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Otto Börs (sans umlaut ... Boers; born possibly around 1820 Tangermünde, Germany – died 1888) was an influential German piano maker who, in 1850, founded a piano and piano mechanics manufacturing company in Hamburg bearing his name.[1] Börs was also a virtuoso hornist. For 12 years, he was the principal hornist with the Hamburg Stadt-Theater. Before starting his piano manufacturing company, Börs taught music, namely voice and piano.

Piano design

[edit]
Birth

Otto Börs, before settling in Hamburg, was from Tangermünde, Germany, located about 210 kilometres (130 mi) southeast of Hamburg on the Elbe River. Sixy-one years after his death — from 1949 to 1990 — Tangermünde became part of East Germany, formally known as German Democratic Republic. Tangermünde lies within the German state, Saxony-Anhalt. From 1916 to 1945, Saxony-Anhalt was part of the Kingdom of Prussia.

Factory locations
Große Drehbahn No. 8
Otto Börs founded his piano manufacturing company in 1850. His company was listed in advertisements and directories as "Otto Börs Pianofortefabrik." From inception to sometime after 1856, his factory was located at große Drehbahn No. 8, where, on May 15, 1851, Lilli Lehmann's younger sister, Marie (pt), was born.[2][3] Both Lilli and Marie went on to become operatic sopranos and both were daughters of tenor Karl-August Lehmann (1805–1867) and soprano Maria Theresia Löw. Große Drehbahn No. 8 was next to Apollo Saal (Apollo Hall), which was at Drehbahn 3-5. Apollo Saal was the original home of the Philharmonische Gesellschaft (Philharmonic Society) — the forerunner of the present-day Philharmoniker Hamburg. The building of Apollo Saal was completed in 1804, and was located at the intersection of Großen und Kleinen Drehbahn. When it was built, Große Theaterstraße did not exist. Große Theaterstraße was named in 1827 for the "Stadt-Theater."
Große Theaterstraße 44
Beginning sometime after 1856, until 1887,[4] the factory was located at grosse Theaterstraße 44, immediately west of the Binnenalster.

Both the große Drehbahn and große Theaterstraße locations were inside the Hamburg Wallring, the same being the Neustadt district. In 1866, Hamburg became part of the North German Confederation; in 1871, Hamburg became part of the German Empire.

Notable residents of gr. Theaterstr. 44

Luise Zietz (1865–1922), a German labor activist, socialist, and feminist once lived at Große Theaterstraße 44/45. She was the oldest daughter of Wollwirkers, owner of a wool spinning mill.

Selected subsequent occupants at gr. Theaterstr. 44

Große Theaterstraße 39–48 was one building.


Great theater street 39-48. In the houses No. 44 and No. 45 had the printing shop of the Hamburger Echo (1887-1901) and the party headquarters for SPD, Hamburg (de) (aka SPD-Haus, Hamburg)


In 1887, during an era of Socialist Law, when the SPD was forbidden, the party acquired the lot at Große Theaterstraße 44/45. When Socialist Law fell in 1890, the offices were openly used for SPD operations. After the revolution of 1918, the work of the Hamburg SPD expanded, both in territory and scope. The Workers Council for Greater Hamburg, the office of the "Volksbühne," and the Secretariat of the SPD district association Hamburg-Nordwest purchased Große Theaterstraße 42/43 from the SPD and relocated there.


On June 22, 1933, the SPD was banned. The large building complex of the SPD: Große Theaterstrasse / Fehlandtstrasse and the operating facilities were confiscated by the National Socialists and sold to private customers.

The SPD newspaper, the Hamburger Echo (de), was housed at Große Theaterstraße 44/45 from 1887 to 1901. Editors included Karl Frohme (de) (1850–1933). In 1933, the Third Reich banned the Hamburger Echo (de). Its last publication ran March 3, 1933.[5][6]

After the end of the Second World War, the SPD divisional division was able to return to the Große Theaterstrasse 44 building in the late summer of 1945 - but only as a tenant, no longer as the owner of the house.

