FOCUSING ATTENTION: SPECIAL ISSUES IN GERMAN-LANGUAGE MUSIC PERIODICALS OF THE FIRST HALF OF THE TWENTIETH CENTURY

NOTES

• It should be recalled here that the first music periodical, Critica musica, was founded in 1722 by the German composer, music theorist and lexicographer Johann Mattheson (1681–1764).
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• As will be seen later, Die Musik became Musik im Kriege in 1943 following amalgamation with three other journals.
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• Bernhard Schuster . 1932 . ‘An unsere Leser’. . Die Musik , 25 ( 1 ) October : 1 – 4 .
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• 1914 . ‘Sonderhefte der Musik’ . Die Musik , 13 ( 14 ) See, for example
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• 1933 . ‘Sonderhefte der Musik’ . Die Musik , 25 ( 9 ) This advertisement may have been published earlier, but was found only in the June issue in the copies and microfilms consulted.
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• The Neue Zeitschrift für Musik might even claim to have been the first journal to introduce special issues, since the article sections of its June and October 1901 issues, without actually being called special issues as such by the editors, are completely devoted to Robert Schumann and Albert Lortzing.
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• It should be added that the Allgemeine Musikzeitung had been publishing annotations for the festivals of the Tonkünstlerfeste of the Allgemeiner Deutscher Musikverein since 1899, three years before Die Musik.
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• 1932 . ‘Das reiche Musikleben Großdeutschlands’ . Neue Zeitschrift für Musik , 106 ( 3 ) : 352
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• Two journals, the Neue Zeitschrift für Musik and Der Merker, are available as reprints.
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• It should be kept in mind, however, that this article, being primarily bibliographical in nature, focuses more on the topics considered worthy of emphasis through special issues rather than on the manner in which the topics were treated.
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• Helmut , Kirchmeyer . 1958 . “ ‘Kritik und Polemik: Dokumente zur Zeitgeschichte’ ” . In Igor Strawinsky: Zeitgeschichte im Persönlichkeitsbild—Grundlagen und Voraussetzungen zur modernen Konstruktionstechnik 277 – 460 . Regensburg The issue of polemics in that period is discussed in detail in, Another interesting study, focusing on the critical reaction to new music and on conservative criticism, is Brian Irwin Chemey, ‘The Bekker-Pfitzner Controversy (1919–1920): its Significance for German Music Criticism during the Weimar Republic (1919–1932)’ (Ph.D. dissertation, University of Toronto, 1973). It should be noted that polemics are a characteristic of the German press, but not of Austrian periodicals.
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• Rudolf , Vogler . 1975 . “ Die Musikzeitschrift ‘Signale für die musikalische Welt’, 1843–1900 ” . In Kölner Beiträge zur Musikforschung 81 Regensburg Another journal not devoted not the propagation of modern music, the Signale für die musikalische Welt (1843–1941), published in Berlin and Leipzig, could not be studied for the purposes of this article. Only its activity in the nineteenth century has so far been covered; see
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• Cherney . ‘The Bekker-Pfitzner Controversy’ , 3
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• Toni , Haefeli . 1982 . Die Internationale Gesellschaft für Neue Musik (IGNM): ihre Geschichte von 1922 bis zur Gegenwart Zürich Concerning the ISCM, see
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• Kirchmeyer . Igor Strawinsky , 321
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• Joseph , Wulf . 1963 . Musik im Dritten Reich: eine Dokumentation Gütersloh All three contributed frequently to the Zeitschrift für Musik. Heuß (1877–1934) was the editor of that journal from 1920 until his death in 1934. Stege (b. 1986) was the editor of the Amtliche Mitteilungsblatt der Reichsmusikkammer and the music critic of the Völkischer Beobachter, the official newspaper of the Nazi party; he was also the journal's editor for the northern part of Germany. Unger (1866–1958), who was also a composer, entered the Nazi party in 1931 and became Leiter of the Fachgruppe Musik im NS-Kampfbund für deutsche Kultur; he also served as the journal's editor for the western part of the country. A useful anthology of writings about music by a large selection of now mostly forgotten writers is;, repr. Frankfurt, 1983).
