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celebrity portraits in ten volumes.

B. George H. Wilson, Manager, 1894-1895

Biography George H. Wilson (1854-1908) studied piano and organ as a child in Boston and later was a chorus member of the Apollo Club and the Handel and Haydn Society. In 1892 he was appointed secretary of the Bureau of Music at the World's Columbian Exposition. Wilson succeeded Adams as manager of the CSO in 1894, and although his position with the Orchestra was that of secretary of the Association, his duties included general work of management, advertising, press notices, and out-of- town concerts. At the same time, upon the resignation of Adolph W. Dohn, Wilson became editor of the CSO program books. After his brief tenure as manager and secretary (he resigned after only one year), Wilson moved to Pittsburgh where he served twelve years as manager of the Pittsburgh Orchestra and the Art Society.

Contents (1 folder) Archival holdings consist exclusively of incoming correspondence from music director Theodore Thomas, 1893.

C. Anna Millar, Manager, 1895-1899

Biography Anna Millar (1865-1928) was possibly the first female manager of a major orchestra in the United States. She was also a partner in the artist management firm Sanford & Millar, with responsibility for the early concert tours of pianists Teresa Carreño and Edouard Zeldenrust, and violinist Willy Burmester.

Millar was born on a farm near Muscatine, Iowa, and attended Northwestern University's Conservatory of Music where she majored in piano. After some initial experience as an artist representative, she was hired by The Orchestral Association in 1894 as the manager of season ticket sales and was quickly promoted to the position of general manager in 1895. After leaving the Chicago Orchestra in 1899, Millar moved to New York City where she managed a real estate business, and sometime later took on the management of the Kansas City Symphony Orchestra. She eventually retired to Florida, where she continued in the real estate business.

Contents (.4 linear feet in 1 box) Anna Millar's correspondence is divided into three series and arranged chronologically: 1. CSO, 1895-1899: incoming correspondence concerning publicity, subscription sales, guest artists, and tour bookings; 2. Personal Correspondence, 1898-1899: incoming correspondence from friends and relatives including arrangements for a European vacation in 1899; 3. Sanford & Millar, 1898-1899: business correspondence with Millar's east coast partner Harry E. Sanford, the bulk concerning arrangements for the Carreño tour. Also included is correspondence from agents Henry Wolfsohn (New York) and Hermann Wolff (Berlin); tour sponsor Chickering & Sons; Charles H. Wessels (tour manager for west coast Carreño tour); and booking agents from various cities. The management of the following artists is also briefly detailed: Emil Sauer, Willy Burmester, Engelbert Humperdinck, Edouard Risler, Alexandre Petschnikoff, Clotilde Kleeberg, Lillian Nordica, Leonora Jackson, Antoinette Szumowska, Blanche Marchesi, and Moriz Rosenthal.


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