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 Hi, Don, et al (smalla in al,


I'm afraid I don’t have the time or the passionate interest in doing this particular write-up.  I don't have (and don't want) the two mags nor do I want to relive the passionate frustration and anger many of their reviews provoked.  Let's say that often the recorded evidence (especially as regards performance practice) was counter to their expectations.  Portamento is the devil!  I'd just as soon not relive those arguments.

Steve

-----Original Message-----
From: Association for Recorded Sound Discussion List [mailto:[log in to unmask]] On Behalf Of Donald Tait
Sent: Friday, August 16, 2013 2:52 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] Kurt Borack

Roger -- 

  You seem to be saying that attention to a topic or subject is to be determined by a single personal opinion about the number of people perhaps potentially interested in it, and that if the answer to that one person's guess is "not many," the topic isn't worth discussing and should be ignored.

  I disagree. 

  If a topic is interesting, which this is to me, I don't care a jot if anyone else is interested. What is "water under the bridge" for one person can be someone else's nectar. No one would be required to read such a discussion. I've found such reading interesting for almost sixty years. Everything that might teach or give a bit more perspective deserves, even demands, exploration. Clearly, you wouldn't be interested. Fine. Just ignore it and move on. But your assumption that your moderate interest in this topic means that the majority of others believe the same as you, and that that should dictate whether it is worthy of attention, is wild of the bull's-eye. 

  Incidentally: Jochum's first name was Eugen, not Eugene. 

  Peace.

  Don Tait

  

 

 

 

-----Original Message-----
From: Roger Kulp <[log in to unmask]>
To: ARSCLIST <[log in to unmask]>
Sent: Thu, Aug 15, 2013 10:35 pm
Subject: Re: [ARSCLIST] Kurt Borack


Don, To be fair,all this is water long under the bridge.Only a small per centage of historically minded classical music listeners these days are even vaguely aware of what you and Steve are talking about here.I have done my fair share of digging in old issues of Saturday Review,Gramophone,High Fidelity,etc online,as well as thumbing through numerous old guide books to classical music from the 40s,50s,and 60s so I have some idea of what you are talking about here.It does help explain why when digging through classical records at thrift stores,why you can find thousands of copies of the same work by a Toscanini or a Eugene Ormany,instead of some by Eugene Jochum or Hermann Abendroth. Roger  > Date: 
Thu, 15 Aug 2013 19:06:14 -0400> From: [log in to unmask]> Subject: Re: 
[ARSCLIST] Kurt Borack> To: [log in to unmask]> > Hi Steve,> >   Total 
agreement with all you wrote. Thanks so much, as always. What you raised is a huge NYC critical  topic during the 1950s and '60s that needs to be discussed and written about. No one is better qualified than you -- and that's not meant as flattery, believe me. That stuff had major influence. And not all to the good 
by any means.> >   Don Tait> >  > >  > >  > > -----Original Message-----> From: 
Steven Smolian <[log in to unmask]>> To: ARSCLIST <[log in to unmask]>>
Sent: Thu, Aug 15, 2013 5:51 pm> Subject: Re: [ARSCLIST] Kurt Borack> > >  Hi, Don and all,> > Having known some of the Gramophone Shop and, foir that matter, all those at > "The New Records" (H. Royer Smith, Phila.) reviewers I found that personal > prejudices played a much stronger part in their reviews than in the coated-paper > magazines.  They are useful to track items such as this but, unless there are > strong specifics, I'm wary of the musical opinions.  Remember this was in the > "Toscanini is the Greatest" days, Furtwaengler was the anti-Toscanini, etc.  > Brahms' piano recoitals were dissed if not done whatever the "American" way was.  > Not always, but often enough to be very, very cautious about the opinions > expressed.  > > Steve Smolian> > -----Original 
Message-----> From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] > On Behalf Of Donald Tait> Sent: Thursday, August 15, 2013 5:26 PM> To: [log in to unmask]> Subject: Re: [ARSCLIST] 
Kurt Borack> >   Record Ratings (Myers and Hill) shows the following on page 52 
for Mercury MG > 15021 (10"):> >   Brahms: Ballades from Opp. 10 and 118> >   
Op. 10 nos. 1-4 -- Priegnitz, p. >   Op. 118 no. 3, in G Minor: Kurt Borack, p.> 
>     The one review listed is negative. From The Gramophone Shop, October 1951,  
> p. 3.> >     Don Tait> >  > >  > >  > > -----Original Message-----> From: 
Thomas Stern <[log in to unmask]>> To: ARSCLIST <[log in to unmask]>>
Sent: Wed, Aug 14, 2013 6:12 pm> Subject: Re: [ARSCLIST] Kurt Borack> > > I found the following:> > MG 15021 lists Borack only on Ballade No.5> > > Schwann Record & Tape Guide - Page 20> books.google.com/books?id=CNM4AQAAIAAJ> 1952 - ‎Snippet view - ‎More editions> LPS-204 Piano Music from Op. 118, 119 Kurt Borack 10" Mer. MG-15022 > > > Gramophone Shop - 1951 - ‎Snippet view - ‎More editions 10" LP record, MERLP- > MG15024, $3.85. Brahms: Fantasias, Op. 116 & lntermezzi, Op. 117. Magda Rusy > (piano). 12" LP record, MERLP- MG10074, $4.85. 
Brahms: > Ballades, Op. 10 & Op. 118, No. 3. Hans Priegnitz & Kurt Borack ( pianos).> > > > Saturday Review of Literature - Volume 34 - Page 89> books.google.com/books?id=SCFVAAAAYAAJ> 1951 - ‎Snippet view - ‎More editions> Abram Chasins MG 1.5030—10" $3.85 Abram Chasins and Constance KecneMG10061 — 12" 
> > $4.85 J.an Germain MG15024— 10" $3.85 Kurt Borack MG15022— 10" $3.85 
> > Magda
Rusy > MG 10074— 12" $4.85 Hans Priegnitz MG 15021—  ...> > > > > > He is listed 
on 1 track of> ETERNA ‎– 7 10 020         10" > Internationale Chansons > A3  
Comptine Du Quai Aux Fleurs Written-By – Fénelon*    > Piano – Kurt Borack 
(tracks: A3)> > > > > > The Wireless World - Volume 34 - Page lv> books.google.com/books?id=59UnAQAAMAAJ> 1934 - ‎Snippet view - ‎More editions> _4.80, Ballad Recital by Oiikar Jolli (Baritone) and Kurt Borack (Pianoiorte): > 
> > > 1936 March 14  The Straits Times> Romanzas for violin and piano by
Beethoven> Lathar Ritterhoff and Kurt Barack> > > New York Sun  19 Feb 
Beethoven> 1935
Short Wave RADIO listing> Germany> 8:30— Tresi Rudolph, soprano; Lothar> Rlttarlioff. violinist; Kurt Borack,> pianist.> > > > Odeon O-25952 > TARTINI: 
Andante cantabile >   Senta Bergman, violin, Günther Schulz-Fürstenberg, cello, 
Kurt Borack, piano > (role: Performer)  > > > Odeon  O-25952 > Schumann:  
Liebesgarten, op. 34, no. 1 >   Senta Bergman, violin, Günther 
Schulz-Fürstenberg, cello, Kurt Borack, piano> > Odeon O-25952  10" 78rpm>
SCHUBERT:  Piano Trio in B major  1812> SCHULZ FURSTENBERG TRIO (Senta Bergmann: 
violin, Gunther Schulz Furstenberg: > Cello & Kurt Borack: piano)> > > Odeon O 
26265              1938 > Schulz-Fürstenberg-Trio (Senta Bergman, Violine; 
Günther Schulz-Fürstenberg, > Cello; Kurt Borack, Flügel)> Beethoven-Trio Nr.8
B-Dur: mit Variationen.> > > Odeon  O-26276 > BEETHOVEN:  Piano Trio in D major, 
op. 70, no. 1 'Ghost' - Allegro vivace con > brio >   Senta Bergman, violin, 
Günther Schulz-Fürstenberg, cello, Kurt Borack, piano > (role: Performer)  > > > DEUTSCHES RUNDFUNK ARCHIV> -------------------------> HUGO WOLF> Das verlassene 
Mägdlein> Eva-Regina Schulze, S> Kurt Borack, Kl> 1955 / DRA Babelsberg 
Mägdlein> MZ
11431/B> > In der Frühe> Eva-Regina Schulze, S> Kurt Borack, Kl> 1955 / DRA Babelsberg MZ11431/C> > Heb’ auf dein blondes Haupt> Eva-Regina Schulze, S> Kurt Borack, Kl> 1955 / DRA Babelsberg MZ11431/A> > > Best wishes, THomas.> > -----Original Message-----> From: Association for Recorded Sound Discussion 
List> [mailto:[log in to unmask]]On Behalf Of Gray, Mike> Sent: 
Wednesday, August 14, 2013 6:29 PM> To: [log in to unmask]> Subject: Re: 
[ARSCLIST] Kurt Borack> > > Borack was a prize winner in Germany in the 30's (see attached) and was active > in the 50s in Mannheim in the Opera House. > > > 
Nothing more to report, > > > Mike Gray > >  > >