CAML Review / Revue de l'ACBM (Canadian Association of Music Libraries, Archives and Documentation Centres / Association canadienne des bibliothèques, archives et centres de documentation musicaux)

McMorrow, Kathleen

Elliott, Robin

Helmut Kallmann Award (2012): Presented to Robin Elliott – Citation and Acceptance Speech

Guise, Janneka

  
CAML REVIEW 40, NO. 2 (AUGUST 2012)   PAGE 3 
MESSAGE FROM THE PRESIDENT / MESSAGE DE LA PRÉSIDENTE 
 
 
Dear Readers, 
 
I am pleased to introduce this special issue 
of the CAML Review, in memory of Dr. 
Helmut Kallmann who passed away 
February 12, 2012. I would like to express 
my appreciation to all of the contributors, 
with a special thank-you to Maria Calderisi 
for her efforts in contacting former 
colleagues and friends of Dr. Kallmann. As 
well, my thanks and congratulations to Cathy 
Martin, CAML Review Editor, and Cheryl 
Martin, Associate Editor, for soliciting, 
compiling, and editing such a wealth of 
reminiscences, and for putting together this 
wonderful issue.  
 
I was privileged to get a sneak preview of the 
articles herein, and it was an honour to 
engage with the stories and reflections that 
our contributors took the time to write. Within 
these pages you will learn more about Dr. 
Kallmann as music-maker, mentor, 
colleague, researcher, and friend. Maria 
Calderisi touches on all these facets of him 
in her memoir. Robin Elliott, Dina Namer, 
and Joan McGorman share memories that 
portray Dr. Kallmann’s love of making music 
at the piano. Several former colleagues from 
the National Library of Canada (now Library 
and Archives Canada), Joan Colquhoun 
McGorman, Gerald Parker, and Marlene 
Wehrle, describe Dr. Kallmann as a mentor 
whose dedication to music research in 
Canada was inspirational. Klaus Keil pays 
tribute to Dr. Kallmann’s many years of work 
for RISM (Répertoire International des 
Sources Musicales). Robin Elliott, Mark 
Miller, Elaine Keillor, and Tim Maloney 
reflect on Dr. Kallmann’s work on the 
Encyclopedia of Music in Canada, while 
Elaine Keillor also discusses Dr. Kallmann’s 
work with the Canadian Musical Heritage 
Society. Robin Elliott, Elaine Keillor, and Jay 
Rahn all remember Dr. Kallmann’s influence 
on them as graduate students studying 
Canadian music. It is humbling to read about 
  
Chers lecteurs et chères lectrices, 
 
J’ai le plaisir de vous présenter ce numéro 
spécial de la Revue de l’ACBM en mémoire 
de M. Helmut Kallmann, décédé le 
12 février 2012. Je tiens à exprimer ma 
gratitude à tous les collaborateurs de ce 
numéro, particulièrement à Maria Calderisi, 
qui a déployé beaucoup d’efforts pour 
communiquer avec les anciens collègues et 
amis de M. Kallmann. Je remercie et félicite 
également Cathy Martin, rédactrice en chef 
de la Revue de l’ACBM, ainsi que 
Cheryl Martin, rédactrice adjointe, pour avoir 
recherché, compilé et révisé autant de 
documents évocateurs pour créer ce 
numéro merveilleux.  
  
J’ai eu le privilège et l’honneur d’obtenir un 
aperçu des articles qui s’y trouvent, et de 
réfléchir longuement aux histoires que nos 
collaborateurs ont pris le temps de rédiger. 
Ces pages vous révéleront M. Kallmann le 
musicien, le mentor, le collègue, le 
chercheur et l’ami. Maria Calderisi nous 
présente toutes ces facettes de sa 
personnalité dans ses mémoires. 
Robin Elliott, Dina Namer et 
Joan McGorman racontent les souvenirs 
qu’ils gardent de M. Kallmann, qui prenait 
plaisir à faire de la musique au piano. 
Plusieurs de ses anciens collègues à la 
Bibliothèque nationale du Canada 
(désormais Bibliothèque et Archives 
Canada), Joan Colquhoun McGorman, 
Gerald Parker et Marlene Wehrle, décrivent 
M. Kallmann le mentor, dont la consécration 
à la recherche musicale au Canada les a 
inspirés. Klaus Keil rend hommage à 
M. Kallmann pour ses nombreuses années 
de travail pour le RISM (Répertoire 
International des Sources Musicales). 
Robin Elliott, Mark Miller, Elaine Keillor et 
Tim Maloney réfléchissent à la participation 
de M. Kallmann à l’Encyclopédie de la 
musique au Canada, tandis qu’Elaine Keillor 
nous entretient des activités de M. Kallmann 
   
  
CAML REVIEW 40, NO. 2 (AUGUST 2012)   PAGE 4 
one person influencing and enriching so 
many others’ lives. I hope you enjoy this 
special issue honouring one of our 
association’s founders and one of Canada’s 
pioneering music historians. 
 
The International Association of Music 
Libraries conference, held July 22-27, 2012, 
in Montreal, was a great success! During the 
reception at the Grande Bibliothèque (BAnQ) 
on July 23rd, CAML was delighted to present 
the 2012 Helmut Kallmann Award to Dr. 
Robin Elliott. Watch for coverage of this 
presentation and of the conference as a 
whole in the next issue of the CAML Review. 
 
 
Janneka Guise 
Head, Eckhardt-Gramatté Music Library 
University of Manitoba 
auprès de la Société pour le patrimoine 
musical canadien. Robin Elliott, 
Elaine Keillor et Jay Rahn se rappellent tous 
combien M. Kallmann les a influencés quand 
ils étudiaient la musique canadienne au 
cycle supérieur. Nous nous sentons bien 
petits devant cette personne qui, à elle 
seule, a su influencer et enrichir autant de 
vies. J’espère que ce numéro spécial en 
l’honneur de l’un des fondateurs de notre 
association et des pionniers de l’histoire de 
la musique canadienne saura vous plaire.  
  
Le congrès de l’Association internationale 
des bibliothèques, archives et centres de 
documentation musicaux, qui s’est tenu à 
Montréal du 22 au 27 juillet 2012, a été 
couronné de succès! Au cours de la 
réception qui s’est donnée à la Grande 
Bibliothèque (BAnQ) le 23 juillet, l’ACBM a 
eu le bonheur de remettre le Prix 
Kallmann 2012 à M. Robin Elliott, Ph. D. 
Vous en lirez davantage au sujet de cette 
remise de prix et du congrès dans le 
prochain numéro de la Revue de l’ACBM.  
 
 
Janneka Guise 
Bibliothécaire en chef, Bibliothèque de 
musique Eckhardt-Gramatté 
L’Université du Manitoba 
 
 
Traduction : Marie-Marthe Jalbert 
Révision : Marie-Andrée Gagnon 
      
 


Message from the President / Message de la présidente

Keillor, Elaine

Songs of the Bubble Ring: Songs by John Greer and Clifford Crawley (CD Review)

 CAML REVIEW 40, NO. 2 (AUGUST 2012)   PAGE 10 
A TRIBUTE TO HELMUT KALLMANN 
  
BY ROBIN ELLIOTT 
 
 
I first met Helmut Kallmann when I was a graduate student at the University of Toronto. 
When I decided to do a Canadian music topic for my doctoral thesis, my supervisor sent 
me to Ottawa to speak with the Chief of the Music Division of the National Library of 
Canada (as it was then). “If anyone else is working on this topic, Helmut will know about 
it,” I was told. “If you get the green light from Helmut, that is all the approval I need for 
your thesis proposal.”  
 
Indeed, Helmut was a walking encyclopedia of music in Canada before the paper one 
came into existence. If the subject had anything to do with Canadian music, he either 
knew about it, or knew whom to ask to find out about it. Single-handedly at first during 
his 20 years at the CBC Toronto Music Library, and later with a wonderful team that he 
gathered about him at the Music Division, he ensured that the musical heritage of this 
country would be carefully preserved. Beyond amassing an incredible collection of 
musical Canadiana, he also ensured that it would be made known through the fine 
publications that he shepherded into being for the Music Division and the Canadian 
Musical Heritage Society, and through his unstinting work for two editions of the 
Encyclopedia of Music in Canada.  
 
Everyone who cares about the musical life of Canada owes Helmut Kallmann an 
enormous debt of thanks for what he achieved in the course of his career. His work as a 
scholar and a librarian was born out of a passionate attachment to music as sound. My 
fondest recollection of Helmut is of reading through Mozart Violin Sonatas with him in 
Toronto when he came for a visit. His delight in our music making was sincere, genuine, 
even childlike in its innocent pleasure. It was one more thing to love about this modest, 
retiring, gentle man whose passion for sound brought to light the musical heritage of an 
entire nation. 
 
~~~~~~~~~~ 
 
ROBIN ELLIOTT is a professor of musicology and an Associate Dean at the Faculty of 
Music in the University of Toronto. He is actively involved in teaching at the 
undergraduate and graduate level and in the supervision of doctoral theses, in addition 
to his administrative work and research activities. He has published widely on various 
subjects within the field of Canadian music studies. 


A Tribute to Helmut Kallmann

Martin, Cheryl

  
CAML REVIEW 40, NO. 1 (APRIL 2012)   PAGE 6 
INTERNATIONAL ASSOCIATION OF MUSIC LIBRARIES  
CONFERENCE REPORT 
 
DUBLIN, IRELAND, 24-29 JULY 2011 
 
BY JANNEKA GUISE, UNIVERSITY OF MANITOBA  
AND CHERYL MARTIN, WESTERN 
 
 
 
Twelve CAML members attended the International Association of Music Libraries 
(IAML) conference this year. Jan, as the current president of the Canadian Association 
of Music Libraries, Archives and Documentation Centres (a branch of IAML), gave a 
report on Canadian music library activities to the general assembly (one of 20 national 
reports).  
There were 330 registered participants at this year’s IAML conference, who attended 
five days of concurrent sessions and poster sessions and two evening concerts. The 
conference also included a variety of excursions on Wednesday afternoon: this year’s 
offerings including the Brú na Bóinne neolithic burial site, the Glendalough monastic 
site, Powerscourt Gardens, and of course a visit to the Guinness Storehouse. It was 
difficult to choose among them! 
 
Highlights of the concurrent sessions 
Many of the sessions focused on the composer G. F. Handel, who spent some of his life 
living in Dublin, where he composed and premiered his famous oratorio, Messiah. 
Christopher Hogwood gave the opening plenary address. Hogwood is a well-known 
orchestra conductor, musicologist, and music editor. He has over 200 recordings to his 
name as a conductor, is editing a new edition of Mendelssohn’s orchestral works for the 
publisher Bärenreiter, and is General Editor of the new Geminiani Opera Omnia. In his 
address, Hogwood gave a fascinating account of Francisco Geminiani, a little-known 
contemporary of G.F. Handel. Katharine Hogg, librarian of the Gerald Coke Handel 
Collection at the Foundling Museum in London, showed original source material from 
the collection which documents Handel’s trip to Ireland in 1741-1742.  
Later in the week Hogwood gave a second presentation about his work as an editor of 
critical editions of music scores. These editions are essential to music research and 
scholarship, and it was interesting to hear about the editing process.  
Several speakers highlighted special collections, archival materials, and digitization 
projects. The Contemporary Music Centre, Ireland, is in the process of digitizing its 
entire collection of 5500 scores and 3000 recordings (http://cmc.ie/digitalarchive/). The 
  
CAML REVIEW 40, NO. 1 (APRIL 2012)   PAGE 7 
National Archive of Irish Composers (www.naic.ie) is developing a collection of Irish 
music and culture. The music manuscript collection at the Convent of St. Andrews in 
Sarnen, Switzerland, dating from 1120, was involved in a major flood; the speaker 
documented the rebuilding of this valuable collection. Almut Boehme (National Library 
of Scotland) gave a basic introduction to the copyright situation of the 18th and early 
19th centuries, and talked about Hime’s edition of A select collection of original Scotish 
[sic] airs.  
The sessions about Irish music and collections were especially interesting. Mercer's 
Hospital Music Collection, housed in the Manuscripts Department at Trinity College 
Dublin, consists of fifty manuscript and seven printed volumes and includes works by 
Handel, Greene, Boyce, Purcell, Corelli, Humfrey, Avison, Barsanti, Stanley and 
Festing. The Mercer's Hospital annual benefit concerts, the first of which was held on 8 
April 1736, used works from the collection. The collection documents music-making in 
18th-century Dublin, from choice of repertoire to the standard of 18th-century 
performance in the city. Karol Mullaney-Dignam described a project to catalogue music 
held in the collections of Irish country houses. Nicholas Carolan spoke about The Irish 
Traditional Music Archive, a national public reference archive and resource centre for 
the traditional song, instrumental music and dance of Ireland. It holds the largest 
multimedia collection of the materials of this music, and information about it. 
Collections in other countries were also highlighted. Cheryl Martin (University of 
Western Ontario) spoke about the music of Thomas Baker, an 18th-century English 
music collector. Colin Coleman (Royal Society of Musicians) gave a history of the RSM 
and a description of their archives. A collection of 400 music scores, from a 19th-
century south Bohemian family of church musicians and music teachers, has been 
documented by Jana Vozková (Czech Academy of Sciences). 
Other sessions included a description of a reciprocal music borrowing agreement 
among Irish libraries (http://www.library.ie/pal/), and a virtual library of musicology 
research materials (www.vifamusik.de). Laura Snyder (University of Alberta) compared 
next-generation catalogues and discovery tools for music research (e.g., WorldCat 
Local, EBSCO Discovery Service, and Summon). In an experiment at the University of 
Alberta Libraries, they give users three different searching options side by side – the 
“traditional” Sirsi-based online catalogue, WorldCat Local, and the EBSCO Discovery 
Service. This presents an interesting opportunity to compare usage patterns and search 
satisfaction. 
There were also the inevitable discussions about RDA (Resource Description and 
Access. A panel discussion between Geraldine Ostrove (Library of Congress), Joseph 
Hafner (McGill University), and Massimo Gentili-Tedeschi (Biblioteca Nazionale 
Braidense) provided an international perspective on RDA developments and 
implementation and changes to MARC.  
 
 
  
CAML REVIEW 40, NO. 1 (APRIL 2012)   PAGE 8 
Highlight of the poster sessions 
Easily the most memorable poster session came from the music information technology 
gurus at McGill University. They have developed OMR software (Optical Music 
Recognition), which does for digital music files what OCR does for digital text files: 
makes them fully searchable. It will allow researchers to search for pitch names within a 
score, or sequences of pitches (a-f-d-g) and find all instances of that sequence. The 
implications are far-reaching. You can try it with a medieval manuscript that they have 
processed using OMR: The Liber Usualis: http://ddmal.music.mcgill.ca/liber.  
 
The R-projects 
IAML meetings always include sessions about the R-projects (RISM, RILM, RIPM, and 
RIdIM). The advisory boards for these projects also meet at the conference, and it is a 
good opportunity for those working on these projects to discuss their activities. Cheryl, 
as the newly appointed RISM representative for Canada, attended the RISM session on 
using RISM for reference and instruction. Klaus Keil spoke about the charge of the 
organization, gave an overview of the RISM projects, listed details of RISM resources in 
print and online, and discussed potential uses of the RISM website. 
 
The Future of IAML 
A big focus of this year’s IAML conference was “The Future of IAML.” Like many other 
library organizations, IAML is having an identity crisis. It has existed in its same form for 
many years now, and many older music librarians are comfortable with the status quo. 
However, newer music librarians question the organizational structure and the way the 
conference is organized, so it is time for IAML to re-group and think about how to stay 
relevant for the next generation of music librarians. 
To that end, the IAML Board has struck a strategic planning group, called the IAML 
Strategy Committee. The Chair is the IAML Vice-President, who is a music librarian at 
the British Library. Jan expressed interest in serving on this committee, and has been 
appointed as a member. It should be an exciting year for CAML, as we host IAML in 
Montreal later this year, and as Jan works with her new international colleagues on an 
action plan. 
 
 
 


International Association of Music Libraries  Conference Report, Dublin, Ireland, 24-29 July 2011

Colquhoun McGorman, Joan

 CAML REVIEW 40, NO. 2 (AUGUST 2012)   PAGE 15 
HELMUT KALLMANN: INSPIRATION, GUIDE AND FRIEND 
 
BY JOAN COLQUHOUN MCGORMAN 
 
It was an honour for me to know and work with Dr. Helmut Kallmann at the National Library of 
Canada (NLC). 
 
When I began my career as a music librarian at the NLC in 1978 Dr. Kallmann encouraged me 
to continue to be a musician as well as a librarian. He invited me to his home to play my cello 
with him at the piano. A few times we also played piano trios. He loved to play chamber music 
and was so knowledgeable about it! 
 
In 1981 Dr. Kallmann organized an exhibition celebrating the centennial of the birth of Leo 
Smith, a Toronto composer and teacher with whom he had studied at the University of Toronto. 
He also planned a concert of Smith’s music and asked me to perform several of the pieces for 
cello and piano. We enjoyed practicing them together, although Elaine Keillor performed with 
me at the Leo Smith Memorial concert on November 26, 1981, in the NLC auditorium. 
 
In 1982 Dr. Kallmann was asked to speak at the International Association of Music Libraries 
(IAML) conference about the Encyclopedia of Music in Canada, which had been published the 
previous year. (Although Dr. Kallmann had been the Canadian representative to IAML even 
before there was a national branch and had been involved with RISM and other IAML projects, 
he did not attend IAML conferences regularly.) I was very pleased that we were scheduled to 
travel on the same flights to the conference in Brussels, and Dr. Kallmann was a very congenial 
companion on the long journey. During the flight he showed me a Baedeker Guide to Belgium, 
1903 edition, which he had purchased in a used bookshop. After landing in Brussels we took the 
train into the centre of the city. Using a map in the Baedeker, Dr. Kallmann guided us to our 
hotel a few blocks from the station. Later in the day he used the same antique Baedeker to 
guide us on our walk to the registration and the IAML opening reception. He knew that the 
streets, train station, parks, hotel and historic buildings we saw in Brussels in 1982 were well 
documented in the 1903 guide book. This experience emphasized to me how well he 
understood and valued history. 
  
Dr. Kallmann and I were scheduled to travel to IAML together for a second time in 1985. I was 
certainly looking forward to having his companionship again. It would have been a particularly 
poignant journey for him to Berlin, the city of his birth. Unfortunately, he had to cancel his plans 
to attend IAML that year due to his wife’s illness.  
 
I am very glad that Dr. Kallmann encouraged me to be involved with the Canadian Association 
of Music Libraries (CAML) and IAML. He was a great inspiration to me as a music librarian, and 
in life. I was also very fortunate to have been able to renew my friendship with him after my 
return to Ottawa in 2007 and to see him frequently in his last few years. Our conversations often 
included the ongoing work of CAML and IAML. Since Dr. Kallmann had been very involved with 
planning the first IAML conference in Canada in 1975, he was especially pleased to know about 
the plans for the 2012 IAML conference in Montreal. 
 
~~~~~~~~~~ 
 
JOAN COLQUHOUN MCGORMAN was a music librarian at the National Library of Canada from 
1978 to 1988. After beginning as a music cataloguer she was Head of Music Cataloguing, 1981-
1986, then Head of the Recorded Sound Collection, 1986-1988.  She served on the CAML 
Board from 1981 to 1988 and was President of CAML from 1985 to 1987.  


Helmut Kallmann: Inspiration, Guide and Friend

Michelson Namer, Dina

 CAML REVIEW 40, NO. 2 (AUGUST 2012)   PAGE 18 
TWO AFTERNOONS 
 
BY DINA MICHELSON NAMER 
 
 
I met Dr. Helmut Kallmann on several occasion in Ottawa over the years, at concerts or 
social functions, but we had never really had an extended conversation. Each time we 
met I was sure that he did not remember me, nor did he know that I was a professional 
musician who had given concerts over a period of 40 years in Ottawa. In May of 2011, a 
mutual friend, Edith Pahlke, gave me a manuscript that Dr. Kallmann had written about 
his early years in Germany before the Second World War. For the most part it was a 
loving and joyful memoir of his parents and siblings, their practice of playing music in 
the home, humorous stories, memories of friends and neighbours. Of course, since Dr. 
Kallmann’s family was Jewish, the end of the memoir was tragic, sorrowful and 
poignant. I was very moved by his story, in particular as it echoed the life my own 
parents had led in Europe before the war. When I expressed this reaction to my friend 
Edith, she suggested we visit Dr. Kallmann together to return the manuscript in person. 
 
Dr. Kallmann and his partner Traute were living in an assisted living residence at the 
time. He appeared with her in the lobby, looking very frail, obviously unwell. He seemed 
to have great difficulty hearing or understanding the animated female conversation 
taking place around him. “How will I ever even make contact with him about the 
memoir?” I asked myself. We all sat down for coffee, we three women trying to engage 
him in conversation, but rather awkwardly, since Helmut seemed rather dispirited and 
remote. 
 
Eventually, Traute mentioned that Helmut had donated his piano to the residence, and 
that it was located in the reception area downstairs. Would I be interested in reading 
through a few four-hand duets with him? Of course I accepted, wondering how this 
obviously ailing old gentleman would manage to play.  
 
Downstairs was an elegant little grand piano and a stack of well-worn music from 
Mozart sonatas to Beethoven symphonies to Schubert duos. We sat down together, 
Helmut taking the bass and I the treble side of the bench. As soon as we began the first 
piece I saw and felt a complete transformation. Helmut launched into the music with 
enormous gusto, as if he had suddenly shed all his infirmities and was back in his 
father’s home making music for sheer pleasure. At times he flew ahead, forcing me to 
make some very quick adjustments to keep things together, but his energy was 
obviously completely renewed. We stopped occasionally when things ran aground, but 
spoke very little, just quickly agreeing where to begin again, and off we flew! These 
were all old favourites in his repertoire and he seemed to forget everything but the 
music. At one point he stopped, looked at me quizzically, and said: “Very Good!” Traute 
tried to explain that I was actually a professional musician, but to Helmut the main thing 
was to keep going, just to keep making music! The session went on without a break for 
over an hour, all thoughts of age or illness forgotten. 
 
 CAML REVIEW 40, NO. 2 (AUGUST 2012)   PAGE 19 
The power of music was so apparent to the little group of us that day, experiencing 
something close to a rebirth in this wonderful man as he sailed through the beloved 
repertoire of so many years. Even without having known him well, I sensed the entire 
span of a life devoted to music in that one hour of fiercely energetic duet playing. We 
played once more about a month later, again reading through many pieces together 
almost wordlessly. Sadly, due to his increased illness and a medical procedure I had to 
go through during the summer, it was our last session. I will always be grateful for those 
two afternoons with this wonderful man.  
 
~~~~~~~~~~ 
 
Pianist and harpsichordist DINA NAMER has had an extensive career in both the United 
States and Canada, performing and recording a wide range of repertoire from Baroque 
harpsichord to contemporary Canadian piano works. Her formal studies were at the 
Eastman and Manhattan Schools of Music, from which she received her Master’s 
Degree in piano performance. Her principal teachers were Robert Goldsand, Artur 
Balsam and Benar Heifetz. In addition, with the support of the Canada Council, she 
worked extensively with Menahem Pressler of the Beaux Arts Trio. 
 
As an educator Dina has taught piano performance at Ottawa, Carleton and Queen’s 
Universities in Canada. Currently she teaches piano, harpsichord and chamber music at 
Queen’s University in addition to running a busy private studio. As a chamber musician, 
Ms. Namer has been a member of the Aulos Ensemble, the Ottawa Baroque Ensemble, 
the Kingston Baroque Soloists, and the Sh’ma Ensemble, a group devoted to 
performing works of composers who died in the Holocaust. Her work with the Aulos Trio 
culminated in the release of the CanSona CD entitled Playing Tribute, which features 
chamber works of several Canadian composers.  More recently she collaborated with 
violist Lisa Moody in a CD release of Canadian works entitled Magdalene Wood.  
 
 


Two Afternoons

Popowich, Sam

We Are the Champions: The Politics of Sports and Popular Music (Book Review)

-, -

Complete issue

Maloney, Timothy

 CAML REVIEW 40, NO. 2 (AUGUST 2012)   PAGE 14 
 HELMUT KALLMANN: MENTOR, COLLEAGUE, FRIEND 
 
BY TIMOTHY MALONEY 
 
Read at a memorial service for Helmut, February 14, 2012, at Thorncliffe Place 
Retirement Home, Nepean, Ontario 
 
With the loss of Helmut Kallmann, Canada is a poorer country today. He enriched it for 
over 70 years, patiently and painstakingly showing us that our musical heritage 
mattered. His pioneering work led to the creation and preservation of national 
collections of Canadian sheet music, sound recordings, periodicals, and other 
publications, as well as archives containing the manuscripts and personal papers of our 
leading composers and musicians. These documents became source materials not only 
for his own research, but for that of numerous other scholars who followed his lead in 
recognizing that the history of music in Canada was a legitimate field of enquiry. The 
seeds he sowed as a librarian, archivist, curator, historian, lexicographer, and editor, 
among other activities, have borne fruit for over half a century in the form of histories, 
biographies, encyclopedias, score anthologies, recordings, documentary films and 
broadcasts, exhibitions, and university courses devoted to the music of Canada.   
 
In the 1990s, when the National Library of Canada began digitizing some of its 
“collections of distinction” and making them universally accessible via the Internet, 
administrators turned multiple times to the music division, which the then National 
Librarian, Marianne Scott, used to call “the jewel in the crown.” Today, much-consulted 
Web sites such as Sheet Music from Canada’s Past, The Virtual Gramophone, the 
Canadian Music Periodical Index, and The Glenn Gould Archive all celebrate collections 
that owe their existence to Helmut’s vision and initiative. 
 
Beyond his crucial activities in collection-building and scholarship, Helmut played 
another significant role in fostering the development of music librarianship in Canada 
through his organizational work with what is now known as the Canadian Association of 
Music Libraries (CAML), and by establishing ties to its international counterpart, IAML. 
The profession of music librarianship in Canada flourishes today thanks to Helmut’s 
exemplary leadership, and he has set the bar very high for us, and those who will follow 
us, to aim for. We salute him as a mentor, colleague, and friend, and we will greatly 
miss his gentle spirit and humility. 
 
~~~~~~~~~~ 
 
TIMOTHY MALONEY has been the head of the music library and an adjunct professor of music 
at the University of Minnesota for the past decade. Before that, he was Helmut Kallmann’s 
successor as the director of the National Library of Canada’s music division, a post he held 
for 14 years. A former president of CAML, the Encyclopedia of Music in Canada, and the 
Canadian Music Centre, he has edited the Canadian Winds/Vents canadiens journal for 
over a decade and recently contributed over a dozen entries to the forthcoming second 
edition of the Grove Dictionary of American Music. 


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