  • Große Theaterstraße 44/45 was, in 1896, also the home of Die Neue Welt, a weekly publication.[5]
  • A 1906 city directory lists the Förster Cigar Factory at große Theaterstraße 44,[7] owned by Karl Hermann Förster
Scale of Börs piano factory workforce

By 1873, 50 workers were employed there.[8]

The Stadt-Theater in Hamburg
On Dammtorstraße
(Große Theaterstraße, left; Kleine Theaterstraße, right)
Built in 1827
(photo: circa 1865)
Börs as a hornist

Börs was also a virtuoso hornist[9][10] with references to notable performances in Hamburg dating back to 1845. In the mid-1840s, for twelve years,[1] Börs was first horn with the Hamburg Stadt-Theater.

Legacy as piano maker

An 1885 German Lexicon of general knowledge, Meyers Hand-Lexikon Des Allgemeinen Wissens, lists Börs, along with other notable piano makers, as one of the most important pioneers of piano manufacturing of the era.[11]

Factory's use for conservatory and salons

The factory located at große Theaterstraße 44, for a time, also housed the Bernuthsche Konservatorium, which was founded October 1, 1873, by Julius von Bernuth (de) (1830–1903). During the winter of 1873–1874, the space at the Börs factory proved to be inadequate for the conservatory. So the conservatory moved to a larger space at the Baumgarten & Heins piano factory at Pferdemarkt, owned by C.F. Baumgarten and J.J. Heins (born 1810). But that space, too, proved to be inadequate. The conservatory eventually settled at 15 Wexstrasse on the ground floor.[12][i][8] Bernuth was, from 1867 to 1895, director of Philharmoniker Hamburg and also director of the Hamburg Singing Academy.[13]

The wing of the factory's drawing room, used to entertain, is cited for hosting Ricard Wagner on a visit to Hamburg January 18, 1873, during a concert tour that included Berlin and Cologne.[14]

Piano design

Extant Börs pianos of the 21st century reflect ornate cabinet design of the era. The casing were made of rosewood, walnut, and mahogany. The Börs pianos of the 1860s were 7 octaves, from A to A (85 keys), standard for the post-classical repertoire. Although standard current pianos have 88 keys (Bosendorfer pianos offer concert grands with 97 keys), 85 keys is sufficient for most 21st century repertoire.[15]

An advertisement in the """ states that Otto Börs, as well as Julius Blüthner, incorporated the use of notographs,[16] an apparatus, which which attached to a piano, accurately records whatever is played. The machine was invented and patented by Engramelle Schmeil, a teacher in Magdeburg.[17]

Entity registration

A registration under Otto Börs' is recorded in the Staatsarchiv der Freien und Hansestadt Hamburg (de) (digital image not available). The listing indicates that a 231-3 Handelsregister[18] (commercial register) entity was active from 1882 to 1888.[19]

Selected exhibitions



1879 Hamburg directory

Börs, Otto, Pianofortefabrik, Hoflieferant Seiner Königliche Hoheit des Großherzogs von Mecklenburg-Schwerin, BKto. (Bank-konto) unt. (unter) E. B. Witte & E. G. Rümmel, große Theaterstraße 44[21]

Extant pianos

[edit]

Börs, Otto (fl. before I860?). Piano maker in Hamburg.

Serial No. 1431
Date: c. 1860?
Style: Upright
Compass: 7 oct. AAA A4
Length: 138.5
Width: 69.5
Height: 146
Case: walnut veneer
Comments: Case top decorated with carved flowers; corners carved like acanthus leaves; upper case with open-work panels; with geometric and floral motifs; keyboard supported by s-shapped legs with volutes carved into roses; open music desk; metal hitch-pin plate; brass inlaid and floral nameplate plaque
Inscription: Otto Börs/Hamburg; also 1431 penciled on reverse of nameboard
Strings: straight-strung; single-, double-, triple-strung
Action: English with overdampers
Pedals: 2, attached to lower case; una corda, damper
Former owners: Poland, same family since 19th century
Present owners: Poland/Warsaw, private collection
References: Benjamin Vogel (1989), University of Szczecin, Poland, Musical Education, Emeritus, EP 121

