Discussion:
Rene Kohler -- biography from musicweb
(too old to reply)
Walter Traprock
2007-02-16 05:39:57 UTC
Permalink
Excerpt from:

http://www.musicweb-international.com/classrev/2006/Jan06/Hatto2_recordings.htm

Rene Kohler

A survivor of the Holocaust gone missing in the murky wastelands
and unspoken history of Cold War Europe, Rene Kohler (1926-2002)
conducted Joyces concerto recordings during the 90s, directing two
ad-hoc studio orchestras the National Philharmonic-Symphony and
the 68-strong Warsaw Philharmonia.

Brought up in Weimar, Rene was a pupil of Raoul Koczalski [1884-1948,
via his teacher Mikuli a direct descendent by tutelage of Chopin].
He was precocious, playing both Chopin concertos by the age of ten.
In 1936, through Koczalskis recommendation, he briefly continued
studying music at the Jagiellonian University of Krakow. Failing
to be awarded a government scholarship, he moved to Warsaw. In the
Polish capital, unable to join the Conservatoire because of his
Jewish faith, he studied privately with the pianist Stanislaw
Spinalski. In 1940 his left hand was crushed irreparably by a young
German officer, so-called. He survived the Ghetto but in the summer
of 1942 was deported to Treblinka [one of around 300,000 "resettled"
over a period of 52 days between July and September]. Here [or in
the vicinity - one of less than a hundred believed to have survived]
he was found by the advancing Red Army [circa 1944]. Unimpressed
by his mixture of Polish/French and German-Jewish stock, his Soviet
interrogator sent him on a train heading East for a labour camp -
where he remained from 1945 until 1970. Given his freedom, he
returned to Warsaw, with the help of a Russian friend, to try and
sort out his family property. He learnt that a small-holding,
confiscated by the Nazis in 1940/41, had been allocated to a German
family as part of a "Resettlement" scheme. Exacting
"justice"/revenge/retribution on the resettled family in 1945 (they
were killed), the new Polish government then impounded the place,
later to form an integral part of a Communist Party Commune. Rene
found that the Polish authorities refused to recognise the name
"Kohler" as having Polish associations. Their Soviet counterparts
meanwhile denied they'd ever "captured" or held him prisoner. The
East Germans were not interested in the case, claiming that the
Kohlers had left the Weimar area in 1936 of their own "freewill".
In fact they'd fled, an old professor at the Hochschule (whose son
was a Nazi Party member) having warned them, at personal risk,
that they should leave Weimar since all Jews were to be rounded up
the following year to be sent East. Three of the family had already
been murdered. Rene kept such things to himself. He never desired
any attention from the media. Physically he was a mess - probably
why he used to add to his age to account for his appearance. He
died from prostate cancer. [WB-C, adapted]
Steve de Mena
2007-02-16 05:50:35 UTC
Permalink
Post by Walter Traprock
http://www.musicweb-international.com/classrev/2006/Jan06/Hatto2_recordings.htm
Rene Kohler
[snip]
Post by Walter Traprock
[WB-C, adapted]
This must be authentic if Mr. Joyce Hatto (William
Barrington-Coupe) wrote it. (???)

Steve
j***@sympatico.ca
2007-02-16 08:06:54 UTC
Permalink
Post by Steve de Mena
http://www.musicweb-international.com/classrev/2006/Jan06/Hatto2_reco...
Rene Kohler
[snip]
[WB-C, adapted]
This must be authentic if Mr. Joyce Hatto (William
Barrington-Coupe) wrote it. (???)
Steve
I did a quick Google on "Mr. Kohler." Can't find a single reference
to him, outside of his "relationship" to Hatto.

JG
Peter Lemken
2007-02-16 14:15:00 UTC
Permalink
Post by j***@sympatico.ca
Post by Steve de Mena
http://www.musicweb-international.com/classrev/2006/Jan06/Hatto2_reco...
Rene Kohler
[snip]
[WB-C, adapted]
This must be authentic if Mr. Joyce Hatto (William
Barrington-Coupe) wrote it. (???)
Steve
I did a quick Google on "Mr. Kohler." Can't find a single reference
to him, outside of his "relationship" to Hatto.
From the very first second I read this "biography" I had a foul taste in my
mouth and did some background checking on the (amazingly small) number of
"faacts" in there.

René Köhler has not existed, he never was student in Poland and all
subsequent enquiries to the Coupe d'Etat were not answered.

