriage to Anderson in letters to her early in the 1920s. But during the 1920s Anderson had other suitors, including Hamel C. Joscelyn, who attended Howard University. She did not, at that time, consider giving up her career for marriage. In the 1930s newspaper articles contained speculation that Anderson might marry her attorney, Judge Hubert Delany of New York, who escorted her at her concert at the Lincoln Memorial in 1939. But Orpheus Fisher persisted and was Marian Anderson's choice when she decided to wed.

Marian Anderson received the Philadelphia Award in 1941. Also known as "The Bok Award" for its founder Edward William Bok, it included a $10,000 prize, money Marian Anderson used to establish the Marian Anderson Scholarship Fund to assist the vocal training of young singers. Anderson was not directly involved with the administration or judging for the scholarship award. Some of these details were handled by Marian's sisters Alyse Anderson and Ethel A. De Preist and by the Scholarship Fund's board. The first award from the fund was given in 1943 and continued annually through 1972, when the fund was discontinued.

Anderson enjoyed good health throughout her long life. Her presence, both on stage and off, was often remarked upon, she was tall, elegant, dignified, and beautiful. (On her 1938 application for a New York State Learner's permit Anderson's height is 5' 10" and her weight 150 lbs.) The first serious health problem that threatened her singing career came in June 1948 when she underwent surgery to remove a benign cyst from her esophagus. Fortunately she made a complete recovery and then began to plan a long postponed European tour.

Marian Anderson did not return to Europe until 1949. Her concert tour took her to places that had been utterly changed since her previous visits. While performing in London she received the following note from a woman in the audience: "Dear Miss Anderson, I wonder whether you remember an episode of about 12-14 years ago, which must have seemed very small to you but was unforgettable to me. You gave a concert recital in the Hungarian provincial town of Szeged. When you sang Das Tod und das Mädchen and some of your spirituals, we sat there with my mother, father and my sister in a row and we could not help crying. After the recital you came to our home with your Szeged impresario, Mrs. Kun. Next morning you honored us again with a visit. You sung [sic] for us, and my sister taught you a little Hungarian folk song. . . . We not only admired the great artist in you, but loved ever since the fine, cultured, good human being we met. Of all those you met in our home, it is only myself who is still alive. Mrs. Kun and her daughters, my parents and my sister, all perished in German concentration camps. Listening to you to-night will recall the happy past when we were together moved by your singing. Elizabeth (Vàrnay) Andrews"

One of the strengths of the Marian Anderson Papers is that they have preserved Mrs. Kun's correspondence and the correspondence of many other impresarios from Europe from before World War II.

Debut at the Metropolitan Opera and the Eisenhower, Kennedy, and Johnson administrations

The 1950s brought many achievements for Anderson. She was invited by Rudolf Bing of the Metropolitan Opera to perform the role of Ulrica in Giuseppe Verdi's

Un Ballo in Maschera in January 1955. Anderson was the first African-American to sing a role in a Met production, a triumph that meant a great deal to her and to her mother. Later that year Marian Anderson toured Israel for the first time and was particularly moved by her visit to Jerusalem and other sites in the Holy Land. In January 1957 she sang at the inauguration of President Dwight W. Eisenhower and later that year was sent on a tour of the Far East as a good-will ambassador by the United States Department of State. On this tour she visited Japan, Korea, the Philippines, Thailand, India, and Pakistan. A documentary of the trip was filmed and produced by Fred Friendly and Ed Murrow of CBS for the television series "See it Now." When the program was aired on 30 December 1957, it received an overwhelmingly positive response from the public, evidenced in hundreds of fan letters sent to CBS. In July 1958 Eisenhower appointed Anderson an alternate delegate to the General Assembly of the United Nations where she served for one session.

On 20 January 1961 Marian Anderson sang for the inauguration of President John F. Kennedy. She was in the first group to be awarded Presidential Medals of Freedom by President Kennedy. The medal ceremony was scheduled for 6 December 1963, just days after Kennedy was assassinated, so it was a moment both of great sorrow and triumph when President Johnson decided to award the medals on the scheduled day.

From 21 to 28 May 1961 Anderson visited the Soviet Union as a member of the Second Informal United States-Soviet Conference held in Crimea. She was invited to attend by Norman Cousins, then editor of the Saturday Review. Other members of the American delegation included Senator William Benton, Agnes De Mille, writer Stuart Chase, Philip E. Mosely, George Fischer, and Margaret Mead. The Soviet delegation was led by Aleksandr E. Korneichuk. Marian Anderson's notes from this conference, which received very little publicity, have survived.

The 1960s also brought personal moments of crisis and sadness to the Anderson family. In the late summer of 1962, Anderson's nephew James De Preist was struck with polio while on a conducting tour of the Far East in Thailand for the United States Department of State. Marian called upon her friend Ed Murrow, then director of the United States Information Agency, for assistance in arranging a military transport to return De Preist to the United States for treatment as soon as possible. De Preist recovered after a period of rehabilitation and enjoyed a successful career as a conductor of major symphony orchestras in the United States and Europe. Marian Anderson's mother Anna was unwell during the 1960s, and Marian often returned to her mother's home in Philadelphia to visit and assist her sister Ethel in caring for her. Anna D. Anderson died on 10 January 1964. Marian reported a "veritable blizzard" on 13 January, the day of her beloved mother's funeral service at Tindley Temple Methodist Church and her burial at Eden cemetery. The following year, on 21 May 1965, Marian's sister Alyse died. She had suffered health problems over the years, including a long hospitalization in 1953. Marian's sister Ethel continued to live in the family home at 762-764 South Martin Street in Philadelphia until her death on 1 February 1990.

Farewell Concert Tour (1964-1965) and retirement years

For the 1964 and 1965 season Hurok Concerts promoted Marian Anderson's farewell tour. It began in Constitution Hall in Washington, D.C., in October 1964 and ended in April 1965 on the stage of Carnegie Hall in New York, where she had performed so often and to such enthusiastic audiences over the years. A bonus was Anderson's performance in Philadelphia on 28 June 1965 at the Robin Hood Dell with her nephew James De Preist conducting the Robin Hood Dell Orchestra.

On 2 May 1972 Marian Anderson spoke at the dedication ceremonies of the Eleanor Roosevelt Wings of the Franklin D. Roosevelt Library at Hyde Park, New York. She read a speech written for the occasion by Archibald MacLeish. Also speaking on the program was governor Nelson A. Rockefeller, with whom Anderson had shared many events over the years. The principal address was given by United Nations Secretary General Kurt Waldheim. Anderson spoke at hundreds of such occasions in the long years of her retirement. She received hundreds of awards and was the recipient of over fifty honorary degrees. On 17 October 1978 Anderson was presented with a Congressional Medal by President Jimmy Carter.

Anderson was closely associated with public support for the arts, especially in the field of music. She was appointed by Eisenhower in April 1959 to consult on original plans for the National Cultural Center, later renamed the John F. Kennedy Center for the Performing Arts. Anderson was appointed a member of the National Council on the Arts by President Johnson in 1966. She also served on the Connecticut Commission for the Arts and on the boards of a number of other arts organizations. She visited schools, particularly elementary and secondary schools, and worked on issues of refugees, adoption, and education.

Marian Anderson was strongly patriotic and often fulfilled requests to perform at events commemorating the history of the United States. She received many such requests for celebrations of the Bicentennial of the Declaration of Independence in 1976 and appeared at that year's fourth of July ceremonies in her home town of Philadelphia. In concert performances after her formal retirement in 1965, Anderson frequently narrated Aaron Copland's Lincoln Portrait. The intention of this biographical sketch has been to provide a brief overview of Miss Anderson's life and supply accurate dates for some of the frequently asked queries about her life--dates that are inaccurate or misleading in much of the material on Anderson published prior to 1993, including her own autobiography, ghostwritten by Howard Taubman and published in 1956. No sketch, however, can do justice either to Marian Anderson's accomplishments as a musician, her honors and awards, or her impact on people's lives. Fortunately she preserved thousands of letters in this archive that do testify to her extraordinary ability to move people. One example, dated 25 February 1977, was written on the occasion of Anderson's 75th birthday celebration: "Dear Marion Anderson -- Today is a "special day." Hundreds of people will come to thank you and to wish you well. I am one of them. Please, allow me to tell you something I never spoke out before. It was years ago, "The Buckys" took me to "Carnegie Hall" to hear "Marian Anderson," I knew the name, but I did not know what was waiting for me. When you entered the stage I immediately felt your whole personality, your dignity, your center and--beauty, you sang "Arias" "Lieder" and "Negro Spirituals" I had never heard before. They were close to my heart. Especially one of them I shall not forget! "They crucified my Lord." While you were singing--I can not, express it by words--something cut deep into my heart it was like pain. After the concert I was not able to speak. Silently I went to bed. Suddenly--in the middle of the night--I woke up. Tears were running down my face. I cried--as when the pain of the whole world came out of me. It never happened before . . ."

The writer of this letter, Margot Einstein, the youngest stepdaughter of Albert Einstein, of Princeton, New Jersey, recounts how the experience led her eventually to meet and become friends with Anderson. When Marian Anderson received an honorary degree from Princeton University in 1959, she was welcomed in the Einstein home.

The Marian Anderson Papers include hundreds of letters from aspiring singers and musicians. Anderson's life was an inspiration to them and to thousands of other ordinary citizens of the United States and the world. One of these, singer Leontyne Price, corresponded with Anderson throughout the last years of Anderson's life.

Marian Anderson continued to live in her home in Danbury until she was well into her nineties, although her property had been sold to pay for medical and other expenses. Her husband, disabled by a 1975 stroke, died on March 26, 1986. For the last nine months of her life Anderson lived in the Portland, Oregon home of her nephew James De Preist and his wife Ginnette. She died on 8 April 1993, and her ashes were returned to Eden Cemetery outside Philadelphia to rest with her mother and sisters.

Published sources on the life of Marian Anderson that have been used in preparing this biography and in processing the Marian Anderson Papers include her autobiography, My Lord, What a Morning, ghost written by Howard Taubman (1956) and Marian Anderson, A Portrait by her accompanist Kosti Vehanen, written with the collaboration of George J. Barnett (1941). Both of these sources are anecdotal rather than scholarly. Information for this biography was obtained primarily from documents in the Marian Anderson Papers and related collections at the University of Pennsylvania Library. I am grateful for important new information provided by Allan Keiler of Brandeis University, author of the forthcoming biography, Marian Anderson: A Singer's Journey. Additional information was provided by Nancy Shawcross, Curator of Manuscripts; Marjorie Hassen, Music Librarian; and John Bewley, Music Cataloger of the University of Pennsylvania Library who have worked with the Marian Anderson collection. The University of Pennsylvania gratefully acknowledges the donations of Marian Anderson papers received from James De Preist and his kind cooperation during this project.