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• Michael , Meyer . 1978 . ‘Musicology in the Third Reich: a Gap in Historical Studies’ . European Studies Review , 8 : 349 – 64 . For a discussion of musicology (as opposed to music criticism) in the Third Reich, see, Some writers, like the Liszt scholar Peter Raabe (1872–1945) and the Wagner specialist Alfred Lorenz (1868–1939), succumbed to Nazi ideology. On the other hand, there were musicologists who published in journals run by, or sympathetic to, the Nazis, yet managed to avoid the kind of writing about Jewish composers that characterized the leaders of Nazi musicology. This was the case of Karl Gustav Fellerer (1902–84), a frequent contributor to Die Musik during its last years. Another example is the distinguished editor of Die Musik in Geschichte und Gegenwart, Friedrich Blume (1893–1975), who wrote ‘Musik und Rasse: Grundfragen einer musikalischen Rassenforschung’, Die Musik, 30, no. 11 (1938), 736–48. Despite the topic, there is not a single reference to the word ‘Jew’ in the 24 columns of the article. Blume also edited the series Schriften zur musikalischen Volks- und Rassenkunde, in which he published his own Das Rasseproblem in der Musik: Entwurf zu einer Methodologie musikwissenschaftlicher Rasseforschung (Wolfenbüttel, 1939).
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• Alfred , Heuß . 1933 . ‘Augenblicksaufnahmen der ZFM aus ihren drei letzten Jahrzehnten’ . Zeitschrift für Musik , 100 ( 1 ) : 30 – 3 . About the periodical's history, see; Georg Kinsky, ‘Zur Geschichte der Gründung der Neuen Zeitschrift für Musik’, Zeitschrift für Musik, 87 (1 March 1920), 1–5; Michael Stegemann, ‘NZ: aus der Biographie einer Zeitschrift’, NZ Neue Zeitschrift für Musik, 145, no. 4 (1984), 4–8.
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• Arthur , Seidl . 1911 . Festschrift zum fünfzigjährigen Bestehen des Allgemeinen Deutschen Musikvereins Berlin The Allgemeiner Deutscher Musikverein was founded in 1863 on the occasion of the 25th anniversary of the Neue Zeitschrift für Musik. It programmed new works as well as rarely heard older works in its festivals (Tonkünstlerfeste), which were held yearly in a different city between 1861 and 1937. In 1938, the ADMV was dissolved and its Tonkünstlerfeste were replaced by the Reichsmusiktage. On the still virtually undocumented history of this important society, see, and Hans Rutz, Festschrift zum 75jährigen Bestehen des Allgemeinen Deutschen Musikvereins (Weimar, 1936)
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• 1906 . ‘An unsere Leser!’ . Musikalisches Wochenblatt/Neue Zeitschrift für Musik , 73 ( 40 ) : 735
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• Joel , Sachs . 1970 . ‘Some Aspects of Musical Politics in Pre-War Germany’ . Perspectives of New Music , 9 ( 1 ) : 74 – 95 . For a fascinating study of the journal's conservative stance, see
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• Sachs . ‘Musical Polities’ , 87 – 8 .
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• 1933 . ‘Die Musik—Zeitschrift für Musik und anderes’ . Zeitschrift für Musik , 100 ( 12 ) : 1274
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• The word ‘steady’ (‘stete’) was added before ‘spiritual renewal’.
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• There is as yet no study of the Allgemeine Musikzeitung—which, to be strictly accurate, was called Allgemeine Musik-Zeitung from 1882 to 1924 and Allgemeine Musikzeitung from 1925 to 1943.
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• During the nineteenth century Breitkopf & Härtel had published a journal entitled Allgemeine musikalische Zeitung (1798–1848, 1863–5 and 1869–82), which is an important documentary source for musical life during that period.
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• von Hase , Hellmuth . 1917–19 . “ ‘Allgemeine Musikzeitung’ ” . In Breitkopf & Härtel: Gedenkschrift und Arbeitsbericht Vol. iii , 73 Leipzig Quoted in; Wiesbaden, 1968); this statement appeared in vol. 61, no. 14 (1934). Hardly any other documentation about the Allgemeine Musik-Zeitung is available.
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• Altmann, one of the most prolific music writers in the German-speaking world, had so many compilations and articles to publish that ideological tendencies must not have mattered much to him.
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• Adolf , Diesterweg . 1920 . ‘Vom Musikalisch-Hysterischen’ , 47 : 539 See, for example,; Diesterweg, ‘Futuristen-Dämmerung’, 49 (1922), 375; Gustav Ernest, ‘Noch einige Worte zum Thema “Spieltalent und Rasse’”, 50 (1923), 4; Hans Joachim Moser, ‘Atonale Geschichtsklitterung’, 50 (1923), 623; Klaus Pringsheim, ‘Aus Strawinskijs Falschmünzerwerkstatt’, 51 (1924), 939.
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• 1938 . Allgemeine Musikzeitung , 65 ( 15 )
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• There is as yet no study of the Neue Musik-Zeitung.
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• 1909 . ‘An unsere Leser und Freunde’ . Neue Musik-Zeitung , 30 ( 23 ) : 485
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• 1917 . ‘Ferruccio Busoni als Aesthetiker’ . Neue Musik-Zeitung , 38 ( 15 ) : 239 – 40 . Willibald Nagel (1863–1929), who edited the Neue Musik-Zeitung from 1916 to 1922, wrote a particularly aggressive article (in two instalments) on the occasion of the second edition (1916) of Busoni's Entwurf einer neuen Ästhetik der Tonkunst (orig. edn., 1907):; no. 16(1917), 253–4., Nagel warns that the booklet is likely ‘to confuse even more the present-day aesthetic notions, which are already profusely obscure’ (‘die sowieso schon überreichlich unklaren ästhetischen Begriffe der Gegenwart noch weiter zu verwirren’, p. 239); later on, he describes it as a ‘silly monstrosity’ (‘törichte Ungeheuerlichkeit’, p. 254).
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• 1992 . ‘Le périodique Die Musik (1901–1944) et sa transformation à travers trois périodes de l'histoire allemande’. . Revue de musicologie , 72 : 109 – 44 . The history of this periodical is dealt with in detail in my Ph.D. dissertation entitled ‘Die Musik (1901–44): la transformation d'un périodique à travers trois périodes de l'histoire allemande’ (University of Toronto, 1988), and in my article
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• 1936 . ‘An die Leser und Mitarbeiter’ . Die Musik , 29 ( 1 ) : 80 This official communication concluded with ‘Heil Hitler!’ It should be pointed out that it is one of only two such occurrences in the Nazi history of the journal.
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• Lexikon der Juden in der Musik, mit einem Titelverzeichnis jüdischer Werke . 1940 . “ Zusammengestellt im Auftrag der Reichsleitung der NSDAP, auf Grund behördlicher, parteiamtlich geprüfter Unterlagen ” . In Veröffentlichungen des Instituts der NSDAP, zur Erforschung der Judenfrage, , 2nd edn. Edited by: Stengel , Theo and Gerigk , Herbert . 2 Berlin 1943
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• The ‘Office for the Cultivation of Art Associated with the Supervisor for the Total Spiritual and Ideological Training of the NSDAP’ [German National-Socialist Party of Workers] was headed by Alfred Rosenberg (1883–1946), the chief ideologue of the party.
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• Herbert , Gerick . 1943 . ‘Alfred Rosenberg’ . Die Musik , 35 ( 4 ) : 104 ‘Unter den Augen des Mannes, der dem Führer die Reinerhaltung des nationalsozialistischen Ideengutes zu gewährleisten hat, arbeiten zu dürfen, ist uns auch künftig höchste Verpflichtung!’.
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• Renate , Federhofer-Königs . 1980 . “ ‘Der Merker (1909–1922); ein Spiegel österreichischen Musiklebens’ ” . In Ars musica, musica scientia: Festschrift Heinrich Huschen zum fünfundsechzigsten Geburtstag am 2. März 1980, überreicht von Freunden, Kollegen und Schülern Edited by: Altenburg , Detlef . 118 – 27 . Cologne For a short account of the journal's history and contents, see
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• 1909/10 . Der Merker , 1 : 2
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• Theodor , Haas . 1919 . ‘Die Wiener Musikzeitschriften: eine kurzgefaßte Geschichte des Wiener musikalischen Journalismus von seinen Anfängen bis zur Gegenwart’ . Der Merker , 10 ( 20 ) : 671 – 6 . no. 21 (1919), 699–702; no. 22 (1919), 733–5.
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• Irmelin , Bürgers . 1988 . ‘Das Modell einer Musikzeitschrift: vor fünfzig Jahren erlosch der Anbruch’ . NZ Neue Zeitschrift für Musik , 149 ( 6 ) : 74 – 5 . For a brief account of the journal's history, see, See also Manfred Wagner, ‘Alban Berg und die Musikblätter des Anbruch’, Alban Berg Symposion Wien 1980: Tagunsbericht, ed. Rudolf Klein, Alban Berg Studien (Vienna, 1981), ii, 216–23.
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• Rosemary , Hilmar . 1978 . “ ‘Bergs musikschriftstellerische Tätigkeit in den Jahren 1918 bis 1925’ ” . In Alban Berg: Leben und Wirken in Wien biz zu seinen ersten Erfolgen als Komponist Vol. 10 , 152 – 61 . Vienna, Cologne and Graz : Wiener Musikwissenschaftliche Beiträge . Berg's activities as a music journalist are documented in
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• Röder , Werner and Strauss , Herbert A. , eds. 1980–3 . Biographisches Handbuch der deutschsprachigen Emigration nach 1933 Vol. iii , 193 – 6 . Munich For a list of names of 414 musicians and 119 musicologists who left Germany and Austria following the advent of the Nazi régime, see
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• There seems to be no study of the history of Der Auftakt.
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• Hans , Mersmann . 1930 . ‘Zehn Jahre Melos’ . Melos , 9 ( 2 ) : 58
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• Ernst , Laaff . 1960 . ‘Das neue Melos’ . Melos , 35 ( 5 ) : 178 – 80 . Concerning the history of Melos, see; Laaff, ‘Zehn Jahre Wiederaufbau der Zeitschriften im Schott-Verlag’, Festschrift für einen Verleger: Ludwig Strecker zum 90. Geburtstag, ed. Carl Dahlhaus (Mainz, 1973), 283–6; Hans Oesch, ‘Das Melos und die Neue Musik’, ibid., 287–94; Heinrich Strobel, ‘50 Jahre Melos’, Melos, 37, no. 6 (1970), 221–3.
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• Category 2, devoted to groups of composers, will not be discussed here since it does not lead to different conclusions.
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• The issues of the Neue Zeitschrift für Musik, at least at that time, consisted of a rather limited number of pages whereas Die Musik was much more substantial.
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• 1932 . Anbruch , 14 ( 4/5 ) There is, however, a special issue about the publishing house's founder, the businessman Emil Hertzka; see
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• Hermann , Unger . 1935 . ‘Beethovens Mutter: zur Auffindung ihres Grabes’ . Zeitschrift für Musik , 102 ( 11 ) : 1216 – 29 .
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• It should be pointed out that illustrations were still infrequent at that time; they were generally published on separate pages (Bildbeilagen) rather than incorporated within the relevant articles.
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• No festivals were held between 1915 and 1919.
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• Individual topics (dance; aesthetics) are set off by semicolons; related topics grouped together (film music, radio, recording) are separated by commas.
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• The expression ‘mechanical music’, translated from ‘mechanische Musik’, was used from around 1927 onwards to refer to instruments like Carl Robert Blum's Musik-Chronometer, Jörg Mager's Sphärophon and Leo Theremin's Vox, which paved the way for electroacoustic music.
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• 1984 . ‘Le répertoire d'opéras du XXe siècle des scènes de langue allemande entre 1925 et 1930: étude statistique’. . Revue de musique des universités canadiennes , 5 : 198 – 221 . See my article
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• This mobility can be seen easily by leafing through the annual Neuer Theater-Almanach published in Berlin by F. A. Günter & Sohn.
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• David , Drew . 1961–2 . ‘Musical Theatre in the Weimar Republic’ . Proceedings of the Royal Musical Association , 88 : 95
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• Wilhelm , Altmann . 1931 . ‘Opernstatistik August 1930 bis Juli 1931’ . Zeitschrift für Musik , 98 ( 11 ) : 948 – 68 . For statistics on the modern and the standard repertoires, see (among others)
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• This issue is filed under the category dealing with music in a given country.
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• Kirchmeyer . ‘Karneval um Strauß und Schönberg: zum Kapitel “Neue Musik und Pathologie’” . Igor Strawinsky , 424 – 46 . See, especially 424–38.
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• Mephistopheles . 1913 . ‘Richard auf Naxos und Ariadne bei Wertheim: eine tragi-burlesk-seriös-komische Gemischtwarenhandlung in zwei Etagen, mit verlarvtem Tiefsinn und unverlarvten Blödsinn, ohne Hugo, aber mit Hautgout’ . Die Musik , 12 ( 9 ) : 146 – 55 .
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• Mephistopheles . 1911 . ‘Aus meiner Disharmonielehre: im Auftrag des Kunterbuntprofessors Arnold Häßlichberg mitgeteilt’ . Die Musik , 10 ( 10 ) : 224
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• Emil , Petschnig . 1924 . ‘A. Schönberg, der Psychopath’ . Allgemeine Musik-Zeitung , 51 ( 48 ) : 875 – 6 . See; no. 49 (1924), 895–7.
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