Correspondence, 1909-after 1938

Scope and content:

The correspondence in this series, mostly incoming letters, document Viola Hill's career as a professionally-trained classical vocalist. A handful of outgoing drafts of letters written by Viola Hill are present. The materials reveal her negotiations with organizers for recitals, concerts, fundraisers, and festivals at which she appeared. Early venues represented in the letters include African American and white churches; schools, orphanages, and other societies; and charity functions in both Black and white communities. As she gained in reputation, she also performed in large music halls and theaters in the East, South, and Midwest, and her requests for higher compensation were met.

Many letters are from her mentors, including Carl Diton, composer, musician, and singer, and president of the Association of National Negro Musicians, who played a role in recommending her for engagements. Other correspondents include Black violinist and composer Clarence Cameron White, and her professional voice coach Percy Dunn Aldridge. There are also letters throughout the years from many of her former music school mates and fellow musicians, describing their own career paths and experiences as Black musicians. Some letters mention Marion Anderson and her reputation as a performer.

Some materials refer to Viola Hill's education: a handful of materials were sent by an alumni assocation at University of Pennsylvania in Philadelphia. There are also letters regarding Hill's failed attempt to enroll in the Curtis Music Institute, and some comments on race discrimination in the profession.

A few pieces of correspondence from family members are also present. Condolences on the death of her father in April 1920 appear in a few pieces. Some letters regularly received are from a J. G. Morton of Washington, North Carolina, who addresses her as "cousin."

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