05 November 2019
Boosey & Hawkes: first series of business archive now available
The archive of Boosey & Hawkes at the British Library represents, by volume, probably the largest distinct addition ever made to the Music Collections, comprising almost a century’s worth of historical records of one of Britain’s foremost music publishing firms. The ongoing cataloguing of this substantial collection is a correspondingly sizeable undertaking, but a significant milestone has just been reached: the first major series of business files, the Directors’ papers (MS Mus. 1813/2/1), is now fully catalogued and available to Readers.
Boosey & Hawkes was formed in October 1930 by a merger between Boosey & Co. and Hawkes & Son, both established London family firms engaged in the publication of sheet music and the manufacture of musical instruments. Boosey & Co. had been founded as a bookshop by Thomas Boosey in the late eighteenth century, achieved prominence in the late Victorian age as publishers of popular ballads and organisers of the London Ballad Concerts, developed a line in manufacturing woodwind instruments and cultivated a speciality in educational music. Hawkes & Son, meanwhile, had, since its establishment in 1865, built up a reputation in music for military and brass band, as well as in the manufacture of brass and reed instruments.
An element of more direct competition emerged over the course of the 1920s, during which Hawkes in particular began an expansion into serious, or art music (as distinct from popular and band music). Board meetings of the Performing Right Society gave each of the companies’ respective chairmen, Leslie Boosey (1887–1979) and Ralph Hawkes (1898–1950), the opportunity to observe the other closely, first as a competitor, and then as a potential fellow in partnership. They evidently realised that their rather different characters complemented each other: Hawkes, a keen yachtsman, was bold and impulsive, whereas Boosey was the steadier and more diplomatic of the pair. ‘He was the engine, I was the brakes’, Boosey recalled of his colleague. 
The expansion into serious music lost no momentum after the merger. It bore fruit not only in contracts with prominent British composers such as Benjamin Britten, Gustav Holst, Cecil Armstrong Gibbs and Gerald Finzi, but also in the acquisition of publishing rights for major international composers including Igor Stravinsky, Sergei Prokofiev, Sergei Rachmaninoff, Aaron Copland, Zoltán Kodály and Béla Bartók. In 1938, Boosey & Hawkes secured the publishing expertise of Ernst Roth, Erwin Stein and Alfred Kalmus when the Nazi Anschluss eliminated their positions at the Universal Edition publishing house in Vienna, and in 1943 acquired the rights to much of the catalogue of the Fürstner house, including the operas and ballets of Richard Strauss.
Correspondingly, the firm cultivated growth overseas. From the American agency already shared by the two old firms a new subsidiary, Boosey & Hawkes, Inc., was founded. Hawkes’ outpost in Paris was also developed and expanded, while branches were established in Canada, South Africa, Australia and Germany, and agencies set up in various South American cities. There were even contracts involving Communist Eastern Europe and the Soviet Union: just before the Cold War set in entirely, Alfred Kalmus oversaw the formation of the Anglo-Soviet Music Press, a subsidiary company with the right to distribute English-language editions of new Soviet music. By the mid-twentieth century, Boosey & Hawkes was an international name.
Amid all this, though, the firm’s spiritual home remained the London headquarters at 295, Regent Street. It was mainly here that the present archive was accumulated. The newly-catalogued Directors’ papers record the activities of various directors of Boosey & Hawkes, and of the firm more generally. They include the files of Dr. Ernst Roth (1896–1971) Managing Director from 1945 to 1964, and of Leslie Boosey himself , some dating from before the 1930 merger. Internal and external correspondence, memoranda and reports concern all aspects of the printing, publishing and performance of music. There is correspondence with the general public, schools, musical groups and orchestras (both amateur and professional), festivals, broadcasters, other publishing houses in Britain and abroad, and Boosey & Hawkes' own overseas branches: the correspondents range from the Icelandic Symphony Orchestra to the Horlicks Amateur Dramatic Society.
As might be expected, the archive also contains extensive correspondence with a great number of composers and musicians: the names Eric Coates, Benjamin Britten, Ivor Novello, Igor Stravinsky, Adrian Boult, Imogen Holst, Elizabeth Poston, Bohuslav Martinů, Ralph Vaughan Williams, Ethel Smyth, Cyril Scott and Andrzej Panufnik are barely representative of the whole list. The letters often allow great insight into the relationship between composer and publisher – often, too, the tact and grace sometimes required to maintain it – and the various happenings and topics of conversation that require the publisher’s attention: timpani for Khachaturian, Stravinsky’s Cadillac, John Ireland’s dentist, and the ‘7,550 Cigarettes’, ‘17 bottles of Gin’ and ‘29 bottles of Whisky’ ordered as Christmas gifts for the Music Department in 1964. As a whole, the Boosey & Hawkes archive preserves a copious and detailed and record of ‘the Business of Music’, as Ernst Roth called it: the ever-changing work of the music publisher at the strange intersection between intangible art and hard commerce.
 Wallace, Helen, Boosey & Hawkes: the publishing story (London: Boosey & Hawkes, 2007), p. 2.