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Contents : Copyright 1994 RIPM Consortium Ltd Berliner musikalische Zeitung (1844-1847) The Berliner musikalische Zeitung BRZ was edited from January 1844 to September 1847 by Carl Gaillard. A weekly publication in folio format it generally consisted of four two-column pages. On 25 September 1847 the final issue of the BRZ was published prior to its merger with the Neue Berliner Musikzeitung NBMZ which first appeared in January 1847. Set up by Gustav Bock at the publishing house of Bote & Bock the new journal competed directly with the BRZ. When faced with much criticism from BRZ editors because of the similarity of titles the NBMZ was temporarily relabeled Neue Musikzeitung f r Berlin its original name however was restored following Bote & Bock s purchase of the BRZ which included taking on most of the BRZ s collaborators. Until the founding of the NBMZ the BRZ was considered the most important music journal in Berlin. Accordingly reports and reviews about Berlin s musical life are its mainstay although reports from other localities are also found partly in the form of articles by correspondents but more often in the form of excerpts from other journals (such as the Jahreszeiten the Allgemeine Wiener Musik-Zeitung and the Signale f r die musikalische Welt). The BRZ was published by the Berlin publishing house C. A. Challier & Compagnie and edited as stated in the journal s subtitle by an association of artists and art lovers under the direction of Carl Gaillard. The editor Carl (or Karl) Gaillard born on 13 January 1813 in Potsdam had grown up in Berlin where he later came to work as a bookseller. A renowned writer and music critic of his time he wrote plays and poetry as well as essays on politics recent events and music theory for various journals in addition to being involved with the BRZ. Gaillard was also a co-owner of Challier & Compagnie. That much advertising by this firm appears in the journal underscores its obvious link to the publisher. Moreover Challier & Compagnie printed compositions by several of the journal s contributors and works newly published at Challier s were frequently reviewed in the BRZ. However the BRZ largely maintained its editorial independence from the firm. The journal s stated aim was to make music accessible not only to the professional musician but also to every educated music lover and to acquaint everyone consistently with the most recent phenomena in musical life 1 dry theoretical discussions were to be left to scholarly periodicals. The BRZ generally begins with an essay on problems of art theory with historical or biographical articles with letters or with reports from travelers abroad. These articles are 1 Berliner musikalische Zeitung no. 46 (7 December 1844) c. 1-2. ix Berliner musikalische Zeitung either written by the journal s collaborators or reprinted from books or other journals. Frequently a shorter article or a review of newly published sets of sheet music or books follows. A focal point of the journal is its reviews of Berlin s operatic and concert life which include reports on the K nigliche Oper and the Italienische Oper symphonic concerts chamber music events concerts by virtuoso performers etc. There are also a few short reviews in the following Allerlei section which is otherwise reserved for brief day-today notes on musical life in Berlin elsewhere in Germany and in foreign capitals (e.g. Paris Vienna Brussels London or Stockholm). Placed at the end of issues are advertisements announcements of employment opportunities or services offered and notes from the editor. Occasionally this is complemented by Gedichte zum Komponieren i.e. song texts. These are inserted at suitable locations anywhere in the journal. Furthermore each year the BRZ published at least eight supplements consisting mostly of sheet music for use at home that is to say small-scale piano compositions or songs. The basic structure of the journal remained unchanged through the four years of its publication although individual sections could be dropped in a given issue. Layout and typeface were changed twice (issues 24/1844 and 9/1847). The section Berliner Opern und Concerte was renamed Berliner Opern und Musikauff hrungen in issue 45/1845. The same is true for the section Allerlei renamed in issue 1/1845 Nachrichten. Moreover in response to readers wishes the focus of the journal shifted several times (e.g. coverage of musical events in Berlin became considerably more detailed from the end of 1844 on). While the desire for objectivity was professed repeatedly it could only be partially maintained in some cases subjective editorial opinions were expressed in a very belligerent manner. This applies in particular to the defense of German art against foreign influences (a brand of nationalism that can be understood if the political situation in Germany before 1848 is taken in

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