Page:A Dictionary of Music and Musicians vol 2.djvu/439

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MUSICAL LIBRARIES.
427
MUSICAL PERIODICALS

Paraphrase of the Psalms (Heidelberg, 1596); de Moncrif's Chansons (Paris, 1755); Krieger's Musikalische Partien (Nuremberg, 1697); and autograph MSS. by Dr. Mason, Kinck, A. André, Beczwarzowsky, Fesca, Nageli, G. A. Schneider, and N. A. Strungk.

g. The Yale College library has a small but valuable collection, comprising about 300 volumes of music, and 100 of musical literature, gathered principally with the income of a fund given by the late Mrs. William A. Larned, which yields about 60 dollars a year. This has been devoted inainly to the purchase of the works of the great composers, principally in score, of which there is a good collection in this library.

[ W. B. S. ]

MUSICAL PERIODICALS. Musical journalism began in England in 1818 with The Quarterly Musical Magazine and Review, in a small octavo form. It was intended to contain articles of the following kind:—1. Original correspondence upon all the branches of the science, theoretical and practical; 2. Critical and impartial accounts of musical performers; 3. Reviews of musical publications; 4. Anecdotes of music and musical men; 5. Poetry, original or selected, that might appear calculated for musical adaptation; 6. A register or chronicle of musical transactions. Among the most interesting articles which appeared were—a review of Forkel's Life of Bach in vol. ii.; an account of the performance at the Philharmonic of Beethoven's 8th Symphony (vol. 7, 1825), and in vol. 9, 1827, a criticism of Beethoven and his works, the two latter of which are signed 'Musicus,' and are written in the style which a modern reviewer would use in writing of Wagner. In the last article 'Musicus' gives the following opinion: 'The effect which the writings of Beethoven have had on the art must, I fear, be considered as injurious.' In vol. 3 began the publication of music in each number, which was continued till the end of the magazine in 1828 [App. p.726 "1829"].

In 1823 appeared The Harmonicon, which has been described in its own place. [See Harmonicon, vol. i. p. 663]. Three years after the demise of that journal appeared The Musical World (the space had been partly filled up from 1835 to 36 by The Musical Magazine, a monthly, edited by C. H. Purday, which had but little success).

The Musical World began on a new footing: its policy was not entirely to confine itself to musical matters, but to combine general interests with those of music. It was edited by Cowden Clarke, with the co-operation of an able staff of writers, comprising the following names—Samuel Wesley, the elder, who contributed the first paper, 'A Sketch of the State of Music in England from 1778'; Dr. Gauntlett; Dr. Hodges; Egerton Webbe; Carl Klingemann; W. J. Thoms; John Parry, the elder; C. H. Purday; J. A. Strumpf; Lowell Mason, of Boston, U.S.A.; Collet Dobson; John Ella; Joseph Warren; etc. It was originally published by J. A. Novello, in small 8vo, weekly, from March 10, 1836, to Dec. 29, 1837, which date completed its seventh quarterly volume. A new series began on Jan. 5, 1838, in large 8vo, published by Henry Hooper. With its third series it became 4to, a form it has since retained. It changed hands frequently till the beginning of 1854, when it was taken by Boosey & Co., who published it till 1863, when it went to its present proprietors, Duncan Davison & Co. During its 4to existence it has been edited by Desmond Ryan and J. W. Davison, and few periodicals have embraced a more varied and curious mass of literature more or less directly connected with music, and in a great measure of a humorous, often Rabelaisian cast. Among the contributors since 1840 may be mentioned G. A. Macfarren—Analytical essays on Beethoven's works; on Mendelssohn's Antigone, Œdipus, Athalie, etc.; on the Messiah; on Mozart; on Day's Theory of Harmony; on the Leipzig Bach Society's publications, etc. Dr. Kenealy—Translations from the Italian, Danish, and Icelandic, and original papers. John Oxenford—Original poetry (171 sonnets); Translations from the Greek Anthology, Goethe's Venetian Epigrams, Goethe's Affinities, Aristotle, Lessing, Winkelmann, etc. J. V. Bridgeman—Translations of Oulibichef on History of Music, and on Don Giovanni; Hiller's Conversations with Rossini; Lenz's Beethoven; Lobe's Mendelssohn; Wagner's Oper und Drama, and Lohengrin; Lampadius's Mendelssohn; Hanslick on Wagner, etc. Other contributors are Dr. Rimbault, W. Chappell, H. S. Edwards, Shirley Brooks, Joseph Bennett, and many other wellknown members of the Press. During the last few years clever humorous caricatures by Lyall have been added. [App. p.726 "in 1886 it was published by Messrs. Mallett, of Wardour Street, Mr. F. Hueffer becoming editor. In 1888 its locale was changed to 12 Catherine Street, and in August of that year it was bought by Mr. E. F. Jacques."]

In 1843 [App. p.726 "1842"]–1844 appeared two new weekly musical journals, The Dramatic and Musical Review, edited and held by the brothers Eames, one a violinist and the other organist of St. Paul's, Covent Garden, which lasted for a few volumes; and The Musical Examiner, [App. p.726 "Nov. 1842"] edited by J. W. Davison, among the contributors to which were Henry Smart. Dr. Macfarren, E. J. Loder, Dion Boucicault, Albert Smith, etc., etc.

The Musical Times appeared first in 1844 (June 1), edited and published by Novello (monthly, octavo). It was a continuation of a periodical of the same name published by Mainzer. The interest of the paper dates from about 1846, when Mr. Edward Holmes began writing for it. From this time till his death in 1859 he was a constant contributor. Among his most interesting series of articles are the following 'Life of Henry Purcell' (1847), 'Curiosities of Musical History' and 'Cathedral Music and Composers' (1850), 'English Glee and Madrigal Composers' (1851), 'Mozart's Masses,' 'Haydn's Masses,' (1852, etc.), 'Addenda to the life of Mozart' and 'Beethoven's Mass in C' (1858). In 1855–56 appeared translations by Sabilla Novello of Berlioz's 'Soirées de l'orchestre,' and his treatise on orchestration. Also a series of papers translated by her called 'Truth about Music and Musicians' (1856–7). From Dec. 1853 to Sept. 1854 several essays were contributed by Leigh Hunt.