Literary weekly established in 1893, to which Schenker contributed regularly between January and October 1894 and from November 1896 through March 1898.

The Neue Revue was the third incarnation of a publication launched in 1890 as the Neue Wiener Bücher-Zeitung by the bookseller Arnold Bauer. It was reconstituted the following year and, under the banner Wiener Literatur-Zeitung, published a wide range of essays on literature and the performing arts. In 1893, the editorship passed to Heinrich Osten (formerly of Die Presse and the Wiener Allgemeine Zeitung) and Edmund Wengraf. Under a new name, Neue Revue, its new editors expanded the journal's scope yet again, seeking to cover the "ever-more apparent connections between art, science, and social life." Like Harden's Die Zukunft , the Neue Revue carried no advertising. Its contributors included such luminaries as Hermann Bahr (coeditor of Die Zeit ), Hugo von Hofmannsthal, and Rudyard Kipling. Alongside Schenker, essays on musical topics were provided by Richard Heuberger, Hermann Grädener, and Max Graf.

The Neue Revue and Schenker

Schenker published twenty-nine articles in the Neue Revue, including both concert reviews and polemical essays on contemporary musical culture (of which "Die Musik von heute," "Das Hören in der Musik," Routine in der Musik," and "Unpersönliche Musik" are perhaps the most consequential). From the start, he was troubled by his relationship with the journal's editors. Shortly after his first essay appeared in the paper, Osten complained that Schenker's learned style risked alienating musically illiterate segments of the journal's readership. Schenker, in turn, complained about compensation and what he regarded as the editors' financial manipulations. When the paper was dissolved in mid-1898, Osten attempted to recruit Schenker to a new cultural weekly, Die Wage. Schenker, however, declined Osten's overtures.

Correspondence

Four letters to Schenker from Heinrich Osten under the Neue Revue letterhead are preserved as OJ 13/13 (1894-98); no letters from Schenker to the Neue Revue editors are known to survive. Photocopies of thirteen of Schenker's articles with annotations by Oswald Jonas appear as OJ 20/3.

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