CHAPTER XII. THE EUING MUSICAL LIBRARY. Intentions of the Founder-The manner in which they have been carried out-Inaccessibility of the Library-Defects of the Catalogue-Service which the Collection might render to Musical Art-Extent of the Library Historical and Biographical Works -Great Wealth of the Library in Didactic and Theoretical Works-Sacred Vocal Music, Individual Composers; Collections; Rich in Psalters-Secular Vocal Music-Instrumental Music-Miscellaneous Works. THIS large and important collection of musical works was formed by the late William Euing, insurance broker in Glasgow, and was bequeathed by him to Anderson's University in 1874. The provisions of his will bear that the library of musical works is "to be the property of, and deposited and kept in Anderson's University in all time coming, and to be made available for the use and instruction of the professor or lecturer on music, and of the students in said Anderson's University, under such restrictions or regulations as the managers and trustees thereof may deem proper for their care and preservation.' A sum of £500, subsequently increased by a codicil to £1,000, was left for the purpose of providing a fire-proof compartment for housing the library, and for providing a fund for the maintenance of a librarian or curator. A further sum of £200 was left to be applied to the compilation, publication, and gratuitous distribution of a catalogue of the library; and in addition to all the foregoing, the testator left his stock of musical instruments for the benefit of the same institution. Such, in brief, is the history of the origin of this library. Before proceeding to a description of the contents of the library, it may be useful and instructive to determine how far the intentions of the founder have been fulfilled; and to learn by the sequel that benevolence which is intended to have posthumous effect may oftentimes be robbed of its efficiency by a too jealous interpretation of the donor's dying testament. The library is certainly "deposited and kept " in Anderson's University, but to such good purpose that the founder's intentions with regard to its being made available for the use and instruction of students are practically void. A building has been erected, on fire-proof principles no doubt, but which an actual test is quite liable to disprove; while its damp-proof capabilities seem never to have received the distinction of a thought. Its fireresisting qualities in this latter connection are undeniable however, though the consolation arising from the fact will scarcely counterbalance the ultimate destruction of the library. No funds seem to have survived the erection of the sepulchre in which the library is interred, and the want of a librarian accordingly forms an unfailing excuse and off-put to any inquiring spirit who may chance to desire the use of Mr. Euing's books. The £200 have been spent in printing a large handsome volume of 256 pages, bearing the title, "Catalogue of the Musical Library of the late William Euing, Esq.," etc., and having the date 1878. Its value as a catalogue is open to some question on grounds afterwards to be stated, but its virtues as an irritant, to such persons as desire to consult the treasures it pretends to describe, and have experienced the hopelessness of the desire, are unmatched. The defects of the catalogue are chiefly those of arrangement and transcription; but there are other faults no less heinous, though of less general consequence. In the first place, the catalogue pretends to be on the classified model, though it is without a separate and sequential index of authors, in consequence of which it is often necessary to make ten or more different references in order to discover what works of any composer the library possesses. It is divided into eight principal parts, which are again subdivided, the whole forming fifteen sections. One part calls for special notice, namely the "Addenda," in which are three sections arranged on the no-arrangement principle, and containing some of the most valuable items in the library. It is neither alphabetical nor chronological, but a simple or compound hash of titles without order or utility. It is not too much to say that this uncritical compilation is an insult to the valuable collection it professes to index. Here, then, is an extensive library, the most valuable of its kind in Scotland, and one of the most valuable in the United Kingdom, shut up from public access, and almost wholly conserved from any use whatever by those musical students for whose benefit it was left. The policy of those responsible for this state of matters is highly injurious to the best interests and progress of the musical community in Glasgow, and will not fail to make the city be regarded as a place where enlightenment has been withheld by those whose office and obligation it is to further the advancement of universal knowledge. The advantages which a free and judicious use of the Euing Library would be to musicians in Glasgow are incalculable, and would not fail to foster the growing interest in music now apparent on every side. Musicians of every grade, whether professional or amateur, would find something of interest and value in the collection, and the educational influence of the library would ultimately prove a powerful force in bringing about the higher cultivation of music now being aimed at all over the world. It has always been a matter of reproach that Scotland has never produced a composer of first-rate ability until quite recently; while it may be truly said of Glasgow that she has never produced a composer worthy of the name. Yet, when a valuable aid in the matter of attaining such a desirable honour is placed within measurable reach of the musical public, a body of persons otherwise pledged to the furtherance of education are the sole means of excluding them, and defeating the attainment of the distinction in question. All credit is allowed the trustees of the Euing Library for their preservative efforts, but the praiseworthiness of their action becomes questionable when the measures taken to secure the safety of the books result in a complete defeat of the intentions of the founder of the library. The benefits of a library are seen only in its use, and the Euing Library will never be a great factor in musical education while its treasures lie in a condition of inglorious and damp repose. We trust no officiousness will attach to the humble suggestion we have to make that the trustees should divest themselves of what is apparently a useless encumbrance, by placing the collection in some public institution where its value would be appreciated and its preservation secured by more rational means than seclusion in a burglar but not damp-proof tomb. To this end we may mention the facilities in the possession of the Town Council, whose members have some voice in the direction of at least two liberally-managed free public libraries, in which the late Mr. Euing's life-time collections would receive honourable attention and a use worthy of their value. Of the extent of the Euing Musical Library only an estimate can be obtained. Calculated different ways, a result is given showing the number of volumes and pamphlets to be not less than between 5,000 and 6,000, though it is probable that this number is within the mark. Of the nature of its contents a better notion can be given. It comprehends works on and in every department of musical literature and composition, to the description of which we may at once proceed, adopting the following rough classification as a basis on which to work: 1. Historical and Biographical Works. 2. Didactic and Theoretical Works. 6. Miscellaneous Works. The first division comprises the works collected by Mr. Euing himself, and a number of books from the library of the late Dr. E. F. Rimbault. It is particularly rich in French and German authors, though also containing many valuable and important English writings. Among historical authors represented may be named Ambros, Arteaga, Blondeau, Brendel, Burney, Busby, Caffi, Castil-Blaze, Chorley, Chouquet, Clément, Coussemaker, Dalyell, Edgcumbe, Edwards, Engel, Fétis, Forkel, Hawkins, Hogarth, Hullah, Kiesewetter, Martini, North, Parke, Reissmann, Rimbault, etc. Ambros is represented by his "Geschichte der Musik," 3 volumes, 1862-68, a well-known work, now completed, and maintaining a high renown for brilliancy and acumen, and with which may be classed the careful history of Franz Brendel. The English histories of Burney and Hawkins are both out of date, neither coming beyond the conclusion of the eighteenth century; but their interest is still fresh for those whose studies are of an antiquarian bent. The other English works are interesting mainly as retrospects of musical history, for, except Hogarth and Hullah, none of them are of great critical value. Sir James Graham Dalyell's "Musical Memoirs of Scotland" is a purely antiquarian performance, dealing more with music as illustrated in works of art than throwing much light on the state of practical music in Scotland. It is nevertheless a work of considerable interest, and is becoming scarce and highly valuable in a bibliographical sense. It is not necessary to do more than refer to the valu |