1-9 of 9 Results  for:

  • Publisher or Editor x
  • Collector or Curator x
Clear all


Engel, Joel  

Edith Gerson-Kiwi

revised by Bret Werb

[Yuly Dmitrevich]

(b Berdyansk, Crimea, 4/April 16, 1868; d Tel-Aviv, Feb 11, 1927). Russian composer, critic, lexicographer and folklorist. He studied law at Kharkov University but soon turned to music, studying theory and composition with Taneyev and Ippolitov-Ivanov at the Moscow Conservatory (1893–7). From 1897 to 1919 he worked as a music critic for the newspaper Russkiye vedomosti. In 1901 his translation of Riemann’s Lexikon into Russian with newly written sections on Russian music was published in Moscow. Although an early opera, Esther, was performed in 1894, his work as a critic overshadowed that as a composer. Under the influence of the Russian nationalist music critic Vladimir Stasov, however, he turned his attention to Jewish folklore, collecting, arranging, performing and publishing the songs of eastern European Jews. In 1909 his first album of ten Jewish folksongs appeared in Moscow; a second volume followed later in the same year. Engel continued to promote his new interest with public lectures and a series of articles in ...


Flower, Sir (Walter) Newman  

Anthony Hicks

(b Fontmell Magna, Dorset, July 8, 1879; d Blandford, March 12, 1964). English author, collector and publisher. After training as a writer on various popular journals, Flower joined the publishers Cassell & Co. in 1906 and took over as proprietor in 1927. He was knighted in 1938. His purely literary work includes an edition of the journals of Arnold Bennett.

Flower’s musical interests were amateur. His books are marred by a poor literary style and the absence of scholarly discipline, though the use of previously unknown documentary material gives them some value. His important collection of manuscripts and early printed editions of Handel’s music (including the bulk of the Aylesford Manuscripts, copied for Handel’s friend Charles Jennens) was acquired by the Henry Watson Library, Manchester, in 1965.

Catalogue of a Handel Collection formed by Newman Flower (Sevenoaks, 1921) George Frideric Handel: his Personality and his Times (London, 1923, 2/1947)...


Kennedy-Fraser, Marjorie  

H.C. Colles

revised by Frank Howes

[née Kennedy]

(b Perth, Oct 1857; d Edinburgh, Nov 22, 1930). Scottish singer, folksong collector and editor. Her father, David Kennedy, was her first teacher, and she completed her studies under Mathilde Marchesi in Milan and Paris. From the age of 12 she acted as her father’s accompanist. This background, together with her striking musical abilities, brought her to a leading position in promoting interest in the Gaelic songs of the Hebrides, although she was neither the first nor the most highly qualified collector in this area. Her published arrangements were criticized as being too free, but she defended them on the ground of the variability of the songs according to time, place and singer. This she had learnt from her experience as a collector in the Outer Hebrides, which she visited first in 1905. She was married to A.J. Fraser, and her daughter Patuffa became a player of the cláirseach. In addition to her publications, her lecture-recitals – given with her daughter and with her sister Margaret – were of prime importance in introducing Hebridean song to scholars, singers and the general public. She took the title role in Bantock’s Celtic folk opera ...


O'Neill, Francis  

Nicholas Carolan

(b Tralibane, Co. Cork, Aug 28, 1848; d Chicago, Jan 28, 1936). Irish musician, collector and publisher. Born of farming stock in an Irish-speaking area, O'Neill showed early intellectual promise and played the traditional flute from youth. He went to sea as a teenager and sailed around the world before being shipwrecked and landed in America, where he joined the Chicago police force in 1873 and rose through the ranks to become Chief of Police 1901–5. With a fellow policeman James O'Neill (1863–1947, no relation) as scribe, he began from the 1880s preserving in manuscript melodies remembered from his childhood. He then expanded this activity to collecting Irish music from the many traditional Irish musicians resident in Chicago and from printed and manuscript sources. In 1903 he produced O'Neill's Music of Ireland: Eighteen Hundred and Fifty Melodies, the largest collection of Irish music ever published. This was followed by other Chicago-compiled tune collections, chiefly: ...


