A Dictionary of Music and Musicians/Musical Periodicals
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. In Sept. 1863, Mr. Henry C. Lunn undertook the office of editor, which he still holds, contributing constantly interesting articles of criticisms on current musical subjects. Among the most frequent contributors have been Dr. Macfarren, Dr. Rimbault, W. H. Cummings, Carl Engel, E. Prout, W. A. Barrett, H. H. Statham, Joseph Bennett, etc., etc. From time to time series of articles of special interest have appeared, as for example, Dr. Wm. Pole's 'Story of Mozart's Requiem' (1869), Dr. Chrysander's 'Sketch of the History of Music Printing from the 15th to the 19th centuries' (1877). This periodical also contains a monthly issue of part-music. [App. p.726 "on the retirement in 1887 of Mr. Lunn, the editorship of The Musical Times was assumed by Mr. W. A. Barrett."]
The Tonic Sol-fa Reporter was begun in 1853 a tentative double-number having been issued in 1851, but not continued) under the editorship of Mr. John Curwen, whose lectures at Newcastle on the Tonic Sol-fa Notation were the origin of the publication. The double-number of 1851 contained, besides an account of the progress of the movement, Tonic Sol-fa arrangement of the Hallelujah Chorus, 'in which is omitted (sic) the parts too difficult for Congregational Singing,' and 'several hymns' (words only). The issue has continued at intervals of a month until the present time, containing criticisms, reports of the progress of the Sol-fa movement in different parts of England, etc., and a series of Anthems, Glees, Rounds, Hymn-tunes, etc., in the Sol-fa notation. Of late Mr. J. Spencer Curwen has been associated with Mr. John Curwen in the editorship. [App. p.726 "The Tonic Sol-fa Reporter has a department of 'Musical questions and their answers."] [App. p.820 "Add that the Tonic Sol-fa Reporter was issued bi-monthly till 1878, and that it has been called 'The Musical Herald' since Jan. 1889."]
The Musical Standard, projected by an amateur, Mr. A. W. Hammond, who was both proprietor and editor, appeared first on Aug. 2, 1862. It was issued fortnightly; its size 8vo, and price 2d. It professed to be unfettered by clique, and not devoted to the behests of houses in the trade. It was especially to look after the interests of church music and organists. It contains, besides leading articles on topics of current interest, notices of concerts, etc., specifications of old and new organs, extracts from ancient church registers relating to musical matters, biographical notices of the lesser masters and public performers, and reprints of old and curious works bearing on the subject of music. Among the contributors to the early numbers were Dr. W. J. Westbrook, Dr. Gauntlett, Joseph Bennett, J. Crowdy, etc., etc. In an early number proposals were made to establish a Musical College. This was the origin of the College of Organists. In May 1864 a prize was offered for a new hymn-tune; this feature was continued for some time. In the same year interesting reprints of old works were commenced, and were continued in each number. In vol. 5 the paper began a weekly issue. In vol. 12 there are notices and a considerable controversy on the two oratorios by H. H. Pierson (then living), 'Hezekiah' and 'Jerusalem.' The old series of the journal ended with vol. 13, when Mr. Hammond sold the copyright to Mr. George Carr, and Mr. T. L. Southgate became editor. The scope of the journal was now considerably widened, containing letters and notices from France, Germany, Italy, and America. Vocal music as well as instrumental was now given weekly in the paper, among which were compositions by Sir W. Sterndale Bennett, Sir J. Goss, H. Gadsby, E. J. Hopkins, Berthold Tours, etc. In Feb. 1872, Messrs. Reeves & Turner purchased the paper. Mr. Southgate retired in 1873, and was succeeded by Mr. J. Crowdy. In 1875 Mr. Bowden became the proprietor. In vol. 8 it was enlarged to folio size, and the price raised to 3d., the weekly issue of music being discontinued. In May 1876 Mr. Broadhouse became editor. Among the most prominent articles that have lately appeared may be mentioned an extraordinary series, entitled 'Beethoven's Symphonies critically and sympathetically discussed,' by Mr. A. Teetgen. [App. p.726 "the proprietorship was transferred to Mr. Harry Lavender. Mr. Turpin edited The Musical Standard from 1880 to 1886, Mr. Broadhouse succeeding him for two years; finally Mr. Ernest Bergholt, B.A., became editor in 1888."]
The year 1863 brought two new weekly musical periodicals, The Orchestra and The Choir. The first, a folio of 16 pages, published by Cramer, Wood, & Co., contains, besides criticisms of music in London and the provinces, correspondence from the principal musical centres of the continent, serial 'feuilletons,' etc. It 1874 it began a new series in a quarto form, issued monthly, published by Swift & Co., 155 Newton Street, W.C. [App. p.726 "in 1882 The Orchestra appeared again in a folio size."]
The Choir and Musical Record, published weekly by Thomas Wright, 'Choir' Office, 188 Strand, was intended 'to prove serviceable and interesting to Clergymen, Choirmasters, Organists, Members of Choirs, and all who are interested in Music.' Its object was to 'promote the art of church music by the publication of essays and papers advocating sound principles and directing taste.' Among the contributors were Dr. Rimbault, Dr. Macfarren, E. J. Hopkins, etc. 4 pages of music are issued weekly. [App. p.726 "The Choir came to an end in 1878."]
The Monthly Musical Record was begun in 1871, under the editorship of Mr. E. Prout, Augener & Co. being the publishers. It has appeared monthly since that time. Its form is a small quarto, and its price 2d. Among the principal contributors are—W. G. Cusins, E. Dannreuther, S. Jadassohn, L. Nohl, F. Niecks, E. Pauer, C. F. Pohl, Xaver Scharwenka, etc. Historical and analytical notices in a serial form are given from time to time, by Herrn E. Pauer, F. Niecks, etc. In vol. 2 appeared Herr Dannreuther's articles on 'Wagner, his tendencies, life, and writings.' From 1874 to 1876 the editor was Mr. C. A. Barry; since that time the post had been held by Mr. W. A. Barrett. Admirable analyses of Schubert's Masses, Schumann's Symphonies, Weber's Cantatas, etc., and descriptions of Urio's Te Deum and Stradella's Serenade, with reference to Handel's plagiarisms from them, all by Mr. Prout, appeared in the earlier volumes. The issue of four sheets of music with the publication began in the number for February 1880. [App. p.726 "in 1887 Mr. W. A. Barrett left the editorial chair. Among recent contributions to The Monthly Musical Record, Mr. Pauer's 'Chronological Tables and their materials,' and articles by Dr. Carl Reinecke, Mr. S. Stratton, and Mr. Verey may be mentioned."]
'Concordia, a journal of music and the sister arts,' was first published by Messrs. Novello, Ewer, & Co., under the editorship of Mr. Joseph Bennett, on May 1, 1875. The paper consisted of articles, reviews, criticisms, and London, provincial, and foreign intelligence on music, poetry, the drama, and the fine arts; and was published weekly. The principal contributors were Dr. W. H. Stone, Dr. Gauntlett, Rev. Maurice Davies, W. Chappell, W. H. Cummings, J. Knight, Walter Thornbury, H. H. Statham, C. K. Salaman, Clement Scott, E. Prout, H. Sutherland Edwards, H. Howe, H. C. Lunn, Joseph Bennett, etc. The following specially interesting articles appeared in this paper: Recollections of Catalani, Czerny, Mozart's son, Mozart's widow, Charles Neate, Schumann, Thalberg, the Philharmonic Society, the Lent Oratorios, the Shakespeare Jubilee of 1830, etc., etc., by C. K. Salaman; A comparison of the original and revised scores of Elijah, by Joseph Bennett; Witty French Songs of the last century, by W. Chappell; Helmholtz's New Musical Theories, by W. Chappell; London Choirs, by Rev. Maurice Davies; Portraits of Old Actors (Betterton, Kemble, Kean, Charles Matthews the elder, etc.) by Walter Thornbury; Don Juan and Faust, by H. Sutherland Edwards; Purcell's works, by Dr. Rimbault; Purcell's Yorkshire Feast and Theatre Music, by W. H. Cummings; and a series of interesting facsimiles, letters and a song by Handel, caricature of Handel, autograph of J. S. Bach, MS. and letters of C. P. E. Bach, etc. A weekly list of services in London churches, and a Shakespearean calendar were also included. The publication was withdrawn in 1876.
The London and Provincial Music Trades Review, large 4to, was started in Nov. 1877, and appears on the 15th of each month. Besides much information on the trades connected with music, patents, bankruptcies, etc., it has full notices of concerts and other musical events, and reviews of both books and music, lists of new inventions and publications, and much miscellaneous intelligence. The reviews are signed by the authors, Mr. Henry F. Frost, and Mr. T. Percy M. Betts, the latter of whom is understood to be the editor.[ J. A. F. M. ]
France.
L'Art musical, a weekly journal started by M. Léon Escudier, first appeared Dec. 6, 1860. It is published every Tuesday, and contains 8 pages of two or three columns. Among the contributors the following may be mentioned:—Scudo, F. de Villars, Ad. de Pontécoulant, G. Chouquet, A. de Lauzières-Thémines, Ernest Thoinau, Edmond Neukomm, Paul Laconne, J. Ruelle, A. Vizertini, etc. The following are some of the most interesting articles which have appeared:—'Mes Souvenirs' (L. Escudier); 'Les Chants nationaux de la France' (G. Chouquet); 'Les Iphigénies de Gluck' and 'Les frères Ricci' (F. de Villars); 'Mangars' and 'Deplorations de G. Crétin sur le trépas de Jean Okeghem' (E. Thoinau); 'C. M. v. Weber' (E. Neukomm), besides interesting notices.
Bibliographie Musicale française, a monthly publication, begun Jan. 1875 by the Chambre syndicale du commerce de musique, is a catalogue of all musical works published in France.
La Chronique Musicale. Two entirely distinct periodicals have appeared under this name; the first in 1865–66, edited by M. Malibran, containing some very good articles; the second in July 1873, lasting till June 1876, edited by M. Arthur Heulhard, which appeared fortnightly (8vo.), and
L'Echo des Orpheons, begun in Paris in 1861, and at first edited by Ernest Gebauer (nephew to the bassoon player of the same name), who continued to be at the head of it for many years, and now managed by M. Victor Lory, under the direction of M. Laurent de Rillé. Besides criticisms, etc. this paper issues part-songs, choruses, etc. It is published two or three times a month.
L'Europe artiste, in which music occupies but a secondary place, was begun in 1853, and is now edited by M. Elie Frébault. It is a weekly journal of the drama and the fine arts.
La France chorale. This journal appeared three times a month from Nov. 1861. M. J. F. Vaudin, a clever but intemperate writer, chiefly known by the poetry which he wrote for part-songs, choruses, etc., being the editor until his death in 1869, when the journal was re-constituted under the title of La France chorale; le Moniteur des Orphéons et des Societes instrumentales. It now appears only twice a month, the editor being M. Camille de Vos. It is not only devoted to the interests of choral music, but contains accounts, criticisms, etc. of orchestral music.
La France musicale. A weekly journal which appeared from Dec. 1837 to July 1870, under the direction of MM. Marie and Léon Escudier, containing biographies and many other articles of interest. Among its contributors at different times were Castil-Blaze and J. Maurel, MM. Méry, Philarète Chasles, V. Schœlcher, etc.
Le Journal de musique. A weekly publication, containing 4 pages of letter-press and 2 pieces of music, edited by M. Armaud Gouzier; the property of M. Paul Dalloy.
Journal spécial de musique militaire. This publication has for 17 years continued under the direction of M. Tilliard, issuing 24 pieces of music for military bands in the year.
Le Ménestrel. [See Ménestrel.]
Le Monde artiste. A weekly journal of 8 pages, founded in 1860. It was for some time very unimportant, but now, having become the property of M. Achille Lemoine, and having for its editor M. Jules Ruelle, it is the greatest authority on the dramatic and musical doings in the departments of France and in Algeria.
The other musical periodicals of France will be noticed under their several heads.[ G. C. ]
Germany.
Allgemeine musikalische Zeitung [see Leipzig, ii. 115], Oct. 1798–Dec. 28, 1848. The importance of this periodical for information on all musical matters during the first half of the 19th century will be best estimated from the concluding remarks of the publishers in the last number. 'This journal was founded when musical production was at its richest and best. Mozart was not long dead, Haydn was near the end, and Beethoven at the beginning of his career. To bring the works of such a period as this before 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, 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. ]
Italy.
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.
App. p.726:
The Musical Review, a weekly musical journal (Novello & Co.), lasted for a few months from the beginning of 1883.
The Magazine of Music (Coates), a monthly, was established in 1884. It is profusely illustrated, and contains a musical supplement.
Musical Opinion and Music Trade Review (Fitzsimmons, monthly), has flourished since 1877. It has illustrations, musical examples, original articles, etc.
The Academic Gazette of Trinity College is owned by a company, but worked as the official organ of the College, and published monthly by Hammond & Co. Dr. Bonavia Hunt was editor of Musical Education, as it was then called, from 1880 to 1884. From 1884 Mr. Turpin has edited the Academic Gazette.
The Lute (Patey & Willis) has been published as a monthly journal since 1883, and was edited for some time by Mr. Joseph Bennett. It is now altered in style and has six pages of musical matter to four of letterpress, with Mr. Lewis Thomas as editor.
The Quarterly Musical Review (Heywood), edited by Dr. Hiles, dates from February 1885.
Musical Society (Morley), first appeared (monthly) in March 1886. It contains articles by Mr. Hamilton Clarke and others, and a musical supplement.
The British Bandsman and Orchestral Times, circulates among bandmasters and members of military, orchestral, and brass bands. It was established in September 1887, under the joint editorship of Mr. Waterson and Mr. Cope, the latter of whom is also proprietor and publisher. It appears monthly, with a musical supplement.
The Meister, the organ of the Wagner Society, made its first appearance on Feb. 13, 1888. It is issued quarterly by Redway, under the honorary editorship of Mr. Ashton Ellis and Mr. E. F. Jacques. Messrs. Dowdeswell, Shedlock, Glasenapp and Barry are among the contributors.[ L. M. M. ]
- ↑ From 1853 to 59 it was carried on as a kind of musical trade circular.