Hidden in Plain Sight: Musical Treasures in the Penn Library Curated by Marjorie Hassen Otto E. Albrecht Music Library University of Pennsylvania

Marian Anderson Collection Heitor Villa-Lobos, 1887-1959 Cantilena: Um canto que saiu das Senzalas Autograph Manuscript, 1938 Pronunciation cues in the hand of Marian Anderson In: Marian Anderson Collection of Music Manuscripts Ms. Coll. 199, Folder 1843 Marian Anderson met the Brazilian composer Heitor Villa-Lobos while on a tour of South America in 1938, and it is likely that this arrangement of a "song from the slave quarters" was made during her visit. He later composed his Poema de Itabira with Anderson in mind, dedicating the work to her.

Table of Contents Introduction Manuscript Collections: Institutions Manuscript Collections: Individuals Sheet Music Images Conducting Scores Music Manuscripts: 15th-18th Centuries Music Manuscripts: 19th & 20th Centuries Landmarks of Music Theory

Basil Rathbone, 1892-1962
Telegram to Sol Hurok
28 February 1939
In: Marian Anderson Papers
Ms. Coll. 200, Folder 4633

This telegram, from the actor Basil Rathbone to Marian Anderson's manager, Sol Hurok, was sent in response to the decision of the Daughters of the American Revolution to bar the contralto from performing in Constitution Hall. The public outrage that followed led to First Lady Eleanor Roosevelt's resignation from the D.A.R. and to Anderson's subsequent performance at a free concert on Easter Sunday, when she sang from the Lincoln Memorial.

Marian Anderson, 1897-1993
Manuscript Diary, 1951
In: Marian Anderson Papers
Ms. Coll. 200, Folder 7970

Marian Anderson maintained a diary for much of her life, recording important events as well as the details of her daily routine and expenses. Among the activities she has noted here, for 1 February 1951, is a recording session with the cellist Gregor Piatigorsky, where they recorded Stephen Foster's "My Old Kentucky Home" and James Bland's "Carry Me Back to Old Virginny." She also comments on her attendance at a performance of Wagner's Die Walküre at the Metropolitan Opera, which she called "impressive in spots."