The Marian Anderson Papers and related collections at the University of Pennsylvania are the principal repository for documents concerning Marian Anderson's career and personal life. The Papers comprise 495 boxes and include correspondence, business records and contracts, manuscript and typescript biographical materials; plus Anderson's notes, journals, calendars, and financial documents. Programs and publicity materials documenting her career as a world-class contralto are extensive, as is the collection of awards and honorary degrees she received during her long and memorable life. Also included are scrapbooks, memorabilia, and some materials belonging to her sisters Alyse Anderson and Ethel De Preist; her mother, Anna D. Anderson, and her husband, Orpheus H. Fisher.

Marian Anderson's donations to the University of Pennsylvania comprised much more than her papers. Her entire music library, collection of sound recordings, and her photographs were received with her papers and have been separately cataloged. Marian Anderson's music library contains more than 2,000 songs in manuscript, including many by the African-American composer Florence Price and other important composers (Ms. Coll. 199). Her library of printed scores, also numbering more than 2,000 items have been cataloged individually. Interviews with Howard Taubman and with Studs Terkel and lectures featuring Miss Anderson on audio tape have been preserved and cataloged (Ms. Coll. 201, 202, and 203). Other audio tapes feature home studio recordings made by Anderson, rehearsals, vocal coaching, and test pressings of her recordings (Ms. Coll. 204, 205, 206, 207, 208, 209, and 210). There are more than 4,400 photographs in the collection, all preserved in albums (Ms. Coll. 198) and scanned on the website of Penn's Rare Book & Manuscript Library. A complete separation list is provided at the end of this register.

Anderson made her first donation of materials to the University of Pennsylvania in 1977, with additional large donations of papers in 1987 and in 1991. Her decision to place her papers at the University was made in consultation with her nephew, conductor James De Preist, who is an alumnus of the University. Anderson wished that her music library be made available to other students of music and that her personal memorabilia be accessible to the people of Philadelphia at this University just a short distance from the neighborhood where she grew up.

One is tempted, because it appears that Marian Anderson saved "everything," including grocery and laundry lists and menus written on the backs of receipts and on the cardboard inserts from hosiery packages, simply to describe her papers at the University of Pennsylvania as "comprehensive." However, both because Anderson was essentially a very private person and because there are strengths and weaknesses in this collection as a record of her career, the following considerations on the scope and content of these papers should be noted.

Relatively few items of correspondence or memorabilia from Anderson's early life are preserved in her papers. Those that survive include a few school notebooks, several photographs, and a few important early letters. Although Anderson performed publicly from at least 1915 on, these papers have only sixteen Marian Anderson programs dated before 1926. There is also little documentation for the last years of Anderson's life, with the exception of a few articles about her dated through 1997. The bulk of materials in this collection are dated 1926 to 1980, with few items from Anderson's earliest and later years of life.

General Correspondence comprises 6,500 folders, representing more than 6,000 individual correspondents. Correspondence is arranged alphabetically by correspondent and then chronologically within each correspondent's file. Items of incoming and outgoing correspondence are interfiled throughout. Unidentified correspondence is filed at the end of the General Correspondence. Anderson's outgoing correspondence was handled in various ways during the course of her career. When Billy King was performing with her, he handled most of the business correspondence, and we have carbon copies of some of his letters signed for Marian Anderson. When Anderson was in Europe in the 1930s, she answered most of her correspondence herself, and there are handwritten drafts of letters composed to some of her important correspondents--Judson, the Julius Rosenwald Foundation, Harry T. Burleigh and others. Anderson's correspondence with her European managers was probably handled by Kosti Vehanen and only a few copies survive. Marian's sisters, particularly Alyse Anderson, answered correspondence that reached Marian Anderson at the family home, 762 S. Martin Street, Philadelphia. Alyse was the paid secretary for the Marian Anderson Scholarship Fund from 1943 until Alyse's death in 1965. From about 1942 through the mid-1950s, Orpheus H. Fisher also answered a number of letters to Anderson and identified himself as "business manager." Beginning in 1958 with her appointment to the United Nations as an alternate delegate, Anderson had professional secretarial assistance from Jere True for 1958-1959, then from Mary S. Dolan, 1960-1969, and from Dorothy Farrington from 1969-1980s; none of these individuals, however, was a full-time secretary. Anderson's mail sometimes went unanswered for months while she was touring, although she always made an effort ultimately to answer each correspondent.

Letters from Marian Anderson to her mother, Anna D. Anderson, in the 1930s, and later to her husband, Orpheus H. Fisher, were written while she was on tour, in North America, in Europe, or South America, and give a picture of her routine on the road, with anecdotes about her traveling companions in the 1940s and 1950s, her accompanist Franz Rupp and the business manager for Hurok Concerts, Isaac A. Jofe. Anderson was not a philosophical or self-revealing letter writer, however, and few of her letters express her feelings on religion, love, or racial politics. She was interested in current events, in the places and people she visited, in food, home decorating, gardening, and her old neighbors and friends in South Philadelphia, and these are the interests expressed in her letters.

The Marian Anderson Papers preserve her correspondence with thousands of organizations, mostly in the United States, some from abroad. These include many sectarian groups, churches, and synagogues, and thus are a resource for the study of religion in the United States of America in the twentieth century. Many church leaders and some of her admirers perceived Anderson as a spiritual figure and wrote to her about their religious experiences and beliefs. Marian Anderson had close associations with many Jewish friends and with Jewish organizations, and to a certain extent, her papers are a resource for studying the alliances between African-Americans and Jews in the United States in the 1950s and 1960s. Many of the organizations with correspondence in these papers focused on issues of international cooperation, world peace, problems of refugees and hunger, social justice, racial equality, support for political candidates, and education.

Music, however, is the primary focus of much of the correspondence. Of the individuals who wrote to Anderson, many are composers, both well-known and unknown, who sent their original songs to her in the hope that she would study and perform them. Among the important composers and arrangers represented in the correspondence series are: Victor Babin, Irving Berlin, Eubie Blake, Harry T. Burleigh, Charles Wakefield Cadman, Will Marion Cook, Aaron Copland, Cecil Cohen, James Francis Cooke, William L. Dawson, Teresa Del Riego, R. Nathaniel Dett, Nicholas Douty, Howard Hanson, Edward Ellsworth Hipsher, Hall Johnson, Paul Krummeich, Frances McCollin, Leo Marjamaki, Gian-Carlo Menotti, Kurt Pahlen, Florence B. Price, Roger Quilter, Roman Ryterband, Geni Sadero (who was also Marian Anderson's coach for Italian during the 1930s in Europe), Jean Sibelius, Elie Siegmeister, William Grant Still, Howard Swanson, Kosti Vehanen, Heitor Villa-Lobos, and Clarence Cameron White. Sibelius dedicated his song "Solitude" to Marian Anderson, the manuscript forms part of the Marian Anderson Collection of Manuscript Music (Ms. Coll. 199). Approximately a third of the composers who sent manuscripts to Anderson for her consideration were women; these papers and scores are thus an important resource for studying the work of women composers in the twentieth century.

In addition, Anderson corresponded and remained friends with many prominent conductors and musicians, including: Frederic Balazs, Leonard Bernstein, Antal Dorati, Boris Goldovsky, Kurt Johnen, Serge Koussevitzky, Sixten Malming, Pierre Monteux, Eugene Ormandy, Mstislav Rostropovich, Fabian Sevitzky, Isaac Stern, Leopold Stokowski, and Tullio Voghera.

Singers and actors represented in the Marian Anderson Papers include: Josephine Baker, McHenry Boatwright, Lillian Evanti, Eva Gautier, Elena Gerhardt, Dick Gregory, Helen Hayes, Roland Hayes, Raymond Massey, Dorothy Maynor, Jan Peerce, Ezio Pinza, Sidney Poitier, Lily Pons, Leontyne Price, Lawrence Tibbett, Richard Tucker, and William Warfield, among many others.

Anderson corresponded with many African-American educators, scholars, musicians, and leaders of the struggle for civil rights in the United States. Among them are Ralph Bunche, Shirley Chisholm, W. E. B. DuBois, Duke Ellington, Lester B. Granger, Dorothy I. Height, Charlotte Moton Hubbard, Langston Hughes, Martin Luther King, Jr., Alain LeRoy Locke, Thurgood Marshall, Camille Nickerson, Adam Clayton Powell, Jackie Robinson, Leon Sullivan, Anson Phelphs Stokes, and Walter White and Roy Wilkins of the National Association for the Advancement of Colored People. Her papers also document the lives and aspirations of many less well-known African Americans and many civic organizations founded by and for African Americans.

Writers, editors, scholars, artists, and prominent figures who corresponded with Marian Anderson include Norman Cousins, Frank Crowninshield, Margaret Cuthbert, Dorothy Fields, Henry Ford, Leo Friedlander, R. Buckminster Fuller, Moss Hart, Melville J. Herskovits, Archibald MacLeish, Reinhold Niebuhr, Norman Vincent Peale, Florence M. Read, and Rex Stout among many others.

World leaders and ambassadors who corresponded with Anderson include Syngman Rhee and Francesca Donner Rhee of Korea; Jawalharlall Nehru and Indira Gandhi of India; Golda Meir of Israel; U Nu and U Thant of Burma. There is correspondence in the Marian Anderson Papers with each United States President from Truman to Bush, although she was associated most closely with the Eisenhower, Kennedy, and Johnson administrations. Anderson's correspondence includes letters from John Foster Dulles, Ramsey Clark, Harold L. Ickes, Robert F. Kennedy, Edward M. Kennedy, Hubert H. Humphrey, George McGovern, Adlai E. Stevenson, and Lady Bird Johnson, who invited Marian Anderson to tour with her. In addition to Anderson's correspondence with Eleanor Roosevelt, which spans the years from 1939 to 1962, Anderson also remained in contact with the Roosevelts' children, including John A. Roosevelt, James Roosevelt, Franklin D. Roosevelt, and Anna Roosevelt.

Marian Anderson corresponded with a large number of governors, mayors, congressional representatives, senators, and other representatives of state and local governments. The most important of these were New York's governor Nelson A. Rockefeller; New York mayors Abraham D. Beame, Fiorello La Guardia, Robert F. Wagner, John V. Lindsay, and Ed Koch; and Connecticut's governors John Dempsey and Ella T. Grasso and Senator Abraham Ribicoff.

Management Correspondence from Marian Anderson Management, Concert Management Arthur Judson, and from William L. King gives a fairly comprehensive record of her career performances from 1926 through 1932. Beginning in 1930 Anderson saved most of her contracts and correspondence with her managers and other impresarios in Europe and South America through 1938. Most of this material is in German, some is in French, Italian, Spanish, and other languages (including Russian, Swedish, Finnish, Norwegian, Danish, and Polish).

Anderson signed her first contract with Sol Hurok in Paris on 15 July 1934 and began her performances in the United States under Hurok's management in December 1935. She remained under Hurok's management for the rest of her career. Sol Hurok's management firm was sold in the 1970s and later acquired by ICM. Although there are some materials--correspondence, contracts, and itineraries--from each of these Hurok years up through 1977, they are by no means complete or comprehensive. For a number of these years, the weekly or bi-weekly account statements from Hurok are the most complete record of Marian Anderson's concert activity.

The letters from admirers, or "fan mail" in the Marian Anderson Papers contain a number of extraordinary testimonies and emotional responses to Anderson's performances and reveal her dignity and presence as a public figure. The writers represent a broad cross-section of Americans from many ethnic, racial, and socio-economic groups, with a large number from Europe and other countries around the world where Anderson toured. The fan mail is a resource for the study of the impact of the media on the image of the performer, from the intimacy of radio broadcasts in the 1940s to the extravaganzas of television specials in the 1960s and 1970s.

The fan mail comprises one small and two larger groups of correspondence. First are poems, usually sent with letters, that are tributes to Marian Anderson. Most are by amateurs but a few are the work of established poets, including Gwendolyn Brooks. In the case of poems by known authors, each has been cataloged individually in Franklin. The remainder are arranged alphabetically by the last name of the author.

The second group is correspondence from children and schools. All material from elementary or secondary schools has been filed together in this series and includes fan letters from children (some with responses from Miss Anderson), drawings by children, some photographs of school children, letters from teachers, correspondence concerning Anderson's visits to certain schools, and the naming of schools after Marian Anderson. Approximately 250 schools are represented, and there is an additional box of fan letters written by admirers under the age of eighteen, arranged chronologically.

The third group of letters from admirers comprises the bulk of the fan mail, arranged geographically (letters from European fans are arranged separately from letters from United States fans), then chronologically (all 1939 fan mail, including responses to Marian Anderson's historic concert at the Lincoln Memorial is foldered together), and finally alphabetically within each folder. There over 2,000 letters (some with responses from Anderson or her secretary) in this series, dated from 1924 to 1991.

Marian Anderson's speeches, writings, and scripts for performances form a relatively small part of the papers. Anderson was not a writer and many of the speeches she gave and articles she wrote, mostly for publicity purposes for Hurok Concerts, were the work of other authors and publicists. There are scripts for her live radio broadcasts, primarily for the Bell Telephone Hour, but also for a number of other radio shows and television broadcasts.

The story of Marian Anderson's life attracted much attention from the press over the years of her career but no full scholarly biography was attempted during her lifetime, partly because of her reluctance to speak about herself. Her autobiography, My Lord, What a Morning, was ghost written by Howard Taubman in 1956 and is based on transcriptions of interviews he conducted with Anderson. These materials--articles about Marian Anderson, taped interviews, transcriptions, and the typescript for her autobiography--all form part of the Marian Anderson Papers.

Marian Anderson's personal journals, diaries, and notebooks were kept primarily for the purpose of recording itineraries and expenses for income tax purposes, although some of them were used to record Anderson's impressions as she toured. While very open to people whom she met and with whom she talked, Marian Anderson was not inclined to write about her personal feelings or to analyze some of the issues, including race, about which she constantly was asked. In general, Anderson's letters to her family members are a better source for her thoughts and reactions to the events of her life than are her journals.

Materials related to Marian Anderson's family members are very limited in scope and quantity. There are some notes that Anna D. Anderson made just after her trip to visit Marian in Europe in 1934, and some correspondence related to her rental of a summer home in Pleasantville, New Jersey. There are more papers from Alyse's life. She was involved in Democratic politics in Philadelphia, was a singer and actress, and administered the Marian Anderson Scholarship Fund. Very few items concerning Ethel De Preist are included in these papers. Materials for Orpheus H. Fisher and Marianna Farms include some correspondence, leases and deeds, and some receipts for expenses.

Financial records in the Marian Anderson Papers provide some insights into her expenses and income but are by no means complete. She kept records and receipts for income taxes; these materials were not in any order when received at the University of Pennsylvania. An attempt has been made to arrange them chronologically, but many are undated. The best source for information about Marian Anderson's income from her concert tours are the Hurok Concerts Account statements, which were mailed to her on a regular basis when she was touring. During her career, Marian Anderson's legal matters were attended to by Judge Hubert T. Delany of New York from about 1929 to the 1940s and by George W. Crawford of Hartford, Connecticut, from 1945 to 1969. Delany set up accounts for Marian Anderson's support of her mother and sisters and set up the accounts for the Marian Anderson Scholarship Fund, which Anderson continued to contribute to until it was discontinued in 1973.

Programs for Anderson's performances in the Marian Anderson Papers are a valuable resource for the study of her repertoire, which was far more extensive than is commonly realized. Her name was constantly associated with Schubert's "Ave Maria" and with spirituals, especially "He's Got the Whole World in His Hands," but she performed over 200 songs, and spent considerable time studying each and translating the lyrics for herself to aid in her interpretation of each piece. There are also programs from a number of other performers, both in the program series and as enclosures in correspondence from singers to Anderson.

Publicity materials from Hurok Concerts are extensive and complete for most years. These include press releases, press kits, posters, photographs, and souvenir program books. They document Hurok's tremendous success in promoting Marian Anderson. Anderson recorded for RCA Victor throughout her career and RCA's publicity materials form part of this series. There are fewer materials from Concert Management Arthur Judson. Newspaper clippings, arranged chronologically, document much of her public life. These materials also are found in the series of scrapbooks, some compiled by Hurok Concerts, Inc., some compiled by family and friends, and some compiled by fans. Researchers should be aware that some correspondence and photographs are mounted in scrapbooks and not indexed.

The Marian Anderson Scholarship Fund papers are incomplete, with some years more fully represented than others. This annual contest and award was founded by Marian Anderson to aid young singers of all races and backgrounds. Records include copies of application forms, lists of suggested repertoire for the contestants, and information from the judging for some years, which was usually held at the Ethical Society in Philadelphia. There are applications and individual files for some of the winners of the award including Grace Bumbry, Mattiwilda Dobbs, Reri Grist, Florence Quivar, and Shirley Verrett.

Awards and honorary degrees form a large part of the bulk of the Anderson Papers and are described in the container list. They include the Spingarn Medal awarded by the National Association for the Advancement of Colored People, Grammy Nominations, and the John F. Kennedy Center for the Performing Arts Honor, among several hundred awards. In some cases, information about a given award may be found in several locations--in General Correspondence under the name of the organization that gave the award, in the files of certificates given with the award, in programs for the occasion, and on the award itself, boxed with three-dimensional items.

Memorabilia consists of gifts received and kept by Anderson--dolls, prints, scarves, handkerchiefs--and other materials she saved, including greeting cards and postage stamps. Where greeting cards form part of the correspondence with people she knew well, the cards are filed in General Correspondence, other are boxed in Memorabilia.

The final series, materials related to Marian Anderson's tenure on Boards of Directors, and her service as a Trustee or Commissioner comprises minutes of meetings, memoranda, newsletters, and other materials sent to Anderson in her capacity as a director or trustee, arranged chronologically. Correspondence with these organizations will be found in General Correspondence. Only routine memoranda are found in the last series.

As a result of a Council on Library and Information Resources (CLIR) project, "Discovering Marian Anderson," selections of material from this and other Marian Anderson collections may be viewed online.

Gift of Marian Anderson, 1977-1991, with additional donations from James De Preist and the Free Library of Philadelphia, 1977-1996.

For a complete listing of correspondents, do the following title search in Franklin: Marian Anderson Papers

Correspondence, Writings, Business and Legal Matters, and Oversize processed by Margaret Kruesi, assisted by Jessica Dodson.

Photographs, Programs, Publicity, Clippings, Awards, Honorary Degrees and Memorabilia processed by Donna Brandolisio.

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Finding Aid Author
Margaret Kruesi
Finding Aid Date
The processing of the Marian Anderson Papers and the preparation of this register were made possible in part by a grant from the National Endowment for the Humanities.
Access Restrictions

This collection is open for research.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Collection Inventory

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Description & Arrangement

Arranged alphabetically by correspondent, then chronologically within each folder. Comprises correspondence with composers, conductors, performers, voice teachers, and aspiring singers. Includes correspondence with a large number of organizations regarding issues of music, education, racial equality, peace, politics, and religion. Personal correspondence with family and friends, including Anderson's correspondence with her mother, Anna D. Anderson, and husband, Orpheus H. Fisher are found here. There are requests from individuals and groups regarding bookings for Marian Anderson, although most of these were referred to her management. Includes Anderson's correspondence with the U.S. Department of State and the United Nations, with United States presidents, representatives to Congress, governors, and mayors as well as with heads of state and ambassadors from around the world. Includes correspondence with many colleges and universities regarding Anderson's appearances there and honorary degrees awarded to her. Also includes letters from noted admirers--writers, politicians, artists, and business people.

A. G. Carisch - Alderson.
Box 1 Folder 1-72
Alexander - American Black.
Box 2 Folder 73-139
American Book - American Library.
Box 3 Folder 140-189
American Longevity - Anderson, Alyse.
Box 4 Folder 190-223
Anderson, Anna D.
Box 5 Folder 224-238
Anderson, Arthur - Asprey.
Box 6 Folder 239-319
Associated - Balazs.
Box 7 Folder 320-376
Balch - Belle.
Box 8 Folder 377-459
Belline - Bird.
Box 9 Folder 460-531
Birmingham - Bonds.
Box 10 Folder 532-599
Bonner - Braude.
Box 11 Folder 600-664
Breach - Brown, I.
Box 12 Folder 665-742
Brown, J. - Bush.
Box 13 Folder 743-810
Business - Carlson.
Box 14 Folder 811-887
Carnegie - Central.
Box 15 Folder 888-949
Centre - Chisholm.
Box 16 Folder 950-1007
Chon - Codner.
Box 17 Folder 1008-1086
Coffee - Community.
Box 18 Folder 1087-1149
Compton - Convent.
Box 19 Folder 1150-1204
Cook - Covington.
Box 20 Folder 1205-1264
Coward - Dalva.
Box 21 Folder 1265-1336
Danbury - Davy.
Box 22 Folder 1337-1395
Dawson - De Preist.
Box 23 Folder 1396 - 1445
De Ramus - Distinguished.
Box 24 Folder 1446 - 1494
Diton - Duncan.
Box 25 Folder 1495 - 1560
Dunn - Eleanor Roosevelt.
Box 26 Folder 1561 - 1622
Elementary - Exposition.
Box 27 Folder 1623 - 1699
F. - Finska.
Box 28 Folder 1700 - 1778
Fiore - Fisher, Orpheus H.
Box 29 Folder 1779 - 1822
Fisher, Orpheus H. .
Box 30 Folder 1823 - 1841
Fisher, Orpheus H. - Folklore.
Box 31 Folder 1842 - 1881
Folsom - Freschl.
Box 32 Folder 1882 - 1952
Friars - Gasson.
Box 33 Folder 1953 - 2027
Gates - Globe.
Box 34 Folder 2028 - 2100
Gloster - Graves.
Box 35 Folder 2102 - 2180
Gray - Hackney.
Box 36 Folder 2181 - 2264
Hadassah - Hanni.
Box 37 Folder 2265 - 2333
Hansen - Hasty.
Box 38 Folder 2334 - 2408
Hatch - Hess.
Box 39 Folder 2409 - 2490
Hewitt - Holde.
Box 40 Folder 2491 - 2555
Holihan - Houghton.
Box 41 Folder 2556 - 2608
Hour - Hyman.
Box 42 Folder 2609 - 2676
Ibourg - International N.
Box 43 Folder 2677 - 2736
International P. - Jaleva.
Box 44 Folder 2737 - 2805
Jamaica - John F. Reese (Firm).
Box 45 Folder 2806 - 2868
John Hope Memorial - Jolly.
Box 46 Folder 2869 - 2920
Jones - Kautz.
Box 47 Folder 2921 - 2989
Kaye - King, Roberta.
Box 48 Folder 2990 - 3055
King, William L. - Koerner.
Box 49 Folder 3056 - 3102
Kolb - Lafayette.
Box 50 Folder 3103 - 3165
LaFlamme - Legg.
Box 51 Folder 3166 - 3248
Lehmann - Lincoln.
Box 52 Folder 3249 - 3315
Lindberg - Lovingood.
Box 53 Folder 3316 - 3384
Low - McGovern.
Box 54 Folder 3385 - 3466
McHugh - Marks.
Box 55 Folder 3467 - 3550
Marlowe - Mehta.
Box 56 Folder 3551 - 3635
Meir - Meyner.
Box 57 Folder 3636 - 3701
Miami - Mitchell's.
Box 58 Folder 3702 - 3770
Mitgang - Mosser.
Box 59 Folder 3771 - 3846
Mother - Namkham.
Box 60 Folder 3847 - 3915
Nance - National Christian.
Box 61 Folder 3916 - 3971
National Citizens - National Endowment.
Box 62 Folder 3972 - 4004
National Farmers - Nehru.
Box 63 Folder 4005 - 4053
Neighbors - New York Life.
Box 64 Folder 4054 - 4128
New York Medical - Nixon.
Box 65 Folder 4129 - 4178
Njo - Oliver.
Box 66 Folder 4179 - 4245
Olivet - Paoli.
Box 67 Folder 4246 - 4325
Papandopulo - Pennypack.
Box 68 Folder 4326 - 4396
People's - Pflaum.
Box 69 Folder 4397 - 4450
Phelps - Pickford.
Box 70 Folder 4451 - 4495
Pierce - Presbytery.
Box 71 Folder 4496 - 4559
Press - Rathbone.
Box 72 Folder 4560 - 4633
Ratliffe - Reuther.
Box 73 Folder 4634 - 4697
Reveille - Robbins.
Box 74 Folder 4698 - 4775
Robert - Rooney.
Box 75 Folder 4776 - 4841
Roosevelt - Royal.
Box 76 Folder 4842 - 4890
Roye - St. Andrews.
Box 77 Folder 4891 - 4952
St. Croix - Santi.
Box 78 Folder 4953 - 5017
Sapphire - Seattle.
Box 79 Folder 5018 - 5110
Second - Shaw.
Box 80 Folder 5111 - 5159
Shea - Siragusa.
Box 81 Folder 5160 - 5248
Sisco - Société.
Box 82 Folder 5249 - 5315
Society - Spiro.
Box 83 Folder 5316 - 5383
Spivack - Stokowski.
Box 84 Folder 5384 - 5462
Stonawski - Szeless.
Box 85 Folder 5463 - 5543
T - Texas.
Box 86 Folder 5544 - 5604
Thailand - Torrington.
Box 87 Folder 5605 - 5681
Tosiah - Union Baptist.
Box 88 Folder 5682 - 5754
Union College - United States. Embassy.
Box 89 Folder 5755 - 5814
U.S. Executive - U.S. President (1974, Ford).
Box 90 Folder 5815 - 5840
U.S. President (1977, Carter) - Universal.
Box 91 Folder 5841 - 5871
Universidad - University of Oregon.
Box 92 Folder 5872 - 5901
University of Pennsylvania - Vartamian.
Box 93 Folder 5902 - 5963
Vasc - Vulin.
Box 94 Folder 5964 - 6023
W. - Watson.
Box 95 Folder 6024 - 6102
Watteville - Whetham.
Box 96 Folder 6103 - 6177
White - Williams, Camilla.
Box 97 Folder 6178 - 6243
Williams, Carolyn - WNYE.
Box 98 Folder 6244 - 6316
Wohn - Workshop.
Box 99 Folder 6317 - 6364
World Affairs - Young, Rebecca.
Box 100 Folder 6365 - 6436
Young, S. - Zvankin, Unidentified.
Box 101 Folder 6437 - 6500

Correspondence originating from Marian Anderson's business managers regarding professional appearances, this series includes contracts and statements of income from concerts.

G. Grant Williams, to Anna D. Anderson, 1918.
Box 102 Folder 6501
Marian Anderson Management, 1925-1927.
Box 102 Folder 6502-6566
Concert Management Arthur Judson, 1928-1934.
Box 103 Folder 6567-6589
Konsertbolaget (Helmer Enwall), 1931-1967.
Box 104 Folder 6590-6613
Description & Arrangement

Most are impresarios who arranged Anderson's bookings in Europe, South America, the Caribbean, and Australia. The most important of these are Eric Semon and Fritz Horwitz of Konzert Direktion Hermann Wolff und Jules Sachs in Berlin and later with Organisations Artistiques Internationale in Paris (much of their correspondence is with Helmer Enwall, Anderson's representative). Also includes correspondence with Bernarbo and Maria Iriberri of Buenos Aires who booked Anderson's South American tours; and Stephen O. D. Hill of Celebrity Concerts Caribbean who booked her Caribbean tours. Arranged alphabetically, generally by the name of the management organization.

Bartik, Otokar, 1930-1931, undated.
Box 105 Folder 6614
Bel Canto Koncertn , 1936.
Box 105 Folder 6615
British Broadcasting Corporation, 1928-1933.
Box 105 Folder 6616
Brown Cotton Tours, 1961.
Box 105 Folder 6617
Bureau de Concerts Henryk Markiewicz, 1935.
Box 105 Folder 6618
Bureau de Concerts Victor Andréossi, 1934.
Box 105 Folder 6619
C. Kiesgen & Theo Ysaye, 1931.
Box 105 Folder 6620
C. M. Jefferson Concert Bureau, 1934.
Box 105 Folder 6621
Castro, Herbert de, 1951.
Box 105 Folder 6622
Celebrity Concerts Caribbean, 1949-1984.
Box 105 Folder 6623-6625
Civic Concert Service, 1937-1940.
Box 105 Folder 6626
Clignett, Pedro, 1934.
Box 105 Folder 6627
Cloud, Teresa, 1930.
Box 105 Folder 6628
Concert Management E. Floyd Martin, 1935.
Box 105 Folder 6629
Concert Management Emma Feldman, 1942.
Box 105 Folder 6630
Concertdirectie Dr. G. De Koos, 1934-1936.
Box 105 Folder 6631
Concerti Milano, 193-.
Box 105 Folder 6632
Conley, Peter D., 1934.
Box 105 Folder 6633
Darcourt Impresario, 1948.
Box 105 Folder 6634
Engstrøm & Sødring, 1952.
Box 105 Folder 6635
Eric Semon Associates, 1937-1940.
Box 105 Folder 6636
Eugene Harvey Productions, 1973.
Box 105 Folder 6637
Fazers Musikhandel, 1931-1961.
Box 105 Folder 6638
Frost, M., 1937.
Box 105 Folder 6639
Getta Strok Concert Management, 1957-1958.
Box 105 Folder 6640
Goriatshikov, B., 1950.
Box 105 Folder 6641
Harmonia Szeged, 1936.
Box 105 Folder 6642
Harold Holt, Ltd., 1938-1961.
Box 105 Folder 6643-6644
Hohenberg, Artur, 1935.
Box 105 Folder 6645
Horwitz, Fritz, 193-.
Box 105 Folder 6646
Internationales Impresariat (Max Walther), 1930-1931.
Box 105 Folder 6647
J. C. Williamson Theatres Ltd., 1946-1962.
Box 105 Folder 6648
Kolischerphilharmonie, 1935.
Box 105 Folder 6649
Konsert & Teater-Bureauet, 1931.
Box 105 Folder 6650
Konzertdirektion Georg Kugel, 1935-1938.
Box 105 Folder 6651
Konzert-Direktion Hermann Wolfe u. Jules Sachs, 1929-1931.
Box 105 Folder 6652-6653
Konsertdirektion Robert Kollitsch, undated.
Box 105 Folder 6654
Konzertgesellschaft Zürich, 1949.
Box 105 Folder 6655
L. E. Behymer, 1936-1940.
Box 106 Folder 6656
May Beegle Concerts, 1939.
Box 106 Folder 6657
Meckel, Arnold, 1933.
Box 106 Folder 6658
Musikos, 1936.
Box 106 Folder 6659
National Artists Corporation, 1956-1959.
Box 106 Folder 6660
National Broadcast Co. NBC Artists Service, 1935-1941.
Box 106 Folder 6661
National Concert and Artists Corporation., 1949.
Box 106 Folder 6662
Niederrheinische Konzertdirektion M. Schlote, 1949.
Box 106 Folder 6663
Notecentralens concertbureau, 1930-1931.
Box 106 Folder 6664
Organisation Artistique Internationale, 1934-1961.
Box 106 Folder 6665-6674
Organización de Conciertos Iriberri, 1935-1961.
Box 106 Folder 6675-6676
Philharmonie, 1935.
Box 106 Folder 6677
Podium Management Association, 1976.
Box 106 Folder 6678
Quesada, 1951.
Box 106 Folder 6679
Salle Gaveau (Theatre, Paris), 1934.
Box 106 Folder 6680
Scala (Theatre, Berlin), 1930.
Box 106 Folder 6681
Shaw Concerts, 1976-1977.
Box 106 Folder 6682
Skaarup, Frede, 1933-1936.
Box 106 Folder 6683-6684
Sociedad Musical Daniel, 1951.
Box 106 Folder 6685
Stadium Concerts, Inc., 1931-1939.
Box 106 Folder 6686
Standard Booking Office, 1930-1931.
Box 106 Folder 6687
Szasz, Miklós, 1935-1937.
Box 106 Folder 6688
Tremblay, Antonio, 1940-1964.
Box 106 Folder 6689
Ufficio Concerti Moltrasio & Luzzatto, 1935-1936.
Box 106 Folder 6690
Van Wyck, Wilfred, 1936-1937.
Box 106 Folder 6691
Veharren, 1932.
Box 106 Folder 6692
Correspondence and itineraries, 1934-1959.
Box 107 Folder 6693-6719
Correspondence and itineraries, 1960-1984.
Box 108 Folder 6720-6741
Correspondence record, 1958-1959.
Box 108 Folder 6742-6748
Isaac A. Jofe business records, 1949-1956.
Box 109 Folder 6749-6759
Accounts. Statements of MA's income from individual concerts.
Box 110 Folder 6760-6801

Includes box office statements for 1941-1942.

Electrolo Gesellschaft, 1930.
Box 111 Folder 6802
Gramophone Co. correspondence, 1928-1939.
Box 111 Folder 6803
Gramophone Co. and EMI Records royalty statements, 1928-1968.
Box 111 Folder 6804-6813
G. Schirmer. royalty statements, 1967.
Box 111 Folder 6814
Phonographic Performance Ltd. royalty statements, 1958.
Box 111 Folder 6815
Warner Special Products royalty statements, 1993.
Box 111 Folder 6816
World Artists, Inc. royalty statements, 1952-1974.
Box 111 Folder 6817
Victor Talking Machine Co., 1923.
Box 112 Folder 6818
RCA Victor correspondence, 1938-1978, undated.
Box 112 Folder 6819-6826
RCA Victor accounts and royalty statements, 1936-1979.
Box 112 Folder 6827-6857

Arranged chronologically.

Concert Management Arthur Judson, 1931-1933.
Box 113 Folder 6858-6859
Hurok Concerts, 1934-1953.
Box 113 Folder 6860-6862
Konsertbolaget, 1930-1938.
Box 113 Folder 6863-6866
Gramophone Co., 1928-1937.
Box 113 Folder 6867-6868
RCA Manufacturing, 1936-1969.
Box 113 Folder 6869-6875

Folders for the years 1928-1938 include some account statements for concerts booked in Europe and South America.

Performance contracts, accounts, 1919, 1928-1931.
Box 113 Folder 6876-6890
Performance contracts, accounts, 1932-1977.
Box 114 Folder 6891-6949

Thousands of letters from Marian Anderson's fans are included in her papers. Letters in this series are primarily, with the exception of a few poets, from individuals who did not know Anderson personally and who were not well-known public figures. A number of these letters are filed with the response from Anderson.


Includes an autographed poem from Gwendolyn Brooks, a few from other known poets, and many from admirers.

Description & Arrangement

Includes poems dedicated to Anderson or written about her, by professional and amateur poets. Arranged alphabetically by the name of the author.

Box 115 Folder 6950-7009
Box 116 Folder 7010-7033
Unidentified poets/poems.
Box 116 Folder 7034-7039
Arrangement note

Arranged alphabetically by the name of the author or organization.

General Physical Description note

1.5 boxes

Box 116 Folder 7040-7060
Box 117 Folder 7061-7103
Description & Arrangement

This series includes correspondence between Anderson and teachers/administrators regarding possible visits by Marian Anderson to various schools. For some files it also includes letters and drawings from children in the schools to Anderson, and Anderson's responses to children's letters. Arranged alphabetically by the name of the school or school district.

Abbott - Columbus.
Box 118 Folder 7104-7146
Concord - Hayes.
Box 119 Folder 7147-7194
Hempstead - Marian Anderson Elementary.
Box 120 Folder 7195-7245
Mather - New York (N.Y.). P.S. 2-230.
Box 121 Folder 7246-7277
Noah - South.
Box 122 Folder 7278-7325
Stanwood - Youth.
Box 123 Folder 7326-7358
Correspondence with teachers.
Box 124 Folder 7359
Description & Arrangement

Letters from admirers age 17 and under and arranged chronologically.

Correspondence with children.
Box 124 Folder 7360-7384
Description & Arrangement

Includes letters from admirers who had never met or were not known to Marian Anderson, and who were or are not well-known as writers, artists, politicians, or other public figures. They are arranged geographically to reflect Anderson's concert appearances around the world, then chronologically year by year to reflect Anderson's activities--her receipt of awards and honors, her concerts, and her broadcasts--first over radio, then television (many letters were written in response to hearing Anderson sing over the radio; the largest group of these letters were sent to CBS in 1957-1958 in response to the television broadcast of "The Lady From Philadelphia," a documentary produced by Ed Murrow and Fred Friendly). In general, admirers who wrote to Anderson more than three or four times have correspondence filed in the general correspondence series.

Box 125 Folder 7385-7408
Box 126 Folder 7409-7427
Letters to CBS and Ed Murrow , 1957-1958.
Box 127 Folder 7428-7449
Letters to CBS and Ed Murrow, 1957-1958.
Box 128 Folder 7450-7452
Letters to ITT, 1957-1958.
Box 128 Folder 7453
"Lady from Philadelphia", 1957-1958.
Box 128 Folder 7454-7461
"Lady from Philadelphia" postcards, 1957-1958.
Box 128 Folder 7462-7463
Box 128 Folder 7464-7469
Box 129 Folder 7470-7485
Box 130 Folder 7486-7499
1977-1991, undated.
Box 131 Folder 7500-7518
1937-1980, undated.
Box 132 Folder 7519-7525
Box 132 Folder 7526-7543
1952-1987, undated.
Box 133 Folder 7544-7573
Africa, 1939-1976, undated.
Box 134 Folder 7574-7575
Australia and New Zealand, 1946-1970, undated.
Box 134 Folder 7576- 7584
Caribbean/ West Indies/Cuba, 1932-1974, undated.
Box 134 Folder 7585-7586
Box 134 Folder 7587
India and Pakistan, 1953-1962, undated.
Box 134 Folder 7588
Israel, 1954-1968.
Box 134 Folder 7589
Japan, 1953-1971.
Box 134 Folder 7590
Korea and Hong Kong, 1953-1970.
Box 134 Folder 7591
Mexico, 1963.
Box 134 Folder 7592
Philippines, 1955-1973, undated.
Box 134 Folder 7593
South America, 1936-1977.
Box 134 Folder 7594-7598

Series Description

Marian Anderson wrote in a clear, large, rounded hand. This series includes a few of her drafts for speeches she made on special occasions, but, for the most part, her writings and speeches were the work of Hurok Concerts' publicists, Gerald Goode and Barry Hyams. The scripts that were prepared for her broadcasts and public appearances are of particular interest for studies of the development of radio and television. Articles about Marian Anderson and biographical materials, including interviews, have been grouped together. Magazines in Series V contains additional articles, and in some cases, the published versions of drafts in this series. Anderson's autobiography, My Lord, What a Morning (1956) was written by Howard Taubman and based on interviews he conducted with Anderson (see Ms. Coll. 201). In this series are found the typescript and galleys for the book with some corrections in Marian Anderson's hand. The remainder of this series comprises newsletters and typed and printed materials sent to Anderson, many from African-American organizations.


Includes articles "by Marian Anderson," although some were prepared by Hurok's staff, and speeches drafted or read by Anderson.

"By Herself", undated.
Box 135 Folder 7599
"The Creative Arts." by Michael Sweeley, undated.
Box 135 Folder 7600
"Easter Sunday 1939", 1974.
Box 135 Folder 7601
"Music and Faith", undated.
Box 135 Folder 7602
"My Most Memorable Christmas", undated.
Box 135 Folder 7603
"My Most Memorable Stadium Concert", 1952.
Box 135 Folder 7604
"This is My America", undated.
Box 135 Folder 7605
"We Remember Asia", undated.
Box 135 Folder 7606
"What Spirituals Mean to Me", 1962.
Box 135 Folder 7607
"Who Could Ask For More?", undated.
Box 135 Folder 7608

Arranged chronologically.

Draft of speech to the Danish people, 1933.
Box 135 Folder 7609
Speech of introduction for the souvenir recording of M.A.'s concert at the Roosevelt White House for the King and Queen of Great Britain, 1939 June 8.
Box 135 Folder 7610
Tribute to Jean Sibelius, circa 1951.
Box 135 Folder 7611
"He's Got the Whole World in His Hands", 195?.
Box 135 Folder 7612
Speech for World Affairs Center dinner, circa 1958.
Box 135 Folder 7613
Speech for United Nations Reception hosted by M.A., 1958 October 20.
Box 135 Folder 7614
Statement to the General Assembly of the United Nations, 1958 November 4.
Box 135 Folder 7615
Statement on the report of the Trusteeship Council of the United Nations, 1958 November 5.
Box 135 Folder 7616
Speech to American National Red Cross, Greenwich chapter, 1962 April 17.
Box 135 Folder 7617
Convocation address at Queen's University (Kingston, Ont.) on the subject of Eleanor Roosevelt, 1962 December 10.
Box 135 Folder 7618
Tribute to Jean Sibelius, 1964 July 28.
Box 135 Folder 7619
Speech to University Musical Society, University of Michigan, 1964 December 15.
Box 135 Folder 7620
Speech for Memorial Day services at Hyde Park, N.Y., 1969 May 30.
Box 135 Folder 7621
"Challenge of Change", 1970.
Box 135 Folder 7622
"The miracle most understanding", 1970 January 12.
Box 135 Folder 7623
"People ask me...", 1970 January.
Box 135 Folder 7624
"In a few weeks another of our rockets...", 1970 February.
Box 135 Folder 7625
Commentary to music educators, 1970 March 20.
Box 135 Folder 7626
Remarks on UNICEF dolls, undated.
Box 135 Folder 7627
"First allow me to put you at ease...", undated.
Box 135 Folder 7628
"The measure of success", undated.
Box 135 Folder 7629
"Standing here, speaking to you today are Mrs. Eleanor Roosevelt...", undated.
Box 135 Folder 7630
"To young people", undated.
Box 135 Folder 7631
Unidentified notes for speeches.
Box 135 Folder 7632

Arranged alphabetically by author.

Agrawala, Shri R. N. Welcome speech, Azad Park, New Delhi, 1957.
Box 135 Folder 7633
Ben-Dov, David. Speech introducing MA., 1970 March 22.
Box 135 Folder 7634
Boucher, Gene. Speech introducing MA to Allen Iron Workers, 1983 May 14.
Box 135 Folder 7635
Grasso, Ella. Speech introducing MA, undated.
Box 135 Folder 7636
Kim Hak-sang. Seoul National University. "An Unforgettable Emotion", 1957.
Box 135 Folder 7637
MacLeish, Archibald. Speech for dedication of the Eleanor Roosevelt Wings of the Franklin D. Roosevelt Library, 1972 May 3.
Box 135 Folder 7638

Includes transcriptions and/or notes. Does not include interviews related to articles, which are filed with the completed articles in Folders 7698-7787 (Series II, Subseries C).

Farewell tour interview with Francis Robinson of the Metropolitan Opera., 1965.
Box 135 Folder 7639
Marian Anderson. Interview notes, 1941 Sept. 10.
Box 135 Folder 7640
Interview questions on note paper, undated.
Box 135 Folder 7641
Bell Telephone Hour (Radio program), 1942-1969.
Box 136 Folder 7642-7645
Berkeley Square Enterprises. "Teeny" with Marian Anderson : a fable with music, undated.
Box 136 Folder 7646
Bucky, Frida Sarsen. Scripts for "Snoopycat" and "Sniffy", undated.
Box 136 Folder 7647-7648
CBS inc. Chrysler Corporation radio program, 1945 September 27.
Box 136 Folder 7649
CBS Television network. "The Lady from Philadelphia : through Asia with Marian Anderson", 1957 December 30.
Box 136 Folder 7650
CBS Television network. "S. Hurok Presents", 1966.
Box 136 Folder 7651-7652
CBS Television network. "A Woman's Place" YWCA 100th anniversary show, 1969.
Box 136 Folder 7653
Dance Theatre of Harlem. "The evolution of an idea", 1975 April 22.
Box 136 Folder 7654
Dance Theatre of Harlem. "His love is everlasting", 1978 March 25.
Box 136 Folder 7655
Dillon, Jane. "Famous Mothers", 1945.
Box 136 Folder 7656
Ford Motor Co. "Ford Anniversary Show", undated.
Box 136 Folder 7657
Greene, Felix. "One tenth of a nation", undated.
Box 136 Folder 7658
Hanna Barbera. "My Lord, what a morning, the story of Marian Anderson", 1969.
Box 136 Folder 7659
Holt, Peter. "The memoirs of Marian Anderson", 1946.
Box 136 Folder 7660
Institute for Cultural Exchange thru Photography. Script for narrator, human rights article on "Work", 1968.
Box 136 Folder 7661
Lemon, Harriet Wright. "Steps to freedom", undated.
Box 137 Folder 7662
Loew's Incorporated. "Marian Anderson", 1942.
Box 137 Folder 7663
Lutheran hour (Radio program). "Bringing Christ to the nations", 1960.
Box 137 Folder 7664
Minute for peace (Radio program), undated.
Box 137 Folder 7665
National Broadcasting Co. Swift garden hour (Radio program), 1931.
Box 137 Folder 7666
National Broadcasting Co. National music awards, 1948.
Box 137 Folder 7667
National Broadcasting Co. "World's Fair Special", 1964 March.
Box 137 Folder 7668
Organisation Nicholas Behars. "Tobie" film synopsis, 1949.
Box 137 Folder 7669
Philadelphia Fellowship Commission. "The story of Marian Anderson", 1945.
Box 137 Folder 7670
Philadelphia Public Schools. "Marian Anderson" by Ruth A. Scott, 1944-1945.
Box 137 Folder 7671-7672
Radio Corporation of America. "The Music you want when you want it"" , 1940.
Box 137 Folder 7673
Radio Corporation of America. "The Music America loves best", 1944.
Box 137 Folder 7674
Radio Reader's Digest (Radio program). "Over Jordan", 1942.
Box 137 Folder 7675
Schachner, Alice Richman. "Marian Anderson at seventy", 1972.
Box 137 Folder 7676
Tahse, Martin. Film proposal, 1978.
Box 137 Folder 7677
United Nations Association. "Text for Human Rights", 1968.
Box 137 Folder 7678
Voice of America, 1978.
Box 137 Folder 7679-7681
Walter F. Bennett & Co. "An American Christmas", 1978.
Box 137 Folder 7682
Whorf, Michael. "They walked in darkness", undated.
Box 137 Folder 7683
Wide Wide World. "A Woman's story : a visit with some great American women", 1956-1957.
Box 137 Folder 7684
"Broadcast", 1942 January 9.
Box 137 Folder 7685
"A Declaration of Interdependence", undated.
Box 137 Folder 7686
"He was not named Solomon for nothing...", 1974 March 8.
Box 137 Folder 7687
"I am an American", undated.
Box 137 Folder 7688
"Ingrid Bergman sequence", undated.
Box 137 Folder 7689
"Marian Anderson", undated.
Box 137 Folder 7690
Musical Life in America, 1945.
Box 137 Folder 7691
"New Year's Greeting from Marian Anderson", undated.
Box 137 Folder 7692
"Once in a hundred years", undated.
Box 137 Folder 7693
"Psalm 137", undated.
Box 137 Folder 7694
Television script re cats, undated.
Box 137 Folder 7695
Unidentified scripts, undated.
Box 137 Folder 7696-7697
Description & Arrangement

Includes manuscript, typescript, and printed articles, arranged alphabetically by author. Some are written for children. Researchers should be aware that many of these contain inaccurate dates and information.

Aaron Davis Hall. Marian Anderson Tribute at the dedication of the Marian Anderson Theatre, City College of N.Y., 1994.
Box 138 Folder 7698
Aarons, Leroy F. "A Great Lady Sings Her Final Farewell", circa 1964.
Box 138 Folder 7699
Anderson, Anna D. "As I look back upon...", undated.
Box 138 Folder 7700
Baker, Kenisha. "Marian Anderson Treasures Found" University of Pennsylvania. Almanac/Compass, 1997 March 11.
Box 138 Folder 7701
Breuer, Gustl. "Farewell to a Great Lady." RCA Victor International Post vol. 2 no. 1, 1965 January.
Box 138 Folder 7702
Bronze Social Register. "Marian Anderson", 1964.
Box 138 Folder 7703
Chandler, Julia. "First Lady of Song." Offprint from the Christian Herald, undated.
Box 138 Folder 7704
Clarke, Marjorie. "Marian Anderson", 1970.
Box 138 Folder 7705
Coleman, Emily. Untitled biographical article, circa 1964-1965.
Box 138 Folder 7706
Connecticut. Register and Manual. "Marian Anderson", 1973.
Box 138 Folder 7707
Current Biographies. American Education Publications. "Marian Anderson : Symbol in Song", 1958.
Box 138 Folder 7708
Current Biography, "Anderson, Marian", vol. 1, no 5, ; vol 11, no. 4, 1940-1950.
Box 138 Folder 7709
Daniel, Lee A. "Still, Invisible...", 1993.
Box 138 Folder 7710
Dannett, Sylvia G. L. Untitled biography, 1964-1966.
Box 138 Folder 7711-7712
De Preist, James. "Hearing Her One Wept", 1993.
Box 138 Folder 7713-7714
Dick, Ellen A. "Marian Anderson : an index to articles in the Musical Courier 1924-1961." Chicago Public Library, 1980.
Box 138 Folder 7715
Diton, Carl R. "Additional Facts about Marian Anderson, contralto", circa 1930s.
Box 138 Folder 7716
Dobrin, Arnold. "Marian Anderson", circa 1971.
Box 138 Folder 7717-7718
Embree, Edwin Rogers. "Deep River of Song, Marian Anderson", 1942.
Box 138 Folder 7719
Ericson, Howard Carl. "Marian Anderson, superb singer", undated.
Box 138 Folder 7720
Eye Gate House. "Image Makers", 1968.
Box 138 Folder 7721
France, Beulah. "God's Great Gift", 1964.
Box 138 Folder 7722
Gee, Bruce. Interview with Marian Anderson at Winnipeg Auditorium, 1964 November 27.
Box 138 Folder 7723
Gethsemane 84, Inc. Partial interview by Wendell B. Harris for Black Biography. Finished biography "The gift of Marian Anderson.", 1981-1982.
Box 138 Folder 7724
Goode, Gerald. "Easter Sunday, 1939: A Memoir", undated.
Box 138 Folder 7725
Gordon, E. Harrison. "Marian Anderson", 1973-1976.
Box 138 Folder 7726
Gray, Virginia. "Artist of the month", undated.
Box 138 Folder 7727
Greene, David M. "A concert/lecture on Marian Anderson" Lehigh University, 1993.
Box 138 Folder 7728
Guideposts. "Grace before greatness", 1953.
Box 138 Folder 7729
Harvey, Mary Kersey. Interview and article for McCall's, 1966.
Box 138 Folder 7730-7731
Hawkins, William. "Marian Anderson Says Farewell." Musical America, 1964 September .
Box 138 Folder 7732
Hefley, James C. "Marian Anderson-Christian Contralto", 1965.
Box 138 Folder 7733
Heylbut, Rose. "Some Reflections on Singing by Marian Anderson distinguished American contralto, a conference secured expressly for 'The Etude'", 1939.
Box 138 Folder 7734
Hyams, Barry. "Ave Marian".
Box 138 Folder 7735
Iglauer. "Interview with Marian Anderson at Mill Brook [sic] Connecticut", 1941 June 28.
Box 138 Folder 7736
Johnson Products Company. "Great Beautiful Black Women", 1978.
Box 138 Folder 7737
Keiler, Allan. "Marian Anderson, 100th Birthday Tribute", 1997 February 27.
Box 138 Folder 7738
Kimbrough, Emily. "My life in a white world", 1960 September.
Box 138 Folder 7739
Lander, David. "Aunt Marian : the internationally acclaimed conductor James De Preist remembers his aunt, the great singer Marian Anderson." American Legacy, 1966 Fall .
Box 138 Folder 7740
Larkin, Kathy and Weller, Helen. "Precious Moments, Why I Love You, Mom", undated.
Box 138 Folder 7741
McManus, Margaret. "Marian Anderson." in Providence Sunday Journal TV Weekly, 1960 December 25.
Box 138 Folder 7742
Maloney, James H. "A Memorial Tribute to Marian Anderson during Black History Month." Congressional Record Vol. 143, no. 17, 1997 February 11.
Box 138 Folder 7743
Manners, Dian. "Musical Mannerisms", 1946.
Box 138 Folder 7744
Mathews, Marcia M. "Marian Anderson", 1973.
Box 138 Folder 7745
Morgan, Edward P. "Marian Anderson", 1961.
Box 138 Folder 7746
Nepomnyashchiy, Abram E. Interview with Marian Anderson, 1958 October 31.
Box 139 Folder 7747
Newman, Shirlee. Biography of Marian Anderson for young people, age 12 and older, 1965.
Box 139 Folder 7748-7753
Osmond, Susan Fegley. "Marian Anderson : Anchored in the Lord", 1997.
Box 139 Folder 7754
Peters, H. M. "The Day I Met Marian Anderson", 1961.
Box 139 Folder 7755
Piquion, Rene and Brierre, Jean F. "Marian Anderson", undated.
Box 139 Folder 7756
Potter, Charles E. "Marian Anderson -- Ambassador Extraordinary", 1958 March 25.
Box 139 Folder 7757
Prilook, Marion. "Marian Anderson remembers the Met." News-Times , 1966 May 28.
Box 139 Folder 7758
Ramos, Lilia. "Marian Anderson, Ser Humano de Rara Excelsitud", 1953.
Box 139 Folder 7759
Reasons, George and Patrick, Sam. "They Had a Dream", undated.
Box 139 Folder 7760
Runbeck, Margaret Lee. "Temple of Song", undated.
Box 139 Folder 7761
Rupp, Franz. "25 Years with Marian Anderson", undated.
Box 139 Folder 7762
Seemungal, Rupert P. "Marian Anderson", 1964.
Box 139 Folder 7763
Sengupta, Padmin Sathianadhan. "The Message of a Singer", 1958.
Box 139 Folder 7764
Sheean, Vincent. Liner notes for RCA Victor albums, undated.
Box 139 Folder 7765
Shenker, Israel. "Marian Anderson", 1976.
Box 139 Folder 7766
Seidl, Steven E. "A Happy Song", undated.
Box 139 Folder 7767
Southington. No title, undated.
Box 139 Folder 7768
Steffen, Mary Samuel. "Profiled by His Word", 1969.
Box 139 Folder 7769
Stoddard, Hope. "Famous American Women", 1969.
Box 139 Folder 7770
Story, Rosalyn M. Book proposal, "The Life and Art of Marian Anderson", undated.
Box 139 Folder 7771
Stratton, Madeline. "Marian Anderson, concert artist", 1964.
Box 139 Folder 7772
Taubman, Howard. Anderson debut , undated.
Box 139 Folder 7773

See Ms. Coll. 201 for Taubman interviews with Marian Anderson.

Thompson, Mary Helen. "Black History Week -- Marian Anderson." Boston Sunday Globe, 10 February 1974 n.d.
Box 139 Folder 7774
Tiscornia, Eduardo. "Marian Anderson", 1938.
Box 139 Folder 7775
Tobias, Tobi. "Marian Anderson"., 1970.
Box 139 Folder 7776
Turner, Patricia. "Afro-American Singers: an index...", undated.
Box 139 Folder 7777
United States. Delegation to the General Assembly of the United Nations. MA biography, 1958 September .
Box 139 Folder 7778
Walker, Gerald. "My Most Memorable Christmas", 1961-1962.
Box 139 Folder 7779
Waters, Don. "The Fishers of Marianna Farm"., 1969 September.
Box 139 Folder 7780
Weyl, Celeste. "Tolerance", 1939.
Box 139 Folder 7781
White, Alvin E. "Magnificent Marian Anderson." Evening Gazette, Worcester., 1981 April 16.
Box 139 Folder 7782
Wood, Ellen. "Bio-bibliography: Marian Anderson".
Box 139 Folder 7783
Wooten, Thomas M. Three biographical writings, 1956-1964.
Box 139 Folder 7784-7786

* Journal excerpt, 1956-1958.

* "An Afternoon with Marian Anderson," 1960.

* "Marian Anderson Sings Farewell Recital in Clowes Memorial Hall," 1964.

The World of Music. MA biography, undated.
Box 139 Folder 7787
Unidentified biographical sketches and data.
Box 139 Folder 7788-7796

Includes typescript and galleys for the book with some corrections in Marian Anderson's hand. Sound tapes and typed transcripts of the interviews conducted by Howard Taubman, ghostwriter of My Lord, What a Morning are cataloged separately as Ms. Coll. 201.

Typescript, carbon copy with corrections in MA's hand, Chapters 2-28.
Box 140 Folder 7797-7809
Typescript, original, copy-edited, Chapters 1-28.
Box 140 Folder 7810-7822
Typescript, marked for printer, Chapters 1-28.
Box 141 Folder 7823-7836
Page proofs, bound, with some corrections in MA's hand.
Box 141 Folder 7837
DocuDrama by Philip C. Lewis.
Box 142 Folder unknown container
Negroes Who Helped Build America by Madeline Stratton. Ginn & Co., 1965.
Box 142 Folder unknown container
Women in America, Ideals Publishing Corp., 1975.
Box 142 Folder unknown container

Includes no correspondence.

Newsletters/serials, A-Z.
Box 143 Folder 7838-7879
Organizations, A-F.
Box 144 Folder 7880-7909
Organizations, H-N.
Box 145 Folder 7909-7929
Organizations, P-Y.
Box 146 Folder 7930-7956

Series Description

Most of Marian Anderson's journals and notebooks are either spiral bound notepads or bound monthly or yearly calendars. The notebooks often cover several years and include notes about appointments, meetings, expenses, grocery lists, sometimes recipes, and some reflections on her travels. Where notebooks contain programs and song texts, these are specifically described in the container list. For the most part, Anderson maintained these notebooks, calendars, and expense books as an aid to documenting her expenses for preparing income tax forms and are arranged chronologically. She often kept detailed records of taxi fares, tips, and meals when traveling.

Schoolbooks, cookery and historic art, 1916, undated.
Box 147 Folder 7957
Notebooks with names of choral singers, (Might belong to Alyse or Ethel Anderson), undated.
Box 147 Folder 7958-7959
Notebooks, circa 1920s or 1930s.
Box 147 Folder 7960
Notebook, music, programs, circa 1931-1935.
Box 147 Folder 7961
Notebooks from Europe, 1930s.
Box 147 Folder 7962
Notebook, music, programs, circa 1936-1938.
Box 147 Folder 7963
Notebook, 1939.
Box 147 Folder 7964
Notebooks, circa 1941-1942.
Box 147 Folder 7965-7966
Notebook, expenses, I. A. Jofe, 1943.
Box 147 Folder 7967
Notebook, circa 1944-1950.
Box 147 Folder 7968
Journal, 1945.
Box 148 Folder 7969
Diary, 1951.
Box 148 Folder 7970
Notebook, music notes, programs, jokes, recipes, itineraries and expenses for Israel (1955), circa 1952-1955.
Box 148 Folder 7971
Diary, 1953.
Box 148 Folder 7972-7973
Notebook. Music, circa 1953.
Box 148 Folder 7974
Notebook. Music and recordings, circa 1954.
Box 148 Folder 7975
Notebook. Coaching for Ulrica in Un Ballo in Maschera, circa 1954-1955.
Box 148 Folder 7976
Journals, notebooks, 1954-1956.
Box 149 Folder 7977-7978
Loose leaf notebook, Scandinavian-European tour, 1956.
Box 149 Folder 7979

Includes a number of loose leaves with programs and notes about music in Franz Rupp's hand.

Diary, 1957.
Box 149 Folder 7980
Notebook (Korea), 1957.
Box 149 Folder 7981
Notebook (United Nations), 1958.
Box 149 Folder 7982
Journals, notebooks, 1960.
Box 150 Folder 7983
Notebook, Soviet conference, 1961.
Box 150 Folder 7984
Notebooks, journals, 1962-1969.
Box 150 Folder 7985-7990
Journals, notebooks, 1969-1983.
Box 151 Folder 7991-8005
Calendars, 1949-1959.
Box 152 Folder 8006-8018
Calendars, 1960-1969.
Box 153 Folder 8019-8028
Calendars, 1970-1980.
Box 154 Folder 8029-8040
Address books, lists of addresses.
Box 155 Folder 8041-8047
Notes, 1929-1970.
Box 156 Folder 8048-8086
Notes, 1971-1980, undated.
Box 157 Folder 8087-8103

Series Description

This series includes the personal correspondence of Anna D. Anderson, Alyse Anderson, and Orpheus Fisher with persons other than Marian Anderson (their correspondence with Anderson is in General Correspondence). In addition, there is some memorabilia and miscellaneous material for each. Orpheus H. Fisher, in addition to his work as an architect, managed a number of rental properties in Danbury, and his papers include some information on these. The materials related to the Fishers' home in Connecticut, Marianna Farm, includes most of the deeds and mortgages related to the purchase and eventual sale of the property.

Marian Anderson's financial and legal papers are comprised of manuscript notes of her expenses, some correspondence with accountants and with her attorneys, Judge Hubert Delany of New York and George W. Crawford of Hartford, Connecticut, canceled checks and bank statements (not complete for all years) and statements from her investments.

Letters to Anna D. Anderson, A-S, unidentified.
Box 158 Folder 8104-8114
Anna D. Anderson diary/notes on her trip to Europe, 1934.
Box 158 Folder 8115
Anna D. Anderson memorabilia.
Box 158 Folder 8116-8117
Ethel Anderson and James De Preist, miscellaneous.
Box 158 Folder 8118-8119
762 S. Martin Street, improvements and repairs.
Box 158 Folder 8120-8121
Other real estate: investment properties in South Philadelphia.
Box 158 Folder 8122-8126
Letters to Alyse Anderson, A-Y, unidentified.
Box 159 Folder 8127-8190
Alyse Anderson memorabilia, miscellaneous.
Box 159 Folder 8191-8193
Letters to OHF, A-Z, and unidentified.
Box 160 Folder 8194-8217
Greeting cards to OHF, get-well cards.
Box 160 Folder 8218-8219
OHF birth certificate (photocopy) and estate.
Box 160 Folder 8220
OHF medical correspondence, receipts, and power of attorney, 1959-1979.
Box 160 Folder 8221
OHF insurance, real estate, contracts, and rent receipts.
Box 160 Folder 8222-29
OHF notes, miscellaneous.
Box 160 Folder 8230
Mortgage, surveys, engineering report, deeds, etc.
Box 161 Folder 8231-8251
Employees, tenants.
Box 161 Folder 8252

Not complete for all years.

Financial notes, 1930-1981, undated.
Box 162 Folder 8253-8278
Box 162 Folder 8279-8282
Income taxes and real estate taxes.
Box 162 Folder 8283-8293
Customs declarations.
Box 162 Folder 8294
Correspondence and bank statements, A-N.
Box 163 Folder 8295-8324
Correspondence and bank statements, S-W.
Box 164 Folder 8325-8331
Corn Exchange Bank and Trust Co. Canceled checks, 1940-1948.
Box 165 Folder unknown container
Corn Exchange Bank and Trust Co. Canceled checks, 1946-1949.
Box 166 Folder unknown container
First Pennsylvania Company. Investment statements, 1955-1963.
Box 167 Folder unknown container
Wellington Fund. First National Bank N.J. Investment statements, 1955-1972.
Box 168 Folder unknown container
Mutual Management Co., First Investors Corp., Morgan Guaranty Trust Co. Investment statements, 1954-1970.
Box 169 Folder unknown container
Investments. Miscellaneous items, 1930-1977.
Box 170 Folder 8332-8335
F. K. Kerpen and Co. Correspondence.
Box 170 Folder 8336
M. Fainberg. Correspondence.
Box 170 Folder 8337
Irving Trust Co. Statements.
Box 170 Folder 8338
Wellington Fund. Correspondence.
Box 170 Folder 8339
Trust for Anna D. Anderson, 1955.
Box 170 Folder 8340
Insurance and miscellaneous.
Box 171 Folder 8341-8352
Blank, Rome, Klaus & Comisky.
Box 172 Folder 8353
Cadwalader, Wickersham & Taft.
Box 172 Folder 8354
Crawford, George W., 1945-1959.
Box 172 Folder 8355-8361
Crawford, George W., 1961-1962.
Box 172 Folder 8362-8364
Crawford, George W., 1960-1969, undated.
Box 172 Folder 8365-8366
Delany, Hubert T., 1929-1962, undated.
Box 172 Folder 8367-8372
Re Dunaif, George M. Estate for Mount Morris Music School.
Box 172 Folder 8373
Miscellaneous legal matters, lawyers E-S.
Box 172 Folder 8374-8380
Legal permissions for publication/republication of materials by or about Marian Anderson, 1977.
Box 172 Folder 8381
Power of attorney, birth certificate, miscellaneous., 1992.
Box 173 Folder 8382
Power of attorney, 1982.
Box 173 Folder 8383
James De Preist to Jessica Ingaren, 1992 April 1.
Box 173 Folder 8384
Notes and plans, draft of letter, condolences, 1993.
Box 173 Folder 8385-8389
Re Estate of Marian Anderson, 1993-1995.
Box 173 Folder 8390-8392
General, 1924-1969.
Box 174 Folder 8393-8437
General, 1970-1981, undated.
Box 175 Folder 8438-8453
Hotels, 1927-1976.
Box 176 Folder 8454-8488
Travel, 1929-1976.
Box 177 Folder 8489-8499
Clothing, 1925-1972, undated.
Box 177 Folder 8500-8509
Medical and dental, 1930-1977, undated.
Box 177 Folder 8510-8515

Series Description

Approximately 1200 programs from Anderson's performances, dated 1916 to 1978, are arranged chronologically in this series; these are not complete for all performances in her career but do show the extent of her tours and her repertoire. There are over 50 programs for events Anderson attended and more than 100 programs from other performers. Publicity materials for Anderson's career are comprehensive, dating from 1928 through 1970, and include press releases, press kits, souvenir program books, newspaper clippings, and magazines. In addition, many posters are preserved in the Oversize series.