Hoflieferant

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Mecklenburg-Schwerin Coat of Arms
Schwerin Palace

On April 27, 1877, the Grand Duchy of Mecklenburg-Schwerin, headed by Grand Duke Frederick Francis II, awarded Otto Börs a royal warrant of appointment, specifically referred to as a "Hoflieferant" (de), which was an official designation for selected suppliers — that is, suppliers to the respective conferring royalty. By extension, the award was an official recognition of quality craftsmanship. The award was coveted by Hoflieferanten (plural form of the word; and in this sense meaning: "recipients of the award") and allowed them the benefit of using the status in branding and advertising.[22] Viz.


Recipient entities that endure today, despite the long-bygone days of royalty, sometimes still use the designation in branding, showing the royal crest or coat of arms. Although, officially, the titles are not inheritable — they expire at the death of the recipients. Nonetheless, given that pianos of the era, including those of Otto Börs, were widely exported, and given that high-quality pianos were commonly imported to Hamburg, and given that Royalty of the day placed a high priority on the arts, and given that Royalty could easily exercise its ability to acquire musical instruments of its choosing, winning the Hoflieferant designation was a significant endorsement. A piano maker with a Hoflieferant designation was commonly listed in directories as a "Hof-Piano-Fabrik."

In 1883, Perzina (de), a piano manufacturer founded in 1871 in Schwerin was awarded Hoflieferant by the Grand Duke of Mecklenburg.

––––––––––––––––––––

The Grand Duchy of Mecklenburg-Schwerin territory was east of Hamburg. After the fall of the monarchies in 1918, following World War I, the Grand Duchy became the Free State of Mecklenburg-Schwerin. In 1934, it was united with the neighboring Free State of Mecklenburg-Strelitz. From 1949 to 1990, both were part of East Germany. Today, both are part of the Bundesland Mecklenburg-Vorpommern.

Notable apprentices

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German-born John Gerts (né Johann Gerts; 1845–1913), born in Germany in 1845, learned piano making with Otto Börs in Hamburg[23] — before emigrating to the United States in 1870.

Growing up

[edit]

Family

[edit]
Spouse

Otto Börs married Doris Nagel (maiden) on June 10, 1845, in Hamburg.[24]

Börsenhalle
(image: circa 1825)
1847 address
Börs, Otto, erster Hornist am Stadttheater, Klavier- und Gesangslehrer, Valentinskamp Platz No. 16, Haus No. 4, Börsenhalle (de), Comptoir derselben und Expedition: Alterwall (de) No. 26
(Börs, Otto, first horn player at the Stadttheater, piano and vocal teacher, Valentinskamp Place No. 16, Börsenhalle (de), office and studio: Alterwall (de) No. 26)
Alterwall 26 is in the Speicherstadt (warehouse district) of the HafenCity quarter, south of and parallel to the Kleinealster waterway.
Later address
Börs, Otto, erster hornist am Stadttheater,
Pianofortefabrik, gr. Drehbahn 8[25]
Daughters, Thoma and Meta

Otto and Doris Börs had two daughters, Thoma and Meta Börs, both of whom flourished as concert and operatic singers. Early in their careers (circa 1869–1870), they frequently sang recitals together.


