PERIODICA MUSICA Publication of the Répertoire international de la presse musicale Centres internationaux de recherche sur la presse musicale RIPM CIRPM OB Volume IX 1991 Magazine Music of the Jugendstil Bonny H. Miller and Expressionist Movements (Norfolk) Les Revues musicales et la critique Henri Vanhulst 14 en Wallonie et à Bruxelles au XIXème siècle (Bruxelles) English and American Periodicals Richard Kitson 23 Treated by RIPM: A Report (College Park) é^^==a=!a^^^ ^^J^^^ PERIODICA MUSICA Published jointly by: EDITORS Center for Studies in Nineteenth- H. Robert Cohen, General Editor Century Music, University of Maryland at College Park, U.S.A. Zoltan Roman, Acquisitions Editor Marcello Conati, Corresponding Editor Centre international de recherche Anne Bongrain, Managing Editor sur la presse musicale, Conservatorio di musica "Arrigo Boito," Parma, Comune di Colorno, Italy RIPM operates under the auspices of the International Musicological Society and the International Association of Music Libraries, Archives and Documentation Centres ISSN 0822-7594 ©Copyright 1993, The University of Maryland at College Park Volume IX RIPM Magazine Music of the Jugendstil tury in journals such as Prometheus (Vienna: 1808), and Expressionist Movements Johann Erichson's Wiener Musen — Almanach der Romantik (Vienna: 1814), Friedensblätter (Vienna: Bonny H. Miller 1814-15), and Wiener Zeitschrift für Kunst, Literatur, (Norfolk, Virginia) Theater und Mode (Vienna: 1816-48) .2 A variety of nineteenth-century literary and cultural periodicals Music by composers as diverse as Friedrich continued the practice of issuing music for their readers. Nietzsche, Hugo Wolf, Arnold Schoenberg, and Otto One example, Europa: Chronik der Gebildeten Welt Klemperer is a little-known component of more than a (Leipzig, Stuttgart: 1835-85), included works by such dozen literary and art periodicals published in Germany figures as Giacomo Meyerbeer, Vincenzo Bellini, Gioac­ and Austria between 1890 and 1930. Although these chino Rossini, Johann Strauss, and Richard Wagner.3 journals are hailed as essential documents of the Between 1880 and 1910, cultured domestic magazines Jugendstil and Expressionist movements, little atten­ such as Nord und Sud (Berlin: 1877-1930), Schorers tion has been devoted to this unusual musical legacy Familienblatt (Berlin: 1880-94), Von Fels zum Meer which provides valuable contemporary evidence regard­ (Stuttgart: 1881-1917), Kunstwart (Munich: 1887- ing the flowering of Jugendstil and Expressionism in 1937), and Der Türmer (Stuttgart: 1898-1944) con­ music. tained frequent musical examples by Baroque, Classical, and Romantic masters, as well as music by Inclusion of music in household periodicals for infor­ prominent composers, conductors, and teachers of the mal performance at home had been commonplace in day. Germany and Austria since the 1770s, when Lieder by members of Goethe's circle (e.g., Carl Friedrich Zelter, Despite this strong tradition of publishing music in Johann Friedrich Reichardt, Georg Abraham literary periodicals, it was not these magazines alone Schneider, and Johann Abraham Peter Schulz) ap­ that provided the inspiration for including musical peared in many literary almanacs and Taschenbücher. works in the journals of German Expressionism; rather, A craze for endowing annuals, calendars, and even tiny the Arts and Crafts movement in England may have almanacs with a supplement of fold-out music began in been the immediate stimulus. Led by William Morris France in 1765 with the Almanach des Muses (Paris: and the Glasgow Four (i.e., Charles Rennie-Mackintosh, 1765-1833), and was copied in Germany beginning with Herbert MacNair, Frances MacDonald, and Margaret the Göttingen Musenalmanach (Göttingen: 1770- MacDonald-Mackintosh), the Arts and Crafts move­ 1804), and then in hundreds of other literary pocket- ment of the 1890s was founded on the premise that books and annuals.1 As in most European journals of hand-made, not machine-made, objects demonstrated this era, music was often presented on special fold-out the finest qualities of beauty in design, construction, sheets, either elegantly engraved or in rough typeset. and function. English furniture and books were greatly The horrendous errors in notes, rhythmic alignment, admired in France and Germany as models both of and text placement that occurred commonly in such workmanship and artistic unity. "magazine music" indicate that the scores were proba­ bly prepared by the printer who set the magazine, rather A book or journal was regarded as a superb medium than by a regular music publisher. for such expression—a Gesamtkunstwerk, combining literature, illustration, layout, printing, and binding. A Lieder by Ludwig van Beethoven, Louis Spohr, and familiar example is Oscar Wilde's 1894 edition of Franz Schubert began to appear early in the next cen- Salome, illustrated by Aubrey Beardsley. Another ex­ 1 ample is the Century Guild Hobby Horse, published by Hans Kóhring provides a guide to these periodicals in a British crafts guild from 1884 to 1894. This quarterly Bibliographie der Almanache, Kalender und Taschenbücher für die Zeit von ca. 1750-1860 (Hamburg: H. Weber, 1929). 