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Creator
Brown, Lawrence, 1893-1972
Call number
Sc Micro R-3597
Physical description
4.5 linear feet; l0 microfilm reels
Language
Materials in English
Preferred Citation

Lawrence Brown papers, Schomburg Center for Research in Black Culture, The New York Public Library

Repository
Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division
Access to materials
Request an in-person research appointment.

Composer, pianist, arranger. Brown worked as Paul Robeson's accompanist for thirty-eight years. The Lawrence Brown papers encompass correspondence reflecting Brown's wide-ranging travels, and his friendships (mostly letters written by his friends and business associates); personal papers; travel file consisting mostly of itineraries for tours; financial records comprised largely of royalty and earnings statements; programs for Brown and other artists; scrapbooks of news clippings and telegrams covering the Brown and Paul Robeson concert years (1928-1968); news clippings of concert reviews; and original scores and sheet music written by Brown and other composers. Papers relate to Brown's life and times, including World War I, Harlem Renaissance, World War II, spirituals, and his collaborator, Paul Robeson. Correspondents include Amanda Aldridge, Ethel Gardner Dingle, Jannett Hamlyn, Roland Hayes, Langston Hughes, Zaidee Jackson, William Lawrence, John Payne, Paul and Eslanda Robeson, Clara Rockmore, Robert Rockmore, Mrs. Corinne Sawyer (Brown's landlady), and Greta and I. W. Sequeira.

Biographical/historical information

Lawrence Benjamin Brown, composer, pianist and arranger was born in Jacksonville, Florida on August 28, 1893. Brown was raised by his father, Clark Benjamin Brown, son of a former slave, and his stepmother, Cenia. Brown's natural mother died when he was only three years old.

While still a small child, Brown received his first music lessons under the instruction of William Riddick. Exhibiting remarkable talent, he was sent to Boston to study. In 1920, further studies took him to London's Trinity College. One of Brown's teachers in composition in London was Amanda Aldridge, daughter of the great tragedian, Ira Aldridge. Brown's natural abilities to compose and arrange, as well as sing and play the piano, made him an outstanding asset to the music world.

In 1916, Brown made his debut as accompanist to the famous tenor, Sydney Woodward. Soon after, Roland Hayes, another renowned tenor, selected Brown as accompanist, and the two toured abroad from 1918 to 1923. During their professional association, Brown was awarded as great an acclaim as Hayes. In April 1921, Brown and Roland Hayes appeared before the King and Queen of England at Buckingham Palace.

Brown spent the fall of 1925 in folksong research, delving into the history of black music. His research took him deep into the southern parts of the U. S. where he was so inspired by the songs of the workmen on the wharves and in the fields that he began to arrange numerous traditional spirituals. More than thirty of these arrangements have been published. Brown is known for seeking to preserve every detail of black music in rhythm and content. Spirituals arranged by Brown include "Joshua Fit De Battle of Jericho", "Steal Away", "Swing Low, Sweet Chariot", "L'il David", and "Ezekiel Saw De Wheel" which have become traditions in folk and religious lore.

In addition to the spirituals, Lawrence Brown also arranged compositions for cello and piano and violin and piano, as well as the voice. He played some of his arrangements with Beatrice Harrison, acclaimed cellist, at Wigmore Hall in England in 1923.

Paul Robeson was the first to use Brown's arrangements of spirituals at a recital in the Greenwich Village Theatre on April 19, 1925. This event marked the beginning of a long and successful association which lasted for over thirty-five years until 1968. The spirituals arranged and played by Lawrence Brown and sung by Paul Robeson, sometimes with vocal harmony from Brown, have become legend. The Robeson-Brown recitals were performed in New York, London, Paris and the British Isles. The pair appeared before royalty, including the King of Spain, the Prince of Wales and the Duke and Duchess of York.

Brown and Robeson also recorded together for RCA Victor records. And, in August of 1945, Brown and Robeson toured with U. S. O. Camp shows performing for troops abroad.

Lawrence Brown never married and died in Harlem Hospital on December 25, 1972 at 79 years of age. He had spent the last 47 years of his life in Harlem at 188 West 135th Street.