Thoma Börs

Thoma (née Anna Maria Therese Börs; born 10 October 1850 Hamburg) became an acclaimed operatic soprano in both Italian and German genres.[9][26][27] She performed throughout Europe, including London, and Russia, including St. Petersburg, and also flourished throughout Germany, notably singing Wagnerian roles in Bayreuth. Both Thoma and Meta received their initial music education through their father. Thoma debuted April 1867 at the Stadttheater of Hamburg as an Agathe in the "Freischütz". In 1868-69 she was engaged at the opera house of Leipzig. She appeared as a guest at the Berliner Hofoper and in three parts at the Hoftheater von Dessau Anhaltisches Theater and then went to Italy for further training. She was a student of Tergiani in Rome. She also had been a student of Julius Stockhausen. After some stage performances in Italy, among others. 1874 at the Teatro Argentina in Rome. On December 19, 1888, Anna Maria Therese Börs married Eduard Gustav Girnat (1861–1932) in Hamburg. Thoma Börs retired from singing in 1891.[28] She was critically acclaimed as a dramatic soprano in leading roles, Wagner operas, in particular. From 1879 until her retirement in 1891, she had been with the Hannover Hofbühne. She continued to teach music in Hanover until the end of World War I.

Meta Börs

Meta, also a soprano, and flourished as a solo performer and as a singer of church music. Like her sister, Meta also studied with Julius Stockhausen. She was also a virtuoso pianist and sometimes, in addition to singing in concerts with her sister, Thoma, she would accompany her on piano. In 1870, Meta Börs married Adolf Bösendorfer (1839–1904), a music publisher and financier from Vienna.[29] (see Notes, below) He was the brother of Ludwig Joseph Michael Bösendorfer (1835–1919), both of whom were the sons of Ignaz Bösendorfer (1796–1859), founder of the Vienna-based Bösendorfer piano manufacturing company.[30][31]

Adolph Bösendorfer

[edit]
Adolph Bösendorfer
1875, publisher of:
1875–1876: Illustrirtes Musik- und Theater-Journal, Eigenthum und Verlag der K.K. Hof-Musikalienhandlung (de) von Adolph Bösendorfer, Wein; OCLC 838168703
Vol. 1, N° 1: October 6, 1875
1876–1877: Illustrirtes Musik-, Theater, und Literatur-Journal

Transcription

[edit]
Review of Thoma Börs' operatic debut

Hamburg. Am 24. Januar erfchien in unfercm Stadt theater als Agathe im „Freischütz“ Fräulein Thoma Börs (Tochter des als Virtuos auf dem Horn und Inhabers einer weltberühmten Pianofortefabrik besannten Herrn Otto Börs hier) und zwar betrat das junge Wärden mit diefer Partie überhaupt die Bübne zum erftenmale.


Wenn je ein Erfolg vollständig, uneingefchränft zu nennen, so ift es der, den Fräulein Thoma Börs erzielte; da schallte uns entgegen eine herrliche, reine, sympathisch, überall vlangvolle, zwei Octaven umfassende Stimme, die auch was Ausbildung anlangt, schon setzt eine so große Stuse und Sicherheit bekundete, wie wir es bei einer Debutantin noch nicht erlebt.

Der Ton, den Fräulein Börs anschlug, zündete in unseren Herzen, und beim Vortrag des Gebetes, das wir so seuch und innig selten schöner hörten, floß gar manches Auge in Thränen über, kurz der Genuß war ein vollftätidiger und jede Rengflicheit die fonft bei erften theatralischen Verfuchen üblich, wich gleich nach der erften Scene.

Aber auch im Spiel, wie in der Be handlung des Dialoges zeigte fich Fräulein Börs bereits durchaus sicher und gewandt, was gewiß nicht gering anzufangen, und so können wir, wie es auch fämmtiche heftige Berichterstatter thun, diefes Debut als ein durchweg gelungenes bezeichnen und das Talent der jungen Künfilerin als hochbedeutend.

Das dichtbesetzte haus zeichnete Fräulein Börs durch häufigen, anhaltenden Applaus, Hervorrufe und Blumenspenden reich aus. Wie wir hören, wird die vielversprechende Künfilerin demnächst noch als Pamina und Margarethe („Faust“) auftreten; später gebt sie wahrscheinlich an einige auswärtige Bühnen.

