John Benjamin Tolkien Jr (1845-1883)

Composer/Music Seller 

​The information we received from an enquiry to the Museum of Freemasonry has cleared up some details that were previously thought to be his father John Benjamin Tolkien (1807-1896).  This John Benjamin Tolkien (Jnr) was a member of the Freemason Lodge of Perseverance, No. 573 [SN 2062], Halesowen.  This lodge was originally lodge number 838 but became 573 from 1863.  The membership registers have:

 

"John Benjamin Tolkien (1845-1883)

Initiated: 28th March 1871

Passed: 25th April 1871

Raised: 30th May 1871

Residence: Brimingham

Age: 26

Profession: Music Dealer"

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The records show he remained a member of the Lodge until 1881.  The Lodge of Perseverance of Antient Free and Accepted Masons No. 573 on the roll of lodges holding under the United Grand Lodge of England : centenary festival souvenir - Monday, 24th April, 1950  says that he was Lodge Secretary from 26th August 1873 until 26th August 1874 and that he served as Worshipful Master of the Lodge from 1875 until 1876. 

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United Ever, a Masonic Song (Published 1875 - J. B. Tolkien)

We're currently unable to source a copy of this song but it is listed in The Freemason's Chronicle, April 17 1875 thusly:

"Words by Br. T. B. Whitefoot, 573. Music by Bro. John Tolkien S.W. 573. Published by J.B. Tolkien, Music Warehouse, 87 New Street Birmingham.  This song, which is set in the key of G Major, is respectfully dedicated to the M.W. Provincial Grand Masters of Warwickshire and Worcestershire and we we think our respected brethren have every reason to be proud of the honour done them.  The song is very happily and very gracefully written, while the music does equal credit to the merits of the composer."

It also has a mention in The Freemason, October 19 1878:

"This is a Masonic song which has reached a second edition, and which promises, as we have no doubt it will receive, much Masonic patronage.  We recommend it warmly to all our musical brethren." 

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Frederick Tolkien (1848-1939)

Composer/Librettist

Frederick Tolkien, (b. 23 January 1848 - d. September 1939). His father was Septimus (1826 - 1912). In 1902 he married Margaret Fleming, together having two children. He died in September 1939 at the age of 91 in Eastbourne, Sussex. 

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"FREDERICK TOLKIEN: AN EASTBOURNE COMPOSER

by  F. Granville Rubeck.

Genius and ability frequently lie hidden—especially in this country, where we must admit our wisdom lies principally in the fields of literature and commerce. It is the misfortune of many a composer of merit to live a lifetime without due recognition.

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A neglected composer lives in Eastbourne in the person of Frederick Tolkien. Strangely enough, he has never had a lesson in composition or orchestration—he is self-taught, therefore his art is natural and not acquired. In his opinion he missed his vocation, when by a series of happenings he drifted into business.

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When he was a boy of fourteen he was soloist at St. Paul's Cathedral, and has had the honour of singing before Queen Victoria at Buckingham Palace.

 

He has written three operas, several cantatas, many songs and other compositions; a "Jubilee Te Deum " for soli, chorus and orchestra (1897). A copy of this was accepted by Queen Victoria. Unfortunately this work has not been performed in public, yet it was esteemed by Sir John Stainer, and other musicians of note. Throughout the work I find nothing inferior or fragile. Clearly he is in intimate communion with the beautiful and he expresses himself.

 

The "Jubilee Te Deum " alone proves high musico-mental endowment — the discordant is happily absent. I cannot imagine Tolkien in sympathy with any ultra-modern. As his melodic line is clean and musicianly, he must be antagonistic to composers who more or less ignore the melodic line, and revel in the gross and ugly. Their awful inefficiencies must be painful to him.

 

The counterpoint in the "Jubilee To Deum" is admirable. This work is musical truth and has no connection with the amateur. In it, he has steered a careful course between sentimentalism and emotionalism. Dispersed harmony is absent. Musical art is very complex, with more in it than dreaming. Tolkien's music expresses his individuality, and he proves that the principle of coherence gives structural unity—that he has been actuated by fine impulses-that he was in intimate communion with the religious.

 

His three-act opera "Lola Descartes" was successfully produced by the O'Mara Opera Company at the Theatre Royal, Leeds, in November, 1932 - entirely exploding the theory that English composers in grand opera are imaginatively barren—especially from the harmonic standpoint. It is a sad tragedy that the work has not been performed since, or adequately recognised before its first performance. The "Stage " of November, '32, stated that " this British composer has not trudged the stony road without great purpose," and that "this opera is likely to find its niche in the popular repertory of opera "—that " Tolkien manages to grip the harmonic interest at the rise of the curtain and hold it to the end." As to Tolkien's libretto"the story is very interesting, in fact probably more absorbing and more definite in detail than many operatic libretti." Yet this work has not been performed subsequently. Why? "Throughout, the opera suggests talent of no mean order," and "his musical friends are bound to feel eager for a further work from so fertile a brain."

 

To my mind, in "Lola Descartes," Tolkien has reached the pinnacle of his abilities. The work is distinctive, determinate and legitimate, showing that he is master of technical means. After 40 years or more of composition, Tolkien is practically undiscovered. This is not as it should be, and shows the shortsightedness of conductors to whom the work has been offered. I link Tolkien with that individual and largely unrecognised composer, Havergal Brian, who has written over 90 works.

 

"Musical Opinion " has given him some excellent notices, but unfortunately musical journal s do not reach the general public. Cognscenti declared him great, wonderful, brimming with genius, a Vulcan of ability, etc., etc. For years he has copied band-parts for a living!

 

Why does this nation nearly always keep such real British artists as Havergal Brian and Frederick Tolkien outside, contradistinctively pushing the foreigner into the foreground? It is an enigma. Even the great Delius had to be pushed into the foreground by Sir Thomas Beecham.

 

Tolkien's "Antony and Cleopatra" was performed at Devonshire Park, Eastbourne, a few years ago, with great success. The authorities hare been approached to perform it again, but until the moment they have resisted. Here again it seems that a distinctive work is to be shelved because the composer is British.

 

In 1896, the late Sir Augustus Barrie had arranged to produce Tolkien's opera "Adele" at Drury Lane. Unfortunately it fell through, owing to his untimely death. Sir Augustus was very discerning in regard to public taste, and had the work been performed in the great British home of opera, Tolkien would not be blushing unseen.

 

Frederick Tolkien's personality is intriguing—a man well past middle age, full of vigour, brimming with interesting musical reminiscences; bearing his grievances of non-performance with dignity. After careful examination of a number of his orchestral works I pronounce him to be a clever natural musician.

 

Not one of his compositions shows exhibition adventures in cacophony.

 

It is the plain duty of conductors of intrinsic work, such as Dr. Malcom Sargent. Sir Hamilton Harty, Adrian Boult, Sir Julius Harrison, and others, to unearth him, and give the general public a chance of judging a man who has not been adequately recognised for what he undoubtedly is. If given an opportunity, the musical public will speedily appreciate that Tolkien writes music which pleases and never irritates—that his inventiveness is particularly marked in his profound use of harmony, chord-progressions and chord-colours.

 

As a melodist, Tolkien is far beyond the average.

 

Frederick Tolkien is well known in Eastbourne--his hobbies are golf and travel."

Eastbourne Chronicle - 4th November 1933

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Adela, Opera in three acts (Published 1895 - E. Ascherberg & Co.)

Vocal Score, 152 Pages. Libretto by the Composer. Front dedication: "Written, composed and inscribed to HIS WIFE by Frederick Tolkien".

 

Unfortunately the vocal score held at the British Library is missing the front pages with cast information, Pages 1-25 and Pages 57-88.  We need to source another copy. We are not sure if orchestral parts and full scores still exist.

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An advert/review from Illustrated London News - 8th August 1896: From Ascherberg and Co. we have received an opera entitled “Adela,” composed by Frederick Tolkien. The libretto, which is cleverly written, tells sensational story of love, hatred, and jealousy, and the music throughout is melodious without, however, revealing any signs of distinct originality.

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A review from The Era - 24th April 1897: "ADELA" AT WIGAN. A Tragic Opera, in Three Acts, by Frederick Tolkien, Produced at the Court Theatre, Wigan, on Wednesday, April 14th.

Guillermo... Mr FRANK REID

Ricardo... Mr SOMERS GRIME

Frederico... Mr LESLIE HOMER

Helena... Miss MARIE ALEXANDER

Officer... Mr WALTER GREYLING

Adela... Miss MARIE ELSTER

Mr Frederick Tolkien's composition "Adele" was performed for the first time at the Court Theatre, Wigan, on the 14th inst. by the members of Neilson's opera company. It was the composer's first production on an extensive scale, and proved entertaining and meritorious. "Adela" consists of three acts, and its plot is founded on the love of two wealthy scions of Seville, Don Guillermo, and Don Ricardo, for Adela, who bestows her affections upon Guillermo. Helena, also in love with Guillermo (who had at one time paid her considerable attention), is induced by Don Ricardo working on her feelings of jealousy to enter into a plot by which Guillermo is accused of stealing the Duchess of Braganza's jewels. The theft being proved by Helena, Guillermo is cast into prison. Frederico (Adela's father) counsels her to forget Guillermo, but she, asseverating her belief in Guillermo's innocence, persuades her father to assist her in proving it. Eventually Ricardo, who has ineffectually endeavoured to win Adela, propounds a scheme to Helena to get Adela in his power, but his confederate, upon hearing the scheme, is stricken with remorse at having falsely attested Guillermo's guilt. The reaction of feeling in Helena is intensified by the knowledge that her health has been seriously undermined by an incurable malady, and she propounds a scheme to liberate Guillermo, to which Ricardo turns a deaf ear. Helena, feeble from disease, begs to confide her secret to Adela, and begging an interview, which is granted, discloses the treachery practised upon Guillermo. Then follows a soliloquy on the vanity of human hopes, Helena eventually expiring. Adela effects Guillermo's release. He meets her by appointment, but Ricardo having learned of this steals upon them unawares, and with taunts and insults, challenges Guillermo to mortal combat. They fight, but Ricardo loses his rapier, is disarmed, and is eventually arrested. There is in the final act, the wedding of Adela and Guillermo, a bridal march, and the curtain lowers after Ricardo, with dishevelled hair, and wild, rushes in to find he is a too late - too late he escaped from the vile dungeon, curses his fate, and gradually losing his reason, fancies he has Guillermo in his grasp, and finally stabs himself in his madness and dies. The libretto, therefore, is full of incident, stirring and startling, and offers plenty of scope for working up effective details. 'As Adela Miss Elster was charming, and Miss Alexander gave an idealistic rendering of Helena. As Ricardo Mr Somers Grime was excellent. 

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Antony and Cleopatra, Cantata/Tone Poem (Published 1915 - Weekes & Co., 1930 - F Tolkien)

The copy we have is the latter edition, likely revised and re-published after the performances in 1924 and 1927 (details below). Vocal Score, 61 Pages. No singer requirements are listed but the chorus is mixed and in four parts with occasional sub-divisions within parts (SATB).  Characters appear to be as follows (in order of appearance):

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IRIS: Soprano

CHARMION: Mezzo-Soprano/Contralto

CLAUDIUS: Bass

ANTONY: Soprano (No octave shift to denote Tenor and the stave is always printed above Cleopatra - we may have to investigate the other edition to see if that is the same)

CLEOPATRA: Soprano​

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A review from the Norwood Press and Dulwich Advertiser - Saturday 2 February 1924: "DULWICH PHILHARMONIC SOCIETY. The second concert of the present series, at the Crystal Palace on Saturday evening ... "Anthony and Cleopatra", by Frederick Tolkien, was given a first performance by the Society. In this work the doings of the lovers are discussed by the Queen’s handmaidens, and the comments of a concerted chorus as the love-spell develops into tragedy produces a striking effect. Miss Faith Hooper being too ill to appear, Miss Dorothy Moulton deputised at short notice for her as Cleopatra, and in spite of the handicap a short acquaintance with the work imposed upon the artiste, she acquitted herself wonderfully well. Miss Elsie Simmonds (Charmion), Miss Mildred Watson (Iris) and Mr. Robert Naylor sang their parts admirably. The choir and orchestra, under the direction of Mr. Arthur Fogge, as usual did their work accurately and enthusiastically. The one great drawback to the evening, from which performers and audience suffered alike, was the excessive draughtiness and cold of the concert room. No doubt when the Palace is restored to normal conditions this will be remedied."

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An article in the Eastbourne Gazette - 2nd February 1927: "The occasion will be made more interesting by the first performance in Eastbourne of a clever work by an Eastbournian, Mr. Frederick Tolkien, who resides in The Goffs. Mr. Tolkien's "Antony and Cleopatra,” written for chorus and orchestra, was accorded a splendid reception when it was performed at the Crystal Palace, and good judges tell me that Eastbournians will be charmed with it. Local enterprise—there is little enough of it—should be encouraged, and I do hope that Mr. Dear and Mr. Tolkien will be successful in their venture."

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A Faded Rose, song (Published 1915 - West & Co.)

Song for voice and piano, 5 Pages. Text by the Composer.

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For Love, Opera in one act (Published 1898? - E. Ascherberg & Co.)

Libretto by I Goddard. Vocal Score, 103 Pages. Character listed as follows:

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FARMER WILSON: Bass

STANNARD: Tenor

PHIL: Baritone

GIBBONS: Bass

NANCY: Contralto

MARY ALLISON: Soprano

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Chorus of Mowers and Haymakers: SATB

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Scene 1. A Country Road and Tavern. Time: A little before sunset in June.

Scene 2. The Same. Time: Just before dawn

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We are not sure if orchestral parts and full scores still exist.

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Inconstancy, A love story (Published 1915 - West & Co.)

Song for voice and piano, 6 Pages. Text by the Composer.

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Lola Descartes, Opera in 3 acts (Published 1912 - Oppenheimer Bros)

Vocal Score, Texts by the composer.  Dedication on the first page is to "my Wife Peggy".  Characters are listed as follows - no voice types given but from investigating the score we have assigned the following:

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LOLA DESCARTES (The Innkeeper's Daughter): Soprano

THEODORE (King of Scholtenberg): Tenor

RUDOLPH ( A Citizen): Baritone

RUPERT (An Innkeeper): Bass

ANITA (His Wife):​ Mezzo-Soprano

CONRAD (A Student): Tenor

COUNT VON ERHARDT (Statesman): Tenor

COUNT VON DURKHEIM (Statesman): Baritone/Bass

PRINCESS MARTINA (Affianced to the King): Soprano

DR. LORENZ (A Commissioner in Lunacy): Baritone

FATHER ANDREW (Priest): Baritone/Bass

FATHER PAUL (Priest): Baritone/Bass

COURT OFFICIAL (To the King): Bass

HUGO (An Attendant): Baritone

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Students, Monks, Soldiers, Townsfolk, Ladies, Gentlemen, &c.: Chorus (SATB)

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The action passes between 1748-1753

Act 1, Scene 1. Exterior of an Inn in Rosenthal.

Scene 2. Exterior of a Cathedral in Scholtenberg

Act 2, Scene 1. Exterior to the King's Palace.

Scene 2. Ball-room in the King's Palace.

Act 3, Scene 1. A Room in the Castle of Lutz.

Scene 2. In the Grounds of the Castle of Lutz (Summer).

Scene 3. In the Grounds of the Castle of Lutz (Winter).

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We are not sure if orchestral parts and full scores still exist.

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A news article from the Westminster Gazette - 11th November 1922: "Apropos of native opera, it is curious how many works of this class do manage to get produced from time to time, all difficulties notwithstanding. And what is odder still is that they usually come from the pens of composers who are mostly quite unknown otherwise. It is rarely our well-known composers who come out in this way, but almost always someone who has never been heard of before. A new work to be produced by the O'Mara Opera Company at Leeds the week after next supplies the latest instance in point. This is a three-act opera entitled "Lola Descartes" which has been composed by Mr. Frederick Tolkien, a native of Hillmorton, near Rugby. May all good fortune attend it!"

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A review from the Yorkshire Evening Post - 25th November 1922: A NEW OPERA. "LOLA DESCARTES" PRODUCED IN LEEDS. The O'Mara Opera Company have always shown enterprise, and have diversified their repertory by occasionally adding a new or forgotten opera. At the Leeds Theatre Royal, last night, they proved their courage by giving the first performance of a quite new opera, “Lola Descartes," by Mr. Frederick Tolkien. ‘The story of the opera is rather conventional and rather complicated — an affair of intrigue and treachery. The King of Scholtenburg, under a disguise, woos Lola Descartes, tho daughter of an innkeeper, but nevertheless arranges a marriage with the Princess Martina. His duplicity is exposed by one of his ministers, with the result that the Princess refuses to marry him. Later the King is deposed and confined in the Castle of Lutz. Lola, who still loves him, attempts a rescue but her plans are thwarted by her jealous and rejected lover, Rudolph. Eventually the King poisons himself and Lola dies of grief. A gloomy subject, is relieved only, and then very briefly, by a dance scene in the second act. Mr. Talkien [sic] may be regarded as a very serious and well-intentioned musician. The score contains no error in taste or expression — which is more than can be said for some new operas — and makes a thoughtful use of "leading themes." There is not a great deal of effective vocal writing for any of the solo parts, although Lola (on this occasion very capably sung by Miss Florence Morden) has some portions of decided lyrical charm. The chorus work is pleasing, but treated very much in oratorio style. It is in handling the orchestra that the composer has perhaps been most successful, and the graceful and lightly-scored dance in the ballroom scene is very pleasant. A rather sparse audience received the work very warmly, and elicited a short speech from the composer.

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A news article from the Eastbourne Chronicle - 2nd December 1922: A RESIDENT'S OPERA. Mr. and Mrs. Frederick Tolkien, of Ripley Chase, the Goffs, have had a gratifying experience in the successful production this week, at the Royal Theatre, Leeds, of Mr. Tolkien's opera Lola Descartes. From the critiques we have read there seems no doubt the work is grand opera at its best, the music being of uniformly high quality and the libretto, of which also Mr. Tolkien is the author, being distinctly clever and original. The opera was staged by the O'Mara Company, the performance having the advantage of a thoroughly adequate interpretation, principals, chorus and orchestra rising valiantly to the occasion. In its lengthy notice of the production The Stage remarks : "With the talents that Mr. Frederick Tolkien possesses it seems a sad tragedy that his work has not been adequately recognised before. The touching words that Mr. Tolkien made use of when called before the curtain, in response to repeated calls for the composer, suggested the neglect that he had suffered. We feel, however, that this British composer has not trudged the stony road without great purpose, and this opera is likely to find its niche in the popular repertory of opera... Mr. Tolkien grips the harmonic interest at the rise of the curtain, and holds it till that tense moment when Lola falls across the dead body of her lover in the final phase of a poignant tragedy. The story is very interesting—in fact probably more absorbing and also more definite in detail than many operatic librettos." Mr. Tolkien's orchestration came as a pleasant surprise. In this respect, says the journal above quoted from. "he seems to have a masterly gift; in fact his opera throughout suggests talent of no mean order, and his wellwishers are bound to feel eager for a further work from so fertile a brain."

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It also appears that a copy was sent to Sir Thomas Beecham, renowned conductor and impresario of the time famous for, among other things, staging operas at Covent Garden.  An entry in his archives states:

"For private circulation only". English words. With loose libretto, press review (1922), & letter to Beecham's secretary soliciting performance. Cover inscribed "Oscar Hammerstein Esq, with the compliments of the composer, Fred Tolkien, 27/3/12"

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The Shipwreck, descriptive song for Bass (Published 1915 - West & Co.)

Song for Bass voice and piano, 7 Pages. Text by the Composer.

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Te Deum Laudamus, composed in commemoration of the Jubilee of ... the Queen (Published 1886 - Spottiswode & Co.) also known as Victoria Jubilee Te Deum, for soli, chorus and orchestra (Published 1897 - E. Ascherberg & Co.)

Upon investigation these two works are identical other than the fact that the latter in print is entirely transposed down by a tone. "Te Deum Laudamus" Vocal Score, 62 Pages. First Page Text: "Composed in Commemoration of the Jubilee of Her Most Gracious Majesty the Queen. Full-score and Orchestral Parts may be had from the Publishers." "Victoria Jubilee Te Deum" Vocal Score, 49 Pages (smaller print).  Written for SATB Soli and SATB Chorus.

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We are not sure if orchestral parts and full scores still exist.

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A news article in The Morning Post 23 June 1886: "The Queen has been pleased to accept a copy of a jubilee "Te Deum," composed by Frederick Tolkien of the Clock House, Barnet. It was a work of 63 pages composed to commemorate the Queens Jubilee. The Graphic reported… “Te Deum Laudamus,” by Frederick Tolkien, composed in commemoration of the Jubilee of her Most Gracious Majesty, is a thoroughly musicianly composition, much above average of pieces de circumstance in general, published by Spottiswoode and Company.​"

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Ada Elizabeth Tolkien (1860-1939)

Soprano Singer

Ada Tolkien, (b. circa October - November 1860 - d. 29 September 1939) ​Daughter of Alfred Tolkien and Emma Turland. Ada appears to have enjoyed a successful career as a singer. Her name was printed on quite a few pieces of music by various composers during our research "as performed by" or similar.  There are listings of her concerts around the 1880s, examples of which are below:

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"A most successful concert was given by Mdme. Goodman Russell at the Angel Town Institute on Friday, the 6th inst. Mdme. Edith Wynne, Miss Ada Tolkien, Mdme. Russell, and the Misses Kingsbury were the principal artistes, among whom Miss Tolkien shone conspicuously, as also did Mdme. Russell. The Misses Kingsbury were successful in the “Venetian Boatmen ;” a new song entitled the “ Cloud and the Flower” was sung by Miss Tolkien, and was accordingly encored in a decidedly encouraging manner." 

The Examiner - 14th Feb 1880.

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"On Monday night a performance of Mendelssohn's Athalie was given here, in which Miss Ada Tolkien sustained the principal soprano music and displayed so excellent a voice so well cultivated and used with so much taste and feeling, that we hope to see her soon again on a more ambitious scene."

Illustrated Sporting and Dramatic News - 29th May 1880

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"Miss Ada Tolkien gave her first Concert at the Holborn Town Hall on the 23rd ult., assisted by Miss José Sherrington, Miss P. Leatherby, Messrs. H. Guy, Thurley Beale, and H. Horscroft (vocalists), and Mr. Howard Reynolds (solo cornet). The concert-giver was very successful in her selections, a new song, "Elsie” by Gabriel Davis, being encored. Mr. Turle Lee and Mr. A. Tolkien officiated as Conductors." 

The Musical Times - 1st July 1881.

 

​​"SURREY MASONIC HALL, CAMBERWELL NEW ROAD.  MRS. LANSDELL-SIMS has the honour to announce her annual concert for Wednesday Evening, February 1st, 1882.  Artistes: Mis Matilda Roby, Miss Ada Tolkien and Miss Maud Cameron.  Miss Marian Burton and Mrs Lansdell-Sims.  Mr. C. A. White, Mr. Joseph Hay and Mr. Frank Edmonds.  Mr. Chaplin-Henry and Mr. Theodore Distin.  Solo Flute: Mr. Tom Adams, Pianoforte: Mrs Tom Adams and Mr. T. Merton Clark.  Conductor: Mr. Tom Adams."

South London Chronicle - 14th January 1882. 

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"Miss Ada Tolkien gave her annual Concert on Tuesday evening, the 18th ult., at Brixton Hall. The bénéficiaire met with a warm reception, and sang with artistic ability Bishop's "Lo ! here the gentle lark," and Millard's "Waiting," each with flute obbligato by Mr. S. West. Miss Tolkien was assisted by Mesdames Frances Brooke, Osbourne Williams, Lansdell-Sims, Misses Kingsbury, Featherby, Isabel, Macgregor ; Messrs, Coventry, James Budd, and Chaplin Henry. The pianists were the Misses Kingsbury (who played Moscheles' duet for two pianofortes, "Hommage á Handel") Miss Marian Weaver, Messrs, Fred Kingsbury and Alfred Tolkien." 

The Musical Times - 1st May 1882.

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"TONIGHT (FRIDAY), SATURDAY AND MONDAY, September 8th, 9th and 11th at 7:30pm. SPECIAL EVENING CONCERTS VOCALISTS: MISS BEATA FRANCIS, MISS ADA TOLKIEN. MR. FULLER ALLEN."

Blackpool Gazette & Herald - 8th September 1882

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"Miss Ada Tolkien’s Concert.— A concert, arranged by the above well-known soprano, was given at the Brixton Hall on Thursday evening, the artistes being Madame Adeline Paget, Miss Ada Tolkien, Miss Pauline Featherby, Madame Lansdell-Sims, Mr. Iver M‘Kay, Signor Frassini, Mr. Tom Adams (solo flute), and Mrs. Tom Adams (solo pianoforte). Mr. T. Adams and Mr. Alfred Tolkien conducted. Miss Tolkien has never failed to secure a good attendance at her concerts, but the crowded house of Thursday must, I think, be regarded as exceptionally flattering testimony to her worth, for the resources of Brixton Hall were extensively drawn on to find seating room for the numerous visitors. The programme was well arranged, and, with one or two exceptions, was carried out as submitted. Miss Tolkien sang, as she always sings, in good style, and for her “Tit for Tat” received a flattering reception. Madame Paget, Miss Featherby, and Madame Lansdell-Sims all sang well, while Mr. M‘Kay was repeatedly encored for his songs. The instrumental portion was a feature—the solo pianists particularly. Signor Frassini, called upon to fill a vacancy at a short notice, added to the enjoyment of the evening; and Miss Tolkien may congratulate herself on having arranged an entertainment of exceptional interest."

South London Press - Saturday 7th April 1883

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A large company assembled at the Gresham Hall, Brixton, on Monday evening, when Mr. George Brandon gave his second annual concert. The feature of the evening was the reception of Madame Ada Tolkien, who was warmly welcomed after her absence, and whose efforts elicited loud applause from the audience. There was a capital programme, and in addition to Madame Ada Tolkien the performers included Madame Lansdell Sims, Madame Merton Clarke, Miss Mary Chatterton, Mr. George Brandon, Mr. Henry Guy, and Mr. Donald Balfe. Mr. Alfred Tolkien acted as accompanist and conductor.

The People - 30th January 1887

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Grace Bindley Tolkien (1861-1947)

Contralto Singer

Grace Bindley Tolkien, (b. December 1861 - d. March 1947). Daughter of John Benjamin Tolkien (1807-1896). A graduate of the Royal Academy of Music, London.

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An article in the Worcester Journal - 29th January 1881 lists a "Miss G. Tolkien" as performing the song "The Better Land". Other concert listings in Worcester, Stourbridge and Shrewsbury throughout the 1880s with repertoire listed as "Heaven and Earth", "Caller Herrin'", "Carrier John", "Children's Home" and "Thaddy O'Flinn".

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Beatrice Emily Louise Tolkien (c.1868-1935)

Pianist

Beatrice Emily Louise Tolkien, (b. circa 1868 at sea - d. 26 March 1935) Grand-​Daughter of John Benjamin Tolkien, only daughter of John Benjamin Tolkien Jr. (1845-1883) and Agnes Marion Tolkien.

 

 We have found an entry of Beatrice Tolkien performing as a pianist, including performing with Alfred Tolkien.

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"St. Mark’s, Kennington.— At the Pilgrim-street Mission Room, on Tuesday evening, a concert was given in aid of the Sunday school prizes. Some excellent songs were given by Mr. E. W. Rogers, Miss Woodward, Miss Edith Cooke (who was encored), Mr. Henry Sheldon (also encored), and Madame Jeannette Price (whose singing was much admired, and who received an encore on both her appearances). Pianoforte selections were given by Miss Beatrice Tolkien and Mr. Alfred Tolkien."

South London Press - 21st November 1885

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Mr. Tolkien (Unknown)

Bass Singer

We have found an incredible amount of evidence (due to playbills, programmes and news articles) that a "Mr. Tolkien" was part of the Full-Time Chorus (Bass) and performing company at the Theatre Royal, Drury Lane (along with records at Theatre Royal, Covent Garden and English Opera Company) between the years of 1827-1839.  There is also record of him taking part in the four performance Royal Music Festival at Westminster Abbey found in the Sun (London) - 21st June 1834.  Most annoyingly, he is always referred to by his surname with no initials or first name given.

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He appears to have started out doing minor roles and chorus in the 1827 season, taking the role of Bacchus in Midas and the chorus in Der Freischutz. There are also records of him being background/ensemble in plays like Macbeth.  We have catalogued hundred of performances with hundreds more possible.  He was a full-time member of the company and the daily playbills are inconsistent in listing ensemble members, often resorting to "&c" when space is getting short.  Often when pieces are repeated the ensemble is not mentioned at all.  He is listed as part of the pantomimes most years which ran almost daily from Boxing Day (26th December) until the end of February.  Again, some of these don't always list the full cast on every playbill.

 

He would have been a part of many UK premieres of operas that are now in the standard repertoire and supported some of the biggest names in singing and music at that time.  There are multiple records of Royal Command Performances for the King and Queen in that time too. 

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The only piece of individualised information we can currently find is in the Age (London) - 4th November 1832:

"DRURY LANE... Dowton has returned to these boards, and Kean reappears to-morrow. We are right happy at this announcement: still, we felt surprise, knowing the love that some have for that talented man, but we suppose it originates in a wish to annoy Macready. The manager has got himself into another scrape. The Rent Day was performed on Saturday week. Last season, to oblige Wallack, the chorus-singers consented to go on in this drama but refused doing so to his successor's order; the consequence was, Tolkiens [sic] was discharged; the others would not consent unless he was recalled, which request was complied with, and also a promise made by the manager that in future he should not require them to appear only in musical pieces, for which they are expressly engaged."

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Without full proof we do not wish to assign this career to any of the above Tolkien men, it could after all be someone from a different part of the family tree, but there are links to this branch that are worth discussing here as we continue our investigations into who this actually was.

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There are no records, that we can find, of a male Tolkien singer performing outside of these Playbills and accounts between 1827 and 1839.  Nothing before or after either.  This might indicate a young singer taken in at the beginning of their career, but that is not conclusive.  Also, with no records afterwards that means a career change or death.  This was a Full-Time paid position performing most evenings and would be rehearsing during the day for other shows.  A massive time commitment and it would mean also that he would have to live locally.

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If we apply this to the highlighted Tolkien men that might be of applicable age above (assuming for the moment that this singer is part of this branch of the family tree):

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GEORGE TOLKIEN (1784-1840): He would have been roughly 43 when starting the contract.  All records point to his only being employed as a watch-maker, and whilst we do have a couple of pieces recorded composed by a "G. Tolkien" these were mostly composed after this "G. Tolkien" had passed away and G. W. Tolkien (below) was already composing and so the pieces are very much likely his.  That means we have no record of this "G. Tolkien" ever being musical.  Most of his children were still at home at that point.  A mid-life career change to becoming a full-time singer on, likely, less money than any established business he had may not be out of the realms of possibility but it seems less likely.  His date of death however is one year after the contact ended at the theatre.

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GEORGE WILLIAM TOLKIEN (1805-1877): He would have been roughly 22 when starting the contract.  We have records of him composing from around 1833. A "G. Tolkien" took over a Musical Instrument Warehouse in Greenwich in 1835, whilst it's not impossible it might be his father, we know that G.W. was composing and therefore a greater likelihood is that it is him.  Running a music shop in Greenwich seems a little far away using the public transport at the time or walking (2 hour walk) for a daily, and late evening, commute whilst also running a business.  It's not impossible though. His insolvency case in 1842 does come after the end of the theatre contract but is also not too long after the death of his father.​

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JOHN BENJAMIN TOLKIEN ( 1807-1896): He would have been roughly 20 when starting the contract.  We would have to firm up locations for this timeframe but we do know that he married and had his first child within this period.  He married his first wife on 15th October 1832. He opened his Piano shop in 1843 in Birmingham, which is after the contract would have ended.

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WILLIAM MURRELL TOLKIEN (1810-1882): He would have been roughly 17 when starting the contract, young but not impossible for the time.  He didn't marry until 1856 and that was in Kensington, in the 1851 census he is listed as "Music Publisher and Dealer in Musical Instruments" and being based in St. Michael, Crooked Lane, London and residing with his brother. Any information about W.M. from the period we are investigating for "Mr. Tolkien" is just his written texts for published songs - which start in the early 1830s.  A lot of names cross over between the composers he worked with, the dedications and the "as performed by" credits on the music - most notably the tribute to Madame Malibran Europe Thy Nightingale Has Flown which is dedicated (and about) the singer who had only recently been performing with "Mr. Tolkien" at the Theatre Royal, Drury Lane.  A lot of other names cross over but they were the most popular singers of the day so whilst possibly indicative of a link they are not conclusive.  There is no indication of why, if it is W.M., he'd leave the job in 1839 and go and work in his brother's (Henry by this point) music shop.  His location and the musical connections do point more in his direction than the others.

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MISS F. Tolkien (Unknown)

Pianist

An article in the Worcester Journal - 29th January 1881 lists a "Miss F. Tolkien" playing the piano in the same concert as Grace Bindley Tolkien at Worcester Concert Hall.  This is likely Florence Mary Tolkien (1863-1944), her sister, and child of   John Benjamin Tolkien (1807-1896).

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Other Entries of Interest​

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OTHER MUSIC:

We Meet No More, Ballad (Published 1837 - Philadelphia : George Willig)

​Ballad for voice and piano, 3 Pages. Front cover text: "Sung by Mrs Morley, Composed and arranged for the pianoforte by J. Tolkien." Our initial thoughts on this were that is was a piece by John Benjamin Tolkien but the multiple versions we have seen of this piece including the published sheet music and the online archives are by three different American publications: The New Yorker (22nd April 1837, 25th January 1840), The Albion (8th April 1837) and The Lady's Book (March 1837). It's not impossible that it could have been J.B. Tolkien's but we hesitate to assign it incorrectly.

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​Two possible songs but we do not know which Tolkien. c. 1847. "Oh was it right to spurn the Gift" and "Light of Heart am I".

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Research by Simon Crosby Buttle, Phillip Walch, Steven Jones & Emma Mary Jones.

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Sources:

TCG - The J.R.R. Tolkien Companion and Guide - Reader's Guide Part 2 (2017)

Bei Ancestry anmelden

TCG - Guide to Tolkien's Letters

Tolkien the opera composer | John Garth

All newspaper and publication sources from https://www.britishnewspaperarchive.co.uk/ and https://archive.org

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Thanks and Honorable Mentions:

Margaret Jones, Music Collections Supervisor, Cambridge University Library

Jeremy Edmonds, www.tolkienguide.com

Susan A. Snell BA, DAA, MA, RMARA, Archivist and Records Manager - Museum of Freemasonry, London