On February 11, 1973, the Committee to Preserve the Lawrence Brown Collection presented a memorial concert at St. Martin's Episcopal Church.

Scope and arrangement

Lawrence Brown's life spanned World War I, the Harlem Renaissance and World War II, and in many ways the collection captures the moods and spirits of these diverse periods as well as documenting the career of Brown himself.

The Lawrence Brown papers are arranged in eight series:

  • Personal Papers

    Consist of biographical data, insurance policies and a good conduct certificate. There is also material relating to his death and the memorial concert held in 1973.

  • Correspondence

    Consists of letters and cards to Brown from friends and business associates. Persons of note include Amanda Aldridge, Roland Hayes, Langston Hughes, William Lawrence, Paul and Eslanda Robeson and Brown's beloved landlady, Mrs. Corinne Sawyer. This incoming correspondence has been arranged alphabetically by the sender's last name and chronologically within each name. Correspondence without last name is arranged by the first name of the sender at the end of the appropriate letter of the alphabet. Names under which large amounts of correspondence can be found have been given their own folders.

    The collection includes very little outgoing correspondence. Brown wrote letters to Ethel Gardner Dingle and Jannett Hamlyn, both close friends, and to the attorney, Robert Rockmore and Richard Johnson. The outgoing letters are arranged alphabetically by correspondent's name and have been placed following the file of incoming letter from that individual.

    One of the last folders in the CORRESPONDENCE is an assortment of incoming letters without signatures. An additional folder of miscellaneous correspondence neither to nor from Brown follows the incoming and outgoing letters. Several of these letters are to Paul Robeson from miscellaneous authors. There is also a 1940 form letter from Paul Robeson.

    The CORRESPONDENCE reflects world affairs, Brown's wide travels, as well as his many friendships. Amanda Aldridge sends Brown letters expressing her gratitude for the many kindnesses he has shown her. There is, among her letters, a bequest from her estate to Brown and another from the Aldridge family to Brown upon their deaths. The letters of Marie Dokens tell of the terror of the bombings in England during World War II. She often sends thanks to Brown for money and parcels sent to help her through hard times. Zaidee Jackson also describes the devastations of World War II while she is abroad. She writes of the frustrations of finding a direction for her life and career, and she often asks Brown's advice. Jannett Hamlyn describes in her letter the colorful theater circuit in Europe in the early 1930's. Eslanda Robeson writes of the trials of motherhood upon the birth of Paul, Jr. and the activities of Paul Sr. in the theater. She also confides in Brown her personal frustrations.

  • Travel File

    Consists mostly of itineraries for tours and departure and arrival schedules.

  • Financial Records

    Comprised largely of royalty and earnings statements. This file also contains miscellaneous income tax statements and check-stub books. The financial records are chronologically arranged.

  • Programs

    Sorted into two groups: those featuring Brown and those pertaining to other artists. Brown's programs are arranged chronologically, while the programs of other artists are arranged alphabetically by the name of the performer. Brown's programs are from concerts in which his arrangements were used or in which he performed.

  • Newspaper Clippings

    Consisting largely of concert reviews.

  • Scrapbooks

    Clippings and telegrams covering the Robeson-Brown concert years.

  • Sheet Music

    Consisting of both holograph and printed compositions, largely undated. The sheet music has been separated into two categories: Brown's compositions and the works of other composers which Brown arranged or annotated. Holograph music with no apparent composer has been included with Brown's work. Fragments of music and lyrics have been placed at the end of each file. Lawrence Brown's compositions have been arranged in alphabetical order by title while those of other composers are alphabetical by composer's name. Most of the music is spirituals and plantation songs.

Administrative information

Source of acquisition

Purchased from the Committee for the Preservation of the Lawrence Brown Collection through its Treasurer, Lloyd L. Brown. December 1970.

Processing information

July 12. 1979 D. Carter/S. Davis

Using the collection

Location

Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division
515 Malcolm X Boulevard, New York, NY 10037-1801
Second Floor