Doch die Gerechtigkeit erheischt auch, ihren Lehrer zu nennen; im Gefäng unterrichtete Fräulein Börs der treffliche Gefanglebrer Dr. Schmidt aus Lübeck, deffen methode sich auch hier wieder bewährte; Unterweisung im Dramatichen und der Action erbielt Fräulein Börs von Herrn Dr. Schmidt bier, Beide haben aldo Ebre eingelegt sowohl für sich, als für ihre Schülerin. – Wir leben der Hoffnung, Fräulein Börs werde eine-Zierde der deutchen Oper werden! Hr. Abams wirste vorzüglich als Max, Fräulein Marek war ein reizendes Männchen und Hr. Fransich ein tübtiger Caspar, fo daß aueh fonft die Schönheiten der „Freischütz“ — musik zu bestung zeitung kamen. F.[9]

Subscription notes

[edit]

Zu haben in allen Buchbandlungen, in Leipzig bei Jm. Tr. Wöller, sowie in allen Postämtern und Zeitungs-Expeditionen.

Wöchentl erscheint eine Lieferung von 1¼ Bogen in groß Duart und jährlich mehrere Beilagen.

Der Preis des Jahrgangs ist 6 Rc oder 10 fl. 48 Xc rheinl.

Für 3 Monate oder 13 Lieferungen 1 Rc oder 15 Ngr. oder 2 fl. 42 X Vorausbezahlung.

Bei frans. Zusendungen von Leipzig aus unter Kreuzband direct bis an den Ort des Bestellers pr. Quartal 2 Rc

Piano trade environment in Hamburg during the mid 19th century

[edit]
Market perspective

Otto Börs was not without competition. The years 1875 to 1932 were a golden age of piano making, a time when pianos had few competitors for home entertainment. Otto Börs manufactured pianos leading into that era. In the United States, industry-wide, nearly 364,545 pianos sold at the peak in 1909, according to the National Piano Manufacturers Association.[32]

see (de)
Piano manufacturers of Hamburg, by area
Mitte (borough)
Neustadt (quarter)
Inside the Wallring
  • Otto Börs Pianofabrik, original location, große Drehbahn No. 8, final location, große Theaterstraße 44
  • Ludwig Landgraf founded his in Hamburg in 1860. It was located at kleine Drehbahn 15
  • C. H. L. Plaß had a piano factory at Große Drehbahn 41
  • Matthius Ferdinance Rachals (1801–1866) — doing business as M.F. Rachals & Co. — commenced making pianos in Hamburg in 1832. In 1864, his son, Eduard Ferdinand Rachals (1837–1902)[23] took over. It was located at Fuhlentwiete 43. In 1873, it had 100 employees
  • Joh. Conr. Wilh. Schmidt, founder of his own factory in Hamburg, located at Neustraße Fuhlentwiete 65
  • Joh. Heinr. Traumann founded a piano factory in Hamburg in 1847. It was located at Fuhlentwiete 55
  • Wilh. Biese opened a piano factory in Hamburg at Neuerwall 50. His main factory was in Berlin, where he founded it in 1852
  • Carl Traug. Wolters (1795–1872) — doing business as C.T. Wolters — had a piano factory at große Bleichen 27. In 1873, it was in the possession of his widow[8] The firm endured into the early 20th century, run by a son, Carl Theodor Wolters (1844–1910); Franz Blume and Hugo Reiher acquired the company around 1907;[33] the company endured until the 1930s; after its founder, C.T. Wolters, died, the firm began representing other piano manufacturers. From 1878 to 1907, the firm represented Schiedmayer & Söhne of Stuttgart. Beginning 1884, the firm represented Steinweg Nachf. of Braunschweig. They also represented Rud. Ibach Sohn of Barmen, Ludwig Hupfeld's Phonola, August Förster of Löbau, and Mason & Hamlin of Boston
  • Heinr. Kohl founded a piano factory in Hamburg in 1857. In 1873, there were 60 employees. It was located at Dammthorstraße 34
  • J. H. C. Schönian, founder of a piano factory located at Teilfeld 13
  • Fr. Ludw. Neumann founded his piano factory in Hamburg in 1851. It was located at Herrlichkeit 71. In 1874, there were 25 employees[34]
  • Joh. Heinr. Prehn had a piano factory at Pastorenstraße 14
  • Carl. Fr. Flügge, owner of a piano factory located at Dragonerstall 10, founded it in 1853
St. Georg (quarter)
  • Rob. Ruppach founded a piano factory in 1859. It was located at Pulverteich 18
Hamburg-Altstadt (quarter)
  • Eduard Eckhardt, owner of a Claviateur factory, founded it in 1853. It was located at Steinstraße 58. Founded in 1853 by the owner Eduard Eckhardt
  • G. Stapel had a piano factory at Schauenburgerstraße 23
  • Wilh. Rennebaum had a piano factory at Schopenstehl (de) 14
  • Ernst Friedrich Henkel founded a piano factory in Hamburg in 1850. In 1873, there were 15 employees. It was located at Hermannstraße 40
HafenCity (quarter)
Speicherstadt (warehouse district)
  • Carl Friedr. Bertram fiounded the piano making firm, C.F. Bertram & Co., and was located at Kehrwieder 8
  • Wilh. Rothe founded his own piano factory in Hamburg in 1867. It was located at Brook 12
  • The Hamburg Pianoforte factory C. H. Schröder (Christian Heinrich Schröder; 1802–1882) and Johannes Brahms[35] began making pianos in Hamburg sometime between 1836 and 1839. The factory was located from 1839 to 1863 at Katharinenstraße 17, and until 1882 at Katharinenstraße 37
  • Joh. Heinr. Schwark had a piano factory at Katharinenstraße 3
  • Heinr. Wilh. Brandes founded his piano making firm in 1846. It was located at Neuer Wandrahm 20, on the Zollkanal (de). In 1874, the firm had 40 employees
  • Joh. Gotth. Döring — doing business as J. G. Döring & Co. — founded his piano making firm in 1949. It was located at Hüxter 15. Hüxter is no longer in existence. It was located in the current path of Willy-Brandt-Straße (de), east of Brandstwiete. From 1855 to 1887, J.G. Döring & Co. was a 231-3 Handelsregister entity in Hamburg. Döring was also a wind instrument maker and dealer in musical instruments
  • Gustav Haeseler founded a piano factory in Hamburg in 1868. It was located at Grosse Reichenstraße 43
  • L. W. Müller, owner of a piano factory located at Steckelhörn 18, founded it in Hamburg in 1860
  • Joh. Nic. Chr. Meyer founded a piano factory in Hamburg in 1821. In 1863, Ad. Meyer became the owner. The factory: Bei Den Mühren 56
Unspecified district
  • Chr. Heinrich Wittenberg had a piano factory at Görttwiete 14[8]
St. Pauli (quarter)
  • Steinway & Sons, in 1880, opened its first European piano factory in Hamburg on Schanzenstraße (de), in the western part of Hamburg
  • Carl Görland had a piano factory at Rosenstraße 35
  • Heinr. Wilcke had a piano factory at Kastanienallee 38.[8]
Hammerbrook (quarter)
  • C. Eckermann & Co., Pianoforte factory, located at Woltmannstraße 41, was founded in 1873 by the owners C. Eckermann, A. Th. Schneider, A. Feige, F. Fiedler, J. Jörgensen and C. Marquart.


Nord (borough)
Uhlenhorst (de) (quarter)
  • Joh. Ludw. Sanne
Other
  • Gustav Adolph Buschmann commenced making pianos in Hamburg as early as 1805[23] under the name Buschmann & Co. Carl Wigand Ludwig Buschmann was also connected to the business.
  • Baumgardten & Heins was founded in 1788 by J. S. Hinrichs. C.F. Baumgardten (died 1861) joined in 1829 and Johann Jakob Heins (born 1810 in Schnega) joined in 1838, when Hinrichs retired.[35] Heins is credited with inventing overlapping bass strings. The factory was located at Pferdemarkt 46, and in 1847 at alte Gröningerstraße 35
  • J.H. Burmeister began making pianos in Hamburg around 1860.
  • Johann Jacob Langholdt had a piano factory at St. