George Thomson (1757–1851), born at Limekilns, Fife, Scotland, was a noted collector of the music of Scotland, a music publisher, and a friend of Robert Burns. He was clerk to the board of trustees in Edinburgh for 60 years. His A Select Collection of Original Scottish Airs for the Voice came out in six volumes between 1793 and 1841, and included contributions from Burns, Lord Byron, Thomas Moore, Walter Scott and Thomas Campbell. Thomson published folksong arrangements by Joseph Haydn, Ludwig van Beethoven, Ignaz Pleyel, Leopold Kozeluch, Johann Nepomuk Hummel, Carl Maria von Weber, Henry Rowley Bishop, and Robert Archibald Smith. Early life His father was the schoolmaster at Limekilns, Dunfermline, and he had some legal training. In 1780 he gained a clerical appointment with the Board of Trustees for the Encouragement of Art and Manufactures in Scotland on the recommendation of John Home, and spent the rest of his career with this body set up under the Treaty of Union to promote Scottish trade with money given by Parliament in compensation for losses in the Darien Scheme and for taking on a share of England's national debt, eventually becoming Chief Clerk. He joined the Edinburgh Musical Society, playing the violin in the orchestra and singing in the choir. For 59 years he worked for the Board of Trustees for the Encouragement of Art and Manufactures in Scotland. His daughter Georgina was the wife of editor and music publisher George Hogarth, and his granddaughter Catherine married the novelist Charles Dickens. Collection of Scots songs Thomson played in the orchestra of the St Cecilia Concerts, enjoying performances of Scots songs by Italian castrati visiting Scotland. This gave him the idea of bringing out a collection of Scots songs with new accompaniments and respectable words. In the summer of 1792 he got Andrew Erskine, younger brother of the composer the Earl of Kellie, to take part in the project, but about fifteen months later Erskine, with gambling debts, ended his life by jumping into the Firth of Forth. To continue the project Thomson asked Alexander Cunningham for a letter of introduction to Robert Burns and in September 1792 sent it with his letter stating that Burns was already a contributor to James Johnson's The Scots Musical Museum and agreed to do the work, but indignantly added that "In the honest enthusiasm with which I embark in your undertaking, to talk of money,