Peter Lemken
Berlin
--
"Make me a sandwich!"
"Make a sandwich yourself."
"sudo Make me a sandwich!"
"OK."
a***@harrisoninstruments.com
2017-06-29 03:52:35 UTC
Permalink
This documentary has an explanation:

Andrew Clarke
2017-06-30 22:54:42 UTC
Permalink
Post by Walter Traprock
http://www.musicweb-international.com/classrev/2006/Jan06/Hatto2_recordings.htm
Rene Kohler
A survivor of the Holocaust gone missing in the murky wastelands
and unspoken history of Cold War Europe, Rene Kohler (1926-2002)
conducted Joyces concerto recordings during the 90s, directing two
ad-hoc studio orchestras the National Philharmonic-Symphony and
the 68-strong Warsaw Philharmonia.
Brought up in Weimar, Rene was a pupil of Raoul Koczalski [1884-1948,
via his teacher Mikuli a direct descendent by tutelage of Chopin].
He was precocious, playing both Chopin concertos by the age of ten.
In 1936, through Koczalskis recommendation, he briefly continued
studying music at the Jagiellonian University of Krakow. Failing
to be awarded a government scholarship, he moved to Warsaw. In the
Polish capital, unable to join the Conservatoire because of his
Jewish faith, he studied privately with the pianist Stanislaw
Spinalski. In 1940 his left hand was crushed irreparably by a young
German officer, so-called. He survived the Ghetto but in the summer
of 1942 was deported to Treblinka [one of around 300,000 "resettled"
over a period of 52 days between July and September]. Here [or in
the vicinity - one of less than a hundred believed to have survived]
he was found by the advancing Red Army [circa 1944]. Unimpressed
by his mixture of Polish/French and German-Jewish stock, his Soviet
interrogator sent him on a train heading East for a labour camp -
where he remained from 1945 until 1970. Given his freedom, he
returned to Warsaw, with the help of a Russian friend, to try and
sort out his family property. He learnt that a small-holding,
confiscated by the Nazis in 1940/41, had been allocated to a German
family as part of a "Resettlement" scheme. Exacting
"justice"/revenge/retribution on the resettled family in 1945 (they
were killed), the new Polish government then impounded the place,
later to form an integral part of a Communist Party Commune. Rene
found that the Polish authorities refused to recognise the name
"Kohler" as having Polish associations. Their Soviet counterparts
meanwhile denied they'd ever "captured" or held him prisoner. The
East Germans were not interested in the case, claiming that the
Kohlers had left the Weimar area in 1936 of their own "freewill".
In fact they'd fled, an old professor at the Hochschule (whose son
was a Nazi Party member) having warned them, at personal risk,
that they should leave Weimar since all Jews were to be rounded up
the following year to be sent East. Three of the family had already
been murdered. Rene kept such things to himself. He never desired
any attention from the media. Physically he was a mess - probably
why he used to add to his age to account for his appearance. He
died from prostate cancer. [WB-C, adapted]
Rene Kohlers appear to be a Swiss speciality:

<https://tel.local.ch/de/q/rene%20kohler.html>

Andrew Clarke
Canberra
Peter Lemken
2017-07-01 07:58:10 UTC
Permalink
Post by Andrew Clarke
Post by Walter Traprock
http://www.musicweb-international.com/classrev/2006/Jan06/Hatto2_recordings.htm
[...]
Post by Andrew Clarke
<https://tel.local.ch/de/q/rene%20kohler.html>
The René Kohler described here never existed. Fake News. Bad.


Peter Lemken
+43-1
--
Nature abhors crude hacks.
Andrew Clarke
2017-07-01 22:28:10 UTC
Permalink
Post by Peter Lemken
Post by Andrew Clarke
Post by Walter Traprock
http://www.musicweb-international.com/classrev/2006/Jan06/Hatto2_recordings.htm
[...]
Post by Andrew Clarke
<https://tel.local.ch/de/q/rene%20kohler.html>
The René Kohler described here never existed. Fake News. Bad.
I know, Peter, I know.

BTW at the time the scandal broke there was a web page featuring a singer also called Rene Kohler but he seems to have disappeared.

There's also a Dutch Rene Kohler who publishes photos of aeroplanes. Another one lives in the USA and got into trouble with the law: the rejection of his appeal can be found on Google.

So WBC used a name that's actually used by quite a few people. I doubt we'll ever know why he chose it for his ghostly conductor.

