Published in Lwów simultaneously with Orkiestra in 1936–1937, Echo was ‘a monthly dedicated to the musical culture of Lwów’. Its editorial office was located in Koffler’s private flat at 5 Chmielowskiego Street. Unlike the nationwide Orkiestra, Echo was mostly a local Lwów journal. However, according to Katarzyna Madaj, it constituted the peak achievement of Koffler’s journalistic work. It was distinguished by a clear programme, focused in particular on the promotion of contemporary music.
Echo
Koffler set Echo the task of
The last page of the final issue of Echo (1937 No. 7)
educating true and conscious music lovers, who exhibit an active attitude to that art […], of reviving the sense of the uniqueness and festive character of all music
(‘Ideological Programme’, Echo, 1, September 1936, 1–2).
It aimed to ‘combat all harmful influences’ in musical culture. It was also to pay attention to the place of music on the radio and in films, which had not been the subject ‘of any matter-of-fact, independent criticism’ before that time. Koffler himself wrote more than a dozen text for Echo (including editorials).
Other authors included Seweryn Barbag (four texts in 1936–1937), sporadically – Adam Sołtys, Zofia Lissa, and Stefania Łobaczewska. From the very first issue onwards, Echo found a frequent contributor in the person of Wiktor Hausman, a music theory teacher at Lwów’s PTM Conservatory from 1933, who was a music critic and a military police captain in the Polish Army at the same time.
In Echo, Koffler wrote, among others, about the radio, musical life, and music criticism. Koffler’s own output and the stages of his ‘internal evolution’ as a composer were commented upon in Echo by Tadeusz Majerski (a composer and Lwów PTM Conservatoire teacher like Koffler himself).