Musikbote

Nineteen issues of Musikbote [MBO] were published in Vienna from December 1924 to November 1926 by Ludwig Doblinger. The periodical appeared monthly, except for a three-month summer break from July to September. The first ten issues were edited by Otto Siegl, while the remainder was edited by Othmar Wetchy. Initially Musikbote is an independently objective mediator between the contemporary Austrian creative artists and their audiences. The main focus lies in reviews and compilations of musical novelties with a special emphasis on chamber music as the most suitable means to stimulate domestic music-making. The objectives of MBO are broadened in the second year with a blending of specific Austrian and general musical interests and a continuation of its original goal of serving domestic music-making. In addition, the scope of the reports on musical life in the larger Austrian cities and international news is enlarged.

The organization of the journal remains unaltered throughout its run. First is an extended review section followed by brief descriptions of various new publications of piano and violin music, songs and other vocal pieces, string quartets, etc. The journal continues with a section of essays on musicological topics. This in turn is followed by the “Nachrichtenteil” [News section], which contains many brief notices about the artistic community and commentaries on contemporary music gathered under captions such as “Konzertnachrichten” [News from the concert hall], “Opernnachrichten” [News from the opera], “Musikbriefe” [Music letters], “Interessante Neuerscheinungen” [Interesting new publications], “Musikalisches Allerlei” [Musical potpourri] and “Aus Hausmusikkreisen” [From the sphere of domestic music-making]; Further headings include “Büchereinlauf” [Books received] and “Zeitschriftenübersicht” [Survey of journals]. The “Tabellarische Zusammenstellungen” [Tabular compilations] contains a prospectus of the works reviewed in the current issue as well as an overview of the latest new editions including prices. Each issue concludes with advertisements of musical editions and literature.

Otto Siegl wrote for the Musikbote only during his time as editor. His main topics are Austrian music culture and different aspects of concert performance and private music-making. He also contributes to the section “Konzertnachrichten” [News from the concert hall]. His successor Editor Othmar Wetchy writes on aspects of the development of musical taste and on support structures for contemporary music. He provides short reviews of newly released musical editions and biographical sketches of musicians, as well as contributions to the “Konzertnachrichten.” Roderich von Mojsisovics of Graz informs the reader about the challenges and objectives of German-Austrian art and on musical life in the city during the previous one-hundred-and-fifty years. Joseph Rinaldini gives primarily reports from the Viennese concert halls and opera houses and book reviews. Finally, the local Klangenfurt correspondent Karl R. Flachs, Cornelius Preiß of Linz and Herbert Gschwenter of Innsbruck provide occasional reports on musical life in the Austrian provinces.