Andrew Clarke
Canberra





Andrew Clarke
Canberra
c***@gmail.com
2017-07-02 10:50:00 UTC
Permalink
Post by Andrew Clarke
So WBC used a name that's actually used by quite a few people. I doubt we'll ever know why he chose it for his ghostly conductor.
Andrew Clarke
Canberra
A couple of clues:

Louis Kohler, whose piano studies Joyce Hatto quite likely had to play when she was training to be a real pianist, shared Hatto's birthday 5 September

Professional jealousy involving pianist IRENE Kohler, quite a big name in the UK in the 1950s. After Hatto had premiered Walter Gaze Cooper's 3rd piano concerto, Cooper (another considerable name in the UK back then, especially around Nottingham) upgraded himself and had Irene Kohler premiere his 4th concerto.
Irene Kohler's major recording project was the complete Iberia. Perhaps she would be a little more remembered if it had been issued, but she set it down for one of Barrington-Coupe's labels. He never released it, nor returned the masters to her and it is presumed missing. This irked Irene Kohler till her dying day (there's a memoir from one of her descendants somewhere on the web). Sounds like WBC had strict orders from the wife.
Andrew Clarke
2017-07-03 00:45:02 UTC
Permalink
Post by c***@gmail.com
Post by Andrew Clarke
So WBC used a name that's actually used by quite a few people. I doubt we'll ever know why he chose it for his ghostly conductor.
Andrew Clarke
Canberra
Louis Kohler, whose piano studies Joyce Hatto quite likely had to play when she was training to be a real pianist, shared Hatto's birthday 5 September
Professional jealousy involving pianist IRENE Kohler, quite a big name in the UK in the 1950s. After Hatto had premiered Walter Gaze Cooper's 3rd piano concerto, Cooper (another considerable name in the UK back then, especially around Nottingham) upgraded himself and had Irene Kohler premiere his 4th concerto.
Irene Kohler's major recording project was the complete Iberia. Perhaps she would be a little more remembered if it had been issued, but she set it down for one of Barrington-Coupe's labels. He never released it, nor returned the masters to her and it is presumed missing. This irked Irene Kohler till her dying day (there's a memoir from one of her descendants somewhere on the web). Sounds like WBC had strict orders from the wife.
Bingo! Irene Kohler is just one letter away from Rene Kohler and the memoir is here:

http://www.callaway.uwa.edu.au/collections/irene-kohler

The photo in this memoir makes her look like Virginia Woolf as paited by Goya: very suitable for Iberia.

Her career seems to have followed the same tragectory as Joyce Hatto's: early promice followed by nothing much, although the memoir makes her sound like a giant of the keyboard. The fact that she was prepared to record with WBC speaks volumes.: none of the major labels took her up.

Andrew Clarke
Canberra
c***@gmail.com
2017-07-03 09:20:16 UTC
Permalink
Il giorno lunedì 3 luglio 2017 02:45:07 UTC+2, Andrew Clarke ha scritto:
The fact that she was prepared to record with WBC speaks volumes.: none of the major labels took her up.
Post by Andrew Clarke
Andrew Clarke
Canberra
Recording for Barrington-Coupe doesn't necessarily mean you're no good, the big companies have always pushed a small roster of "top artists" and when the enterprising burglar (WBC) was not a-burgling, he had a discerning ear for worth-while musicians who weren't making records, signally Fiorentino but also Frank Merrick and, of younger pianists, Yonty Solomon, Malcolm Binns and -years before he was known in the west - Lazar Berman. Also Alan Loveday (violinist), Harold Darke (organist), Oda Slobodskaya (soprano), John Denman (a clarinettist whose Reger Sonata, which his wife Paula Fan thought the finest thing they did together, went down the same black hole as Kohler's Iberia). Plus another clarinettist, Thea King, who did the Brahms sonatas with Nina Milkina, another pianist who recorded far too little. What these artists all have in common is that they were - at least when they recorded for WBC - outside the "star system".
As for Kohler, it's difficult to say how good she was unless some recordings turn up. As it happens, at the very first professional orchestral concert I went to, she played Beethoven 4. I have no memory beyond the name, but we're talking of the mid-1960s and I was in my early teens, so that doesn't say much. On the other hand, I do retain a fairly strong image of the conductor, Alfred Wallenstein, so that may mean something.
Charles
2017-07-04 00:24:49 UTC
Permalink
Post by Andrew Clarke
The fact that she was prepared to record with WBC speaks volumes.: none of the major labels took her up.
Post by Andrew Clarke
Andrew Clarke
Canberra
Recording for Barrington-Coupe doesn't necessarily mean you're no good, the big companies have always pushed a small roster of "top artists" and when the enterprising burglar (WBC) was not a-burgling, he had a discerning ear for worth-while musicians who weren't making records, signally Fiorentino but also Frank Merrick and, of younger pianists, Yonty Solomon, Malcolm Binns and -years before he was known in the west - Lazar Berman. Also Alan Loveday (violinist), Harold Darke (organist), Oda Slobodskaya (soprano), John Denman (a clarinettist whose Reger Sonata, which his wife Paula Fan thought the finest thing they did together, went down the same black hole as Kohler's Iberia). Plus another clarinettist, Thea King, who did the Brahms sonatas with Nina Milkina, another pianist who recorded far too little. What these artists all have in common is that they were - at least when they recorded for WBC - outside the "star system".
As for Kohler, it's difficult to say how good she was unless some recordings turn up. As it happens, at the very first professional orchestral concert I went to, she played Beethoven 4. I have no memory beyond the name, but we're talking of the mid-1960s and I was in my early teens, so that doesn't say much. On the other hand, I do retain a fairly strong image of the conductor, Alfred Wallenstein, so that may mean something.
I know that WBC produced some worthy recordings. BUT I have a letter from him in which he openly BRAGGED about the fact that he had edited out most of the wrong notes in Cortot's (then unissued) recordings of the complete Chopin Mazurkas. In pieces with repeated sections, he kept and then copied the better version, omitted the poorer one. Thus he "made" Cortot play the same music identically on the repeat, something that is unthinkable! He also bragged about replacing individual notes and spending hours and hours to get one mazurka perfect. With that knowledge, I decided that I didn't want further correspondence or any his issues of any Cortot recordings.
Andrew Clarke
2017-07-04 01:30:51 UTC
Permalink
Post by Andrew Clarke
The fact that she was prepared to record with WBC speaks volumes.: none of the major labels took her up.
Post by Andrew Clarke
Andrew Clarke
Canberra
Recording for Barrington-Coupe doesn't necessarily mean you're no good, the big companies have always pushed a small roster of "top artists" and when the enterprising burglar (WBC) was not a-burgling, he had a discerning ear for worth-while musicians who weren't making records, signally Fiorentino but also Frank Merrick and, of younger pianists, Yonty Solomon, Malcolm Binns and -years before he was known in the west - Lazar Berman. Also Alan Loveday (violinist), Harold Darke (organist), Oda Slobodskaya (soprano), John Denman (a clarinettist whose Reger Sonata, which his wife Paula Fan thought the finest thing they did together, went down the same black hole as Kohler's Iberia). Plus another clarinettist, Thea King, who did the Brahms sonatas with Nina Milkina, another pianist who recorded far too little. What these artists all have in common is that they were - at least when they recorded for WBC - outside the "star system".
As for Kohler, it's difficult to say how good she was unless some recordings turn up. As it happens, at the very first professional orchestral concert I went to, she played Beethoven 4. I have no memory beyond the name, but we're talking of the mid-1960s and I was in my early teens, so that doesn't say much. On the other hand, I do retain a fairly strong image of the conductor, Alfred Wallenstein, so that may mean something.
Irene Kohler certainly toured Australia in the 1950s. The memoir states that she was out of circulation for a while due to illness and, having made quite a few enemies, she found it difficult to reestablish herself in the 1970s.

