Marian Anderson: Black Swan’s Missed Opportunity
By Allan Sutton
One December 27, 1920, Harry Pace wrote to W. E. B. DuBois concerning several artists he wanted to audition for his as-yet unnamed record label, in which DuBois was a major investor. In the same letter, Pace approved DuBois’ suggestion that the label be named “Black Swan.”
The other interesting revelation in this letter is that Pace hoped to make a test recording of the young Marian Anderson:
Harry Pace to W. E. B. DuBois (New York: December 27, 1920). W. E. B. DuBois Papers, University of Massachusetts-Amherst Special Collections.
If Pace made test recordings by any of these artists, they have yet to be found. Cole-Talbert was eventually signed by Black Swan, and her output can be heard on the new Black Swans CD. Although Pace states that he had signed Ford Dabney, no Black Swan records by his orchestra were forthcoming.
Pace failed to follow through with Anderson, an artist who could have done for Black Swan’s operatic series what Ethel Waters did for its pop catalog.
She wasn’t the only opportunity Pace let slip through his fingers, in the way of concert artists. In June 1921 he hired Paul Robeson as a salesman, but did not record him.
In both cases, his losses would become Victor’s gains. In Anderson’s case, Victor musical director Josef Pasternack signed her in 1923, although she was placed in the lowly black-label series (as was Robeson, two years later). It would take many years, and a change of ownership at Victor, before Anderson was finally granted the Red Seal status she so richly deserved.
MARIAN ANDERSON: Go Down, Moses
Camden, NJ: May 29, 1924
Victor 19370 (mx. B 29896 – 9)
With studio orchestra directed by Charles Prince
Text © 2019 by Allan R. Sutton. All rights are reserved.