the notice of connoisseurs and amateurs, to elucidate and explain them, to educate the public up to understanding them—such were the objects of the Musikalische Zeitung; and these objects were attained in a degree which entitles it without hesitation to a high place in the history of music. But with the lapse of time the conditions of the musical world have materially changed. There is no longer a centre either for musical production or appreciation, both being now disseminated far and wide. Under these circumstances, a general musical journal is an anachronism; local papers are better fitted to supply the various necessities of the musical world.'
The Deutsche Musikzeitung, founded by Selmar Bagge in Vienna, 1860, was in some sense a continuation of the above, and after it had had a successful existence of three years, Breitkopf & Härtel resolved to revive the Allgemeine mus. Zeitung under Bagge's editorship, but it was not supported, and the publishers, tired of so costly an undertaking, relinquished it in 1865 to the firm of Rieter-Biedermann (Leipzig and Winterthur). The first numbers of the new series were interesting on the one hand from the support given to the rising talent of Brahms, and on the other to the revival of the old-classical school and the cultus of Bach and Handel. Bagge was succeeded by Eitner, and he again by Dr. Chrysander. He attracted a brilliant staff, and many of the articles, such as Nottebohm's 'Beethoveniana,' would do credit to any periodical. Chrysander was succeeded in 1871 by Joseph Müller (compiler of the catalogue of the Gotthold musical library in the library of the University of Königsberg), but he resumed the editorship in 1875. Though the number of subscribers is small, the paper stands high among the musical papers of Germany. It notices French and English music, inserting reports of Crystal Palace Concerts and Handel Festivals, and articles on English musical literature.
Berliner allgemeine musikalische Zeitung, 1824–30 (Schlesinger), founded by A. B. Marx, did important service to the rapid spread of Beethoven's works in North Germany even during his lifetime, and in promoting the revival of the taste for Bach's and Handel's music in Berlin. In his farewell address Marx says, 'The usual habit of critics is to give way to the fluctuating inclinations of the public, in order to insinuate a little, a very little, of the truth. This has never been my way; I have never been carried away by the fashion of the day, for I have neither formed my opinions by it, nor succumbed to its attractions, and thus I have been preserved from inconsistency. For instance, with regard to Spontini, I neither lauded his "Vestale" as the work of a great artist, nor depreciated his later compositions as the productions of a mere academical pupil, or an imbecile, like so many musicians of our day. Nor again was I so far dazzled by the novelty of Rossini's and Auber's operas, as to endorse the popular verdict upon them.' There is something elevating in recalling such sentiments as these at the present day, when differences of opinion may be said virtually to have disappeared under the all but universal dominion of Wagner's works.
Berliner musikalische Zeitung, 1844–47, the first periodical to praise Wagner's works on their production in Dresden, was started by Gaillard, and continued as the [1]Neue Berliner Musikzeitung (Bote & Bock) up to the present day. It contains amongst others well-known articles by von Lenz.
Caecilia (see i. 294). A continuation of this periodical, called the Süddeutsche Musikzeitung (Schott, Mayence), was edited by Foeckerer 1849–66.
Monatshefle für Musik-Geschichte, founded (1869) and edited by R. Eitner (Trautwein, Berlin). Contains Lists and Bibliographies of ancient composers, Hucbald, Lasso, Ockeghem, Crüger, etc., and many valuable articles. An Index to the first ten years was published in 1879.
Important for the state of music in the Rhenish Provinces is the Rheinische Musikzeitung, while under the editorship (1850–53) of the well-known Professor L. Bischoff (inventor of the expression 'music of the future'), who in the latter year founded the
Niederrheinische Musikzeitung (Dumont Schauberg, Cologne). The contributors included such men as Gervinus, and the paper held an important place till Bischoff's death in 1867, when it was dropped.
Echo (Schlesinger, Berlin), conducted in 1851 and 52 by Kossak the well-known feuilletonist, then by the publisher. In 66 it passed into the hands of Robert Lienau (with Mendel as editor), in 73 into those of Oppenheim (editor Dr. Langhaus), in 74 returned to Lienau, and finally ceased Dec, 1879. It had at one time a certain importance as an opposition-paper to Wagner.
Fliegende Blätter für Musik by Professor Lobe (at one time editor of the Allg. mus. Zeitung), collected in 3 vols. of 6 parts each, 1855–57, was distinguished for polemics, serious essays, and pertinent observations on art.
Tonhalle (Payne, Leipzig), edited by Oscar Paul from March 23, 1868, to the end of 69, when it was merged in the Musikalische Wochenblatt (the first illustrated paper of the kind) (Fritzsch), which soon became a demonstrative organ of the Wagner party, and at the same time a champion of Brahms. It also contains the Nottebohm's 'Neue Beethoveniana,' and may thus fairly be called eclectic in its views. The first ten numbers were edited by Paul, but it has since been managed entirely by the publisher. It has a very large circulation in Germany, and is distinguished for its notices of foreign music.
Signale für die Musikalische Welt, Jan. 2, 1843; the first article was a panegyric by Bauschke on a fugue by Drobisch. In No. 44 (1847) Bartholf Senff was announced as publisher, and he still conducts it with a staff of eminent contributors,
- ↑ From 1853 to 59 it was carried on as a kind of musical trade circular.
