Alix B. Williamson papers, 1918-2001

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Creator

Williamson, Alix B.

Location

Music Division

Extent

• 62 linear feet (101 boxes )

Scope/Contents Note

The Alix B. Williamson papers primarily contain documents related to Williamson's publicity business. This information is centered on her clients, rather than the firm's operations, of which there are few records. The Client files series comprise the bulk of the collection and covers more than sixty years of the New York music scene. Another highlight of the collection is Williamson'swriting projects, with unpublished examples in the Generalprofessional papers series, and published columns in the Scrapbooks series. The majority of materials date from 1939-1996, which represents her most active years; there is only one item from her college days--a draft of an article for the school paper and accompanying notes, and no earlier personal data. Williamson began working on her memoirs towards the end of her life, but there is only onefolder that is clearly part of this effort (in General professional papers). The note "ABW book" appears on someitems found throughout the collection, and may refer to her wish to include it in either her memoirs, or more likely, a scrapbook. There are many photographs in the collection, primarily in the client files, but also portraits of Williamson in Series I, and enlarged images in the Oversized materials series. The photographs are often in the form of contact sheets, negatives, or slides;individual portraits or group shots are not prevalent except for certain clients.

Biographical/Historical Note

Alix B. Williamson (1916-2001) was one of New York City's prominent publicists for classical music from the 1940s through the 1990s. A graduate of Hunter College, Williamson worked briefly as a reporter, then joined the leading public relations firm of Constance Hope Associates,where she handled the accounts of notable opera singers, such as Lotte Lehmann, Lauritz Melchoir, and Lily Pons. This phase of her career included a large amount of ghostwriting, both under the names of her accounts (e.g., Pons) and using pseudonyms; Williamson would continue to write throughout her career. Williamson left the Hope office in 1938 and opened her own agency, where her early clients included a number of Philadelphia music institutions, such as the Robin Hood Dell concert series. Her client roster expanded in the 1940s and she became known for consistently informative press releases. An important period in her career was her position as press representative for Stadium Concerts, Inc., the organization that staged symphony concerts during the summer at Lewisohn Stadium in Manhattan. She held this post from 1950-1964 and co-wrote a biography of Minnie Guggenheimer, the series' sponsor, Mother is Minnie (1960). Other significant clients include the pianists Lili Kraus and Ruth Slenczynska, the conductor Stephen Simon, and organizations, including the Aston Magna Foundation for Music, the Chamber Music Society of LincolnCenter, and the Juilliard String Quartet, each of whom sherepresented over a number of years. By the 1990s her pace had slowed, but she still continued to attract new clients,including the Little Orchestra Society. Among the last clients Williamson worked with was the New York Grand Opera.

Controlled Access Terms

• Williamson, Alix.
• Kraus, Lili, 1903-1986 -- Correspondence.
• Simon, Stephen, 1937- -- Correspondence.
• Slenczynska, Ruth, 1925- -- Correspondence.
• Concerts -- New York (State) -- New York.
• Music publicity.
• Press agents -- United States -- 20th century.
• Contact sheets.
• Correspondence.
• Negatives (photographic)
• Photographs.
• Press releases.
• Scrapbooks.
• Press agents.

Additional Creator Names

• Kraus, Lili, 1903-1986.
• Simon, Stephen, 1937-
• Slenczynska, Ruth, 1925-
• Aston Magna Foundation for Music.
• Chamber Music Society of Lincoln Center.
• Juilliard String Quartet.
• Little Orchestra Society.
• New York Grand Opera.
• Robin Hood Dell Orchestra of Philadelphia.
• American Music Collection.