In founding the Neue Zeitschrift in 1834 Schumann's special coadjutors were his teacher Friedrich Wieck (d. 1873); Julius Knorr (d. 1861), a Leipsic piano-virtuoso and a teacher of renown; and Karl Banck (d. 1889), who from 1840 was a singing-teacher at Dresden and a well-known critic. During the first year Knorr was nominally editor. In 1835-44, when Schumann was in charge, he was specially assisted by Konstantin Julius Becker (d. 1859), who from 1843 also taught in Dresden; Ferdinand Präger (d. 1891), a leading piano-teacher in London; Friedrich Hieronymus Truhn (d. 1886), then theatre-director at Danzig; and Ernst Wenzel (d. 1880), one of the early staff at the Leipsic conservatory.
In 1844 the editorship passed to Franz Brendel (d. 1868), another of Wieck's pupils, who carried it on for over 20 years in conjunction with his historical writing. In 1856-60 he was assisted by Richard Pohl (d. 1896), then at Weimar, later a powerful writer on behalf of Wagner and Berlioz; in 1863-7 by Heinrich Porges (d. 1900), later of Munich; and from about 1865 by Hermann Zopff (d. 1883). Among the contributors during this period, when the Wagner question had become acute, were the Lutheran pastor Karl Adolf Tschirch (d. 1875); A. J. Rühlmann (d. 1877), professor in the Dresden conservatory; the young opera-writer Cornelius (d. 1874), then at Weimar; Karl Emanuel Klitzsch (d. 1889), cantor at Zwickau; Karl Kossmaly of Stettin (d. 1893); the poet Peter Lohmann of Leipsic; and Paul Fischer (d. 1894), cantor at Zittau. All these, except Kossmaly, were strong advocates of Wagner and the new school generally.
After 1868, under the régime of Christian Friedrich Kahnt (d. 1897), who had been publisher since 1857, Zopff was promoted to be editor, continuing till his death (1883), assisted for a time by the impulsive Otto Reinsdorf (d. 1890), later of Vienna and Berlin, with contributors like Jean Schucht (d. 1894), Friedrich Stade and Bernhard Vogel (d. 1898).
The Zeitschrift is the organ of the Allgemeiner deutscher Musikverein, founded in 1859 to promote the newer tendencies in composition.
193. Leipsic as a Literary Centre.—There was good reason why an intellectual leader like Schumann should have chosen Leipsic as his fulcrum of influence, for Leipsic throughout the early and middle 19th century was the chief headquarters both for the publication of music itself and for the prosecution of scholarly work about music. Doubtless this musical eminence arose from the leadership which it had long before secured in all kinds of literary activity, but it was now accentuated by several circumstances. Among these may be named the broad and enterprising policy of the publishers Breitkopf & Härtel, the location here of the Allgemeine musikalische Zeitung, and the striking conjunction of artistic efforts in the Thomasschule (with its intimate relation to the city churches), the University,