1916-1935 December.
Box 178 Folder 8516-8543
1936 January-1939 April 9.
Box 179 Folder 8544-8561
1939 April 13-1942 January 31.
Box 180 Folder 8562-8577
1942 February 3-1944 February 29.
Box 181 Folder 8578-8593
1944 March 2-1946 December 7.
Box 182 Folder 8594-8612
1947 January 5-1948 December 2.
Box 183 Folder 8613-8631
1949 January 5-1950 June 18.
Box 184 Folder 8632-8648
1950 July 3-1952 October 19.
Box 185 Folder 8649-8667
1953 January 13-1955 April 27.
Box 186 Folder 8668-8686
1955 May 3-1956 November 22.
Box 187 Folder 8687-8701
1957 January 26-1959 May 7.
Box 188 Folder 8702-8720
1960 February 4-1964 November 27.
Box 189 Folder 8721-8744
1964 December 10-1968 October 4.
Box 190 Folder 8745-8758
1969 April 27-1978 March 25.
Box 191 Folder 8759-8773
Programs, and incomplete, undated.
Box 191 Folder 8774-8777
Typed programs, 1927-1959, undated.
Box 192 Folder 8778-8798
Typed programs, other performers.
Box 192 Folder 8799
Box 193 Folder unknown container
Box 194 Folder unknown container

Includes manuscript program notes and translations of song lyrics.

Manuscript program notes, 1930s-1940s, undated.
Box 195 Folder 8800-8806
Song lyrics and program texts (translations of songs), typed and printed for programs.
Box 196 Folder 8807-8823
Song lyrics and music notes, manuscript, 1930s-circa1960s, undated.
Box 196 Folder 8824-8834
Wolff, W. Friedlander. Translations of lieder, undated.
Box 196 Folder 8835
Translations of the songs of Yrjö Kilpinen, undated.
Box 196 Folder 8836
Villa-Lobos, Heitor. "Poema de Itabira".
Box 196 Folder 8837
Catalogs and samples from music publishers.
Box 197 Folder unknown container
Albert Schweitzer Centenary Music Award, New York, N.Y., 1975 January 14.
Box 198 Folder 8838
America-Israel Cultural Foundation, New York, N.Y., 1961 January 24.
Box 198 Folder 8839
American Council for Nationalities Service, New York, N.Y., 1966 May 24.
Box 198 Folder 8840
American Council for Nationalities Service, New York, N.Y., 1968 December 11.
Box 198 Folder 8841
Benjamin Brawley, honoree, dinner, Philadelphia, Pa., 1931 February 17.
Box 198 Folder 8842
California Institute of Technology, Beckman Auditorium. Lecture by Marian Anderson, 1968 March 7.
Box 198 Folder 8843
Charles Ives Centennial, Inc., Danbury, Conn., 1974 July 4.
Box 198 Folder 8844
Danbury Hospital, dedication New South Wing, 1959 July 24.
Box 198 Folder 8845
Detroit Urban League, 1958 June 15.
Box 198 Folder 8846
Dimitri Mitropoulos Music Competition, New York, N.Y., 1964.
Box 198 Folder 8847
Eleanor Roosevelt Institute for Cancer Research at the American Medical Center at Denver, Colo., Founders Dinner, 1959 May 23.
Box 198 Folder 8848
Eleanor Roosevelt Memorial Foundation. Dedication Ceremony of the Eleanor Roosevelt Wing of the Franklin Delano Roosevelt Library, Hyde Park, N.Y., 1972 May 3.
Box 198 Folder 8849
Festival of Arts, Thomaston, Conn., 1968 September 14.
Box 198 Folder 8850
Franklin D. Roosevelt Island Day, New York, N.Y., 1973 September 24.
Box 198 Folder 8851
Freedom for All Foundation, Chicago, Ill., 1965 April 12.
Box 198 Folder 8852
George J. Penney High School, East Hartford, Conn., 1968 February 15.
Box 198 Folder 8853
George Washington Carver (Submarine) Launching, Newport News, Va., 1965 August 14.
Box 198 Folder 8854
Gimbel Brothers. Gimbel Award, 31st Annual, 1963 January 10.
Box 198 Folder 8855
Gimbel Brothers. Gimbel Award, 37th Annual, 1969 January 9.
Box 198 Folder 8856
Harlem Hospital Center Auxiliary Inc. Benefit, 1972 April 18.
Box 198 Folder 8857
Hathaway Home for Children, Los Angeles, Calif., 1965.
Box 198 Folder 8858
Hayes, Roland on his Eightieth Birthday, Isabella Stewart Gardner Museum, Boston, Mass., 1967 June 3.
Box 198 Folder 8859
Horace Day School, New Haven, Conn., 1968 March 3.
Box 198 Folder 8860
Howard University, Pre-centennial program, Washington, D.C., 1966 February 13.
Box 198 Folder 8861
International Cultural Center for Youth. Golden Heritage Ball, Waldorf-Astoria, New York, N.Y., 1964 April 8.
Box 198 Folder 8862
Junior League of Dayton, Ohio, 1967 October.
Box 198 Folder 8863
Links, Inc. Nashville Chapter. Tribute in Recognition of John Wesley Work III, 1972 May 26.
Box 198 Folder 8864
MacDowell Colony. Salute to Duke Ellington, undated.
Box 198 Folder 8865
Manhattan School of Music, New York, N.Y., 1965 May 27.
Box 198 Folder 8866
Metropolitan Opera Centennial Gala, New York, N.Y., 1983 October 22.
Box 198 Folder 8867
Minnesota State Art Council. Exhibition opening, "9 artists/9 spaces", 1970 September 1.
Box 198 Folder 8868
Mutual of Omaha Companies Criss Award Dinner, Beverly Hills, Calif., 1984 September 6.
Box 198 Folder 8869
National Association of Negro Musicians, Annual Convention, Atlanta, Ga., 1973 August 12-16.
Box 198 Folder 8870
National Council of Negro Women. Long Island Section, 1968 May 26.
Box 198 Folder 8871
National Council of Negro Women, New York, N.Y. 1972 Hunger Convocation, 1972 April 21.
Box 198 Folder 8872
National and Inter-American Music Week, Washington, D.C. Luncheon, 1957 May 6.
Box 198 Folder 8873
New York, N.Y. Mayor Robert F. Wagner. Luncheon, 1954 June.
Box 198 Folder 8874
New York Public Library. 135th St. Branch, 1943 October 12.
Box 198 Folder 8875
New York University Trustees Dinner, 1958 June 3.
Box 198 Folder 8876
Philadelphia High School for Girls, Philadelphia, Pa., 1947 June 17.
Box 198 Folder 8877
Riverdale Children's Association, New York, N.Y., 1939 May 7.
Box 198 Folder 8878
Roosevelt University, The Second Decade Dinner, 1956 May 22.
Box 198 Folder 8879
Salvation Army, Danbury, Conn.. Dedication Ceremony, 1977 May 8.
Box 198 Folder 8880
Singapore Musical Society. Annual Dinner, 1957 October 25.
Box 198 Folder 8881
Society of Stage Directors and Choreographers, New York, N.Y. Dinner Ball, 1967 May 15.
Box 198 Folder 8882
State of Israel Bonds Organization Luncheon, Philadelphia, Pa., 1959 November 2.
Box 198 Folder 8883
State of Israel Bonds Organization, San Francisco, Calif. Israel Cultural Award Dinner, 1970 March 22.
Box 198 Folder 8884
Tobé Award Dinner, 1961 January 11.
Box 199 Folder 8885
Today's Artists Concerts, San Francisco, Calif., 1978 March 11.
Box 199 Folder 8886
Torchbearer's Club of the Union Baptist Church, Philadelphia, Pa., 1966 October 23.
Box 199 Folder 8887
Union Baptist Church, Montclair, N.J., 1971 May 23.
Box 199 Folder 8888
United Nations, 1955 October.
Box 199 Folder 8889
United Nations, 1963 October 24.
Box 199 Folder 8890
United Nations Association of New York, 1968 December 3.
Box 199 Folder 8891
University of Colorado, The George Fullmer Reynolds Lectures for 1970, 1970 March 9-10.
Box 199 Folder 8892
WLIB, Festival of Negro Music and Drama, 1959 February 7.
Box 199 Folder 8893
William Jewell College, Fine Arts Program, 1968 April 19.
Box 199 Folder 8894
Women's Committee for the National Symphony Orchestra, 1974 October .
Box 199 Folder 8895
World Affairs Council of Philadelphia, 1976 October 21.
Box 199 Folder 8896

Programs from other performers, organizations, and events. Most are singers and musicians, a few are visual artists. In some cases, these are events Marian Anderson attended, in other instances the materials were sent to her.

92nd Street Y, (New York, N.Y.), 1945-1946.
Box 200 Folder 8897
American Chamber Opera Society , 1952.
Box 200 Folder 8898
American Society of Magazine Photographers, 1952.
Box 200 Folder 8899
Anderson, Walter, 1979.
Box 200 Folder 8900
Austin, R. Alwyne, 1929.
Box 200 Folder 8901
Bach Society of Delaware County (Pa.), 1939.
Box 200 Folder 8902
Bachauer, Gina, 1966.
Box 200 Folder 8903
Les Ballets Nègres, 1949.
Box 200 Folder 8904
Ballet Russe de Monte Carlo, 1940.
Box 200 Folder 8905
Barrère Little Symphony, undated.
Box 200 Folder 8906
Boatwright, McHenry, 1956.
Box 200 Folder 8907
Bojanowski, Jerzy, circa 1944.
Box 200 Folder 8908
Borgioli, Dino, undated.
Box 200 Folder 8909
Boston Symphony Orchestra, 1916-1917.
Box 200 Folder 8910
Brailowsky, Alexander, undated.
Box 200 Folder 8911
Brooklyn Conservatory of Music, 1957.
Box 200 Folder 8912
Brown, Anne, undated.
Box 200 Folder 8913
Butt, Clara, 1912-1913.
Box 200 Folder 8914
Calas, Hjördis, undated.
Box 200 Folder 8915
Callow, Greta, 1932.
Box 200 Folder 8916
Cantarelli, Alfredo, 1950.
Box 200 Folder 8917
Casals Festival of Puerto Rico, undated.
Box 200 Folder 8918
Castro, Germaine de, 1932-1933.
Box 200 Folder 8919
Chaliapin, Fyodor Ivanovich, 1928.
Box 200 Folder 8920
Chambers-Wylie Memorial Presbyterian Church, 1928.
Box 200 Folder 8921
Chicago Opera Company, undated.
Box 200 Folder 8922
Cosby, Bill, 1988.
Box 200 Folder 8923