O’Neill, Francis  

Sally K. Sommers Smith Wells

[Captain Francis O’Neill ]

(b Tralibane, Co. Cork, Ireland, Aug 28, 1848; d Chicago, IL, Jan 28, 1936). Collector and publisher of Irish birth, naturalized American. O’Neill, who immigrated to the United States from Ireland and lived most of his adult life in Chicago, was the greatest collector and publisher of Irish traditional dance music. He left home at the age of 16 and served as a cabin boy on merchant vessels, sailing around the world and surviving shipwreck in the South Pacific. After settling briefly in Missouri, he moved to Chicago and joined the city’s police force in 1873. He rose through the ranks to become Chicago’s Chief of Police in 1901. He was renowned for his integrity, as well as for his supposed practice of finding employment on the police force for fellow Irish musicians. If police work was the public face of O’Neill, his private life revolved around his family and the traditional dance music that was his lifelong passion. He learned to play dance music on the simple-system flute from a neighbor in Bantry, and became an accomplished performer. As Irish dance music is an aurally transmitted form, O’Neill never learned to write or read music; his transcriptions were accomplished by collaborators, chief among them James O’Neill (from Co. Down). Francis O’Neill’s great project of collection and transcription began in the 1880s as a memory aid for his own extensive repertoire, but was quickly expanded to include tunes contributed by many other musicians in the Chicago area. O’Neill’s first musical publication was ...


Salter, Humphrey  

Andrew Walkling

(fl 1683–?1723). English instrument- and music-book seller and editor. As bookselling was only a secondary profession for him, he is undoubtedly not the ‘Humfrey Salt’ who was freed as a stationer in April 1677 following an eight-year apprenticeship to Thomas Daniell. Sometime in the early 1680s Salter joined Richard Hunt ‘At the Lute in St Paul’s Church-Yard’, London. Hunt had been operating the shop as an instrument-maker since at least the early 1660s, and in 1683, the two men together published The Genteel Companion, one of the earliest English recorder tutors, for which Salter had ‘Carefully Composed’ the instructions ‘and Gathered’ the music (there is no evidence that Salter was himself a composer). Hunt either retired or died thereafter, leaving the premises to Salter, who continued there for approximately 20 more years. Two children of Salter’s were baptized at the parish of St Gregory by St Paul, London, in ...


Seeger, Peggy  

Jean R. Freedman


(b New York, NY, June 17, 1935). American folksinger, songwriter, and folksong collector, daughter of musicologist Charles Seeger and composer, educator, and folksong anthologist Ruth Crawford Seeger. Peggy learned piano, guitar, music theory, and transcription from her parents. With her brother Mike Seeger, she learned banjo from a book written by their half-brother pete r. Seeger. She later became proficient on autoharp, Appalachian dulcimer, and English concertina. She made her first recording, Folk Songs of Courting and Complaint, while a student at Radcliffe College (1953–5). During the autumn of 1955, she studied at the University of Leiden in the Netherlands. From 1956 to 1959 she traveled throughout Europe, the United States, Russia, and China before settling in England with folksinger, songwriter, and playwright Ewan MacColl [James Henry Miller] (1915–89), who became her musical partner, husband, and father of her children, Neill, Calum, and Kitty. With MacColl, she made more than 100 recordings of traditional Anglo-American ballads, political songs, love songs, work songs, and songs from literature. They frequently performed in folk clubs and concert halls, at festivals, on television, and in films. Seeger and MacColl felt that traditional music was a solid foundation on which the modern songwriter could build. They brought to their songwriting a political dimension, believing that folksongs represent the struggles of ordinary people whose lives are often ignored and whose creations are frequently slighted....


Sharp, Cecil  

Frank Howes


(b London, Nov 22, 1859; d London, June 28, 1924). English folk music collector and editor. He was educated at Uppingham and Clare College, Cambridge, where he read mathematics and took the first part of the MusB examination. At the end of his life Cambridge made him an honorary MMus (1923). He began working in Australia, where among other activities he played the organ at Adelaide Cathedral and became a partner in a music school. In 1892 he returned to England and became music master at Ludgrove Preparatory School (for which he edited a collection of national songs) and then in 1896 principal of the Hampstead Conservatory, a post that he held until 1905.

Two events turned his attention to folk music: on Boxing Day 1899 he saw the Headington Morris side at Oxford dance Laudnum Bunches and four other traditional dances; and in the summer of ...


Warren [Warren-Horne], (Edmund) Thomas  

Nicholas Temperley

(b c1730; d London, 1794). English collector and editor. He was secretary of the Noblemen’s and Gentlemen’s Catch Club from its foundation in 1761 until his death. On inheriting the estate of Edmund Horne, a Captain of Marines, he changed his name to Warren-Horne.

He spent much of his life acquiring, copying and publishing music, both for the Catch Club and for his own benefit. He was responsible for the most complete collection of glees, canons, catches and madrigals published in the 18th century, which became known as ‘Warren’s Collection’ and was a standard source of such music for many years. In addition to hundreds of contemporary pieces it contained a number of older works. The Apollonian Harmony, probably also compiled by Warren, contained many 16th-century madrigals. His most ambitious effort, however, was a large anthology of Renaissance choral music in six volumes. 100 copies were projected in ...