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- [Program from an Important Early Performance by Marian Anderson]
[Program from an Important Early Performance by Marian Anderson]
[Program from an Important Early Performance by Marian Anderson]
An unrecorded site program from the fourth annual convention of the National Association of Negro Musicians (NANM) held in Columbus, Ohio July 25-27, 1922. The program lists 29 performances held across two different venues and notes the convention closed with a performance by Marian Anderson in an early and significant national appearance.
An article by Carl Diton (who accompanied Anderson on piano for these Columbus performances) in the May 1923 issue of THE CRISIS (Volume 26, Number 1) charts a brief history, starting with the Association's organizational beginnings in 1919 to a membership of more than 1000 members across 34 chapters in just four years, along with the only contemporary dispatch on this 1922 Columbus convention we have been able to locate:
"At present, the most brilliant achievement of the National Association of Negro Musicians is its conventions. This fact should not be under-estimated, for in point of constructive thought, to say nothing of the vast crowds of people attendant upon its evening concert sessions which the standing room of the largest procurable auditoriums is at a premium, these conventions go far towards rivaling those of older and more experienced national associations. Every year brings forth an amazing wealth of the noblest kind of talent which is, even to the older and more seasoned members, vividly startling.
The 1919 convention was held in Chicago. In 1920, the convention convened at New York City, the guest of St. Philip's Protestant Episcopal Parish. Nashville received the convention in 1921, the Baptist group and Fisk University co-operating in the entertainment and comfort of the delegates. It is, however, the consensus of opinion that the Columbus, Ohio convention of 1922, characterized by the absolute satisfaction of the delegates as to their personal comfort, the total absence of anything that savoured of graft, and the absolute punctuality of the sessions, was the masterpiece of them all." (pp. 21-22)
The program concluded with a performance of three selections by Marian Anderson followed by the presentation of a scholarship to her by J. Wesley Jones of Chicago, chairman of the Association's scholarship fund. The award seems to have allowed her to continue study with voice teacher Giuseppe Boghetti and led directly to her first studio recordings with the Victor Talking Machine Company in 1923, launching one of the most important careers in Black American music.
This is unrecorded by OCLC and seems lacking even from the extensive collection of programs in the Marian Anderson Papers at Penn.
[African-Americana] : [Music]. MUSIC FESTIVAL PROGRAM FOURTH ANNUAL CONVENTION OF THE NATIONAL ASSOCIATION OF NEGRO MUSICIANS. Columbus, Ohio: 1922. [4]pp. Bifolium pamphlet. Black ink print on pale beige paper stock. Vertical spine fold slightly off-center, otherwise fine.
An unrecorded site program from the fourth annual convention of the National Association of Negro Musicians (NANM) held in Columbus, Ohio July 25-27, 1922. The program lists 29 performances held across two different venues and notes the convention closed with a performance by Marian Anderson in an early and significant national appearance.
An article by Carl Diton (who accompanied Anderson on piano for these Columbus performances) in the May 1923 issue of THE CRISIS (Volume 26, Number 1) charts a brief history, starting with the Association's organizational beginnings in 1919 to a membership of more than 1000 members across 34 chapters in just four years, along with the only contemporary dispatch on this 1922 Columbus convention we have been able to locate:
"At present, the most brilliant achievement of the National Association of Negro Musicians is its conventions. This fact should not be under-estimated, for in point of constructive thought, to say nothing of the vast crowds of people attendant upon its evening concert sessions which the standing room of the largest procurable auditoriums is at a premium, these conventions go far towards rivaling those of older and more experienced national associations. Every year brings forth an amazing wealth of the noblest kind of talent which is, even to the older and more seasoned members, vividly startling.
The 1919 convention was held in Chicago. In 1920, the convention convened at New York City, the guest of St. Philip's Protestant Episcopal Parish. Nashville received the convention in 1921, the Baptist group and Fisk University co-operating in the entertainment and comfort of the delegates. It is, however, the consensus of opinion that the Columbus, Ohio convention of 1922, characterized by the absolute satisfaction of the delegates as to their personal comfort, the total absence of anything that savoured of graft, and the absolute punctuality of the sessions, was the masterpiece of them all." (pp. 21-22)
The program concluded with a performance of three selections by Marian Anderson followed by the presentation of a scholarship to her by J. Wesley Jones of Chicago, chairman of the Association's scholarship fund. The award seems to have allowed her to continue study with voice teacher Giuseppe Boghetti and led directly to her first studio recordings with the Victor Talking Machine Company in 1923, launching one of the most important careers in Black American music.
This is unrecorded by OCLC and seems lacking even from the extensive collection of programs in the Marian Anderson Papers at Penn.
[African-Americana] : [Music]. MUSIC FESTIVAL PROGRAM FOURTH ANNUAL CONVENTION OF THE NATIONAL ASSOCIATION OF NEGRO MUSICIANS. Columbus, Ohio: 1922. [4]pp. Bifolium pamphlet. Black ink print on pale beige paper stock. Vertical spine fold slightly off-center, otherwise fine.