Page:A Dictionary of Music and Musicians vol 2.djvu/443

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at the head of whom is Bernsdorff. Its specialty is the circulation of short pieces of news—hence the name 'Signale.' The correspondent in Vienna is Heir C. F. Pohl. It contains more general intelligence and has more subscribers than any other German musical paper.

Neue Zeitschrift für Musik, founded by Robert Schumann, who relates in his 'Gesammelte Schriften' how a number of musicians, who had met in Leipzig in the end of 1833 to compare ideas on the new lights Mendelssohn and Chopin, were roused to do something more for the cause of art than merely carrying on their calling as musicians. Thus arose the Neue Zeitschrift (April 3, 1834), which in spite of many vicissitudes still exists. Hartmann the publisher was the first editor, but from 1835 to 44 Schumann conducted it himself. After him Oswald Lorenz took it for a short time, and was succeeded by Franz Brendel (45 to 68), under whom it espoused the cause of the so-called new-German school. Kahnt has been the publisher since 57.

Musikalische Zeitung für die oesterreichischen Staaten, Apr. 15, 1812, issued fortnightly by the Musikalische Zeitungs-bureau, indirectly gave rise to the Wiener musikalische Zeitung. Both expired in 1813.

Allgemeine musikalische Zeitung, Jan. 2, 1817 (Strauss), important for special information on music in Vienna, was edited by von Seyfried in 1819 and 20, and from 21 to the end of 23 by Kanne. It contained portraits of celebrated musicians, including Beethoven, and was remarkable as the first independent effort of Viennese journalism.

Allgemeine Wiener musikalische Zeitung, edited from 1841 to 47 by Dr. Aug. Schmidt (joint-founder of the Viennese Männergesangverein), contains a series of articles (beginning No. 28, 1846) by Eduard Hanslick, highly laudatory of Wagner's Tannhäuser! Tempera mutantur! Luib was editor in 1847–48, the last twelve months of its existence. It was replaced by the

Wiener Musikzeitung, 1852–60, editor Glöggl, almost the only correct source of information on musical affairs for that period.

Monatschrift für Theater und Musik, 1855–61 (Wallishauser, Vienna), editor Joseph Klemm, goes less into detail, but like the

Recensionen und Mittheilungen für Theater Musik und bildende Kunst, 1862–65, contains valuable articles by Sonnleithner on Mozart, and music in Vienna of that date.

The oldest of the German musical papers is J. A. Hiller's Wochentliche Nachrichten und Anmerkunffen die Musik betreffend, which came out weekly in Leipzig from July 1, 1766, to June 26, 1769. A supplement of 26 numbers carried it down to the end of 69, and a fourth year, Jan. 1 to Dec. 24, 1770, followed.

The next in point of time was the Musikalische Realzeitung, 1788–92 (Bossier, Spire), the title of which was changed to Musikalische Correspondenz der deutschen philarmonischer Geselltchaft.

In the same year Reichardt made similar attempts in Berlin; his Musikalisches Wochenblatt, 1791, not answering was superseded by the Musikalische Monatschrift, 1792.

Berliner musikalische Zeitung, 1794, edited by Spazier, was historical and critical.

[ F. G. ]


The Italian musical periodicals are said to be very numerous. The chief of them appear to be—

Milan. Gazetta Musicale, started in 1845 by Ricordi in Milan. It is a folio (weekly) of 8 pages, edited by Salvatore Farina, containing criticisms, reviews, correspondence from the chief towns of Europe; and the annual subscription is 20 lire. Il Trovatore. Revista Melodrammatica. Revista dei Teatri. Mondo Artistico.

Florence. Gazetta musicale di Firenze. Boccherini, monthly—4 pages, edited by G. Guidi.

Rome. Palestra musicale, edited by Marchesi.

Naples. Napoli musicale, edited by Umberto Mazzoni.

United States of America.

The leading musical periodical in the States is Dwight's Journal of Music (Boston), which has been noticed under its own head, vol. i. p. 478.

Another Boston periodical is The Musical Herald (monthly), No. 1 of which appeared in January 1880.

The Music Trade Review (New York), is published weekly, large folio, price 10 cents, edited by Gotthold Carlberg, and now in its 8th year. It does not confine itself to the music trade, but contains notices of concerts, criticism, reviews, and correspondence on musical subjects in general, all marked by great intelligence.

The Musical Review (New York), weekly, was started Oct. 16, 1879, and bids fair to be an able and satisfactory periodical.

The Philharmonic Journal and Advertiser (New York) is edited by Jerome Hopkins, and published monthly—8 pages.

MUSICAL SOCIETY OF LONDON, THE. This society was founded in April 1858 by a body of musicians, professional and amateur, who had originally been members of the New Philharmonic Society, and wished to re-constitute it. This being found impracticable, they established a new institution, under the name of the Musical Society of London. Among the names of this body are found those of Charles Salaman, Esq., the chief mover of the project (to whose kindness the writer of the present article is indebted for his information), who held the post of Honorary Secretary until 1865, when Mr. G. C. Verrinder succeeded him; Augustine Sargood, Esq. (Treasurer); C. E. Horsley, Esq. (Honorary Librarian); W. V. Wallace; G. A. Macfarren; Henry Smart; Jules Benedict; Stephen Elvey; John Goss; E. J. Hopkins; B. Molique; Sir F. A. Gore-Ouseley; and Dr. S. S. Wesley; besides other prominent musicians. The objects of the society, as stated in its early prospectuses, were:—To promote social intercourse among its members and with musicians of this and other countries; to form a musical library