Regular readers of this blog may recall Hold the front page, in which I described my work sorting through and analysing Westminster Music Library’s Edwin Evans Press Cuttings Collection. At the time of writing that particular blog entry, I had made my way through approximately 20% of the collection.
Now, over a year later, the task is complete, and I am in some position to report on my findings.
My specific task has been to create an elementary catalogue of this collection, alongside recording some basic details against each person’s entry: discipline, gender, etc.
While the eventual aim of the entire project – the creation of a fully searchable digital archive of this collection – remains unchanged, this was deemed a suitable preliminary task to assess the collection’s value and potential. It seems remarkable that, for all the years that the collection has been in the Music Library’s possession, it had not been catalogued until now. The reasons for this, one may suppose, relate to its relative inaccessibility and its sheer size – both of which are motivating factors in the decision to create a digital record of this underappreciated collection!
In my initial blog post a year ago, I offered some statistics on the content of the collection which may have been of interest to those wishing to understand the shape of the classical music culture of the early 20th century. The final breakdown of discipline and gender of subjects included in the Evans Collection is mostly unchanged from my initial report, but the most up-to-date version is summarised here for those interested:
- A significant majority (66%) of subjects are Performers. Of these Performers,
- 37% are singers
- 29% are pianists
- 17% are string players
- 5% are conductors
- 12% are ensembles
- Just 2% are wind players of any sort!
- Composers represent 26% of subjects, while “Others” come in at just 9%.
- 57% of all entries are Male, 32% female (the remaining 11% accounts for non-individuals such as ensembles and festivals).
- 38% of all subjects are featured in The New Grove Dictionary of Music and Musicians (log in with your Westminster library card).
If you’re anything like me, a chart of percentages and statistics fills you with delight, but these data do indeed serve a useful purpose. The Evans Collection may be used to draw comparisons between historical music circles and today’s, to the interest of music fans and great benefit of historians. For example, over one-third of all performers reported on were singers, as opposed to a mere 0.2% being woodwind or brass players! (Speaking as a French horn player myself, I am grateful to report that today’s classical music culture is much more balanced in favour of wind players: trombonist Christian Lindberg, for example, or clarinettist Julian Bliss, are well-known names.)
My work with the Edwin Evans Press Cuttings Collection is, regrettably, finished for now. As previously mentioned, a digital archive of the collection is the goal, but for now, even with the publication of this catalogue, it is hoped that this will go some way in increasing the collection’s accessibility to all interested parties.
The newly-created catalogue is now available online, via the Westminster Libraries web pages – take a look.