2 See also Karl Gladt's Almanache und Taschenbücher aus Clemens Höslinger provides a detailed index to the music Wien (Wien-München: Jugend und Volk, 1971), Maria Gräfin in the Wiener Zeitschrift in Musik-Index zur "Wiener Lanckoronska and Arthur Rümann's Geschichte der Zeitschrift für Kunst, Literatur, Theater und Mode," 1816- deutschen Taschenbücher und Almanache aus der klassisch­ 1848, Publikationen der Sammlungen der Gesellschaft der romantischen Zeit (Munich: Ernst Heimeran, 1954), and Musikfreunde in Wien, Band 4 (Munich and Salzburg: Musik­ York-GotthartMix'scatalog Ka/eßderP.Ey, wie viel Kalender! verlag Emil Katzbichler, 1980): 153-56. An index of com­ Literarische Almanache zwischen Rokoko und Klassizismus posers who published music in many early nineteenth-cen­ (Wolfenbüttel: Herzog August Bibliothek, 1986). An index tury German periodicals is included in Alfred Estermann's of musical works in twenty-two early German Romantic Die deutschen Literatur-Zeitschriften 1815-1850 Biblio­ journals is found on fiche 28/28 of Index deutschsprachige graphien Programme Autoren (10 volumes, Nendeln: KTO ZeitschrifìenMDCCL-MDCCCXV(1750-1815J, Akademie der Press, 1978): vol. 9, 121-28. Wissenschaften zu Göttingen, editor-in-chief Klaus Schmidt 3 Europa listed the Musikbeilagen in the index to each (Hildesheim: Olms Neue Medien, 1989). volume. See also Estermann, op. cit., entry no. 6.22. PERIODICA MUSICA 1991 journal blended poetry and criticism with exquisite il­ interpolations in these journals, the names of the desig­ lustration, engraving, and layout. In 1888 the journal ners, artists, and engravers received recognition equal published a song by the British composer Arthur Somervell, to that given to the composer and to the author of the "Marie at the Window," and thus set a precedent for text. In the October 1896 issue of the Mercure de France, including music observed in English and North for example, a piano solo by Gabriel Fabre was preceded American "little magazines" at the turn of the century. by a title page, a sketch of a pond with water lilies by L. Weiden Hawkins, and lines from a poem by Henri de Three features characterize little magazines: they Régnier. are directed at a small literary audience, they contain new or experimental literature and criticism, and they The aestheticism of the British and French journals are published without expectation of profit. The little of the 1890s is evident in Pan (Berlin: 1895-1900), an magazines of the 1890s, notably the influential Yellow opulent art magazine founded by Otto Julius Bierbaum Book (London: 1894-97) andtheSauoy (London: 1896), and Julius Meier-Gräfe. Impressionism and Art combined contemporary writing with the newest in Nouveau inspired this quarterly publication, which con­ printing and book design. Although these periodicals tained music by Conrad Ansorge and Friedrich were primarily literary in orientation, illustrations or Nietzsche (youthful works composed in 1862 and 1865). decorations were frequent, and music was an occasional Munich, site of the first German Sezession movement complement. Outstanding among little magazines that in 1892,7 was the home of several German journals that included contemporary songs in the 1890s were the aimed for a synthesis of literature, art, design, British Quarto (London: 1896-98), Dome (London: craftsmanship, and music. Jugend (1896-1940), pub­ 1896-1900), Windmill (London: 1898-1900), and the lished by Sezession member Georg Hirth, reveals the American Chap-Book (Chicago: 1894-98).4 emerging character of the German Jugendstil in some of its designs and ornaments. The introduction to the This type of literary periodical was paralleled in premier issue promised forthcoming musical examples, Germany by Blätter für die Kunst (Berlin: 1892-1919), and songs appeared during Jugend's first year of publi­ published by Stefan George's circle and devoted to their cation by Richard Strauss, Hans Sommer, Anton Beer, poetry and essays.5 From 1894 to 1896 four songs in August Bungert, and Hans Hermann. Strauss served as the late Romantic, chromatic idiom appeared in the music editor for a later Munich journal, Morgen journal (see Table I), with Lieder by Karl Hallwachs, (Munich: 1907-09), for which he chose one song by Kurt Peters, and Clemens Franckenstein, set to texts Nietzsche and one by Leo Blech.