I'm sorry I was snooty about WBC's labels. I was happy to find Harold Darke's name there - his settings of the Anglican liturgy are much admired, especially the setting in F which I sang myself a couple of months ago here in Canberra.

Andrew Clarke
Canberra
YM ​יוֹשִׁיוּכִּי
2017-07-04 02:00:03 UTC
Permalink
Post by Andrew Clarke
Post by Andrew Clarke
The fact that she was prepared to record with WBC speaks volumes.: none of the major labels took her up.
Post by Andrew Clarke
Andrew Clarke
Canberra
Recording for Barrington-Coupe doesn't necessarily mean you're no good, the big companies have always pushed a small roster of "top artists" and when the enterprising burglar (WBC) was not a-burgling, he had a discerning ear for worth-while musicians who weren't making records, signally Fiorentino but also Frank Merrick and, of younger pianists, Yonty Solomon, Malcolm Binns and -years before he was known in the west - Lazar Berman. Also Alan Loveday (violinist), Harold Darke (organist), Oda Slobodskaya (soprano), John Denman (a clarinettist whose Reger Sonata, which his wife Paula Fan thought the finest thing they did together, went down the same black hole as Kohler's Iberia). Plus another clarinettist, Thea King, who did the Brahms sonatas with Nina Milkina, another pianist who recorded far too little. What these artists all have in common is that they were - at least when they recorded for WBC - outside the "star system".
As for Kohler, it's difficult to say how good she was unless some recordings turn up. As it happens, at the very first professional orchestral concert I went to, she played Beethoven 4. I have no memory beyond the name, but we're talking of the mid-1960s and I was in my early teens, so that doesn't say much. On the other hand, I do retain a fairly strong image of the conductor, Alfred Wallenstein, so that may mean something.
Irene Kohler certainly toured Australia in the 1950s. The memoir states that she was out of circulation for a while due to illness and, having made quite a few enemies, she found it difficult to reestablish herself in the 1970s.
I'm sorry I was snooty about WBC's labels. I was happy to find Harold Darke's name there - his settings of the Anglican liturgy are much admired, especially the setting in F which I sang myself a couple of months ago here in Canberra.
Andrew Clarke
Canberra
Are you talking about that A=444Hz Gershwin Concerto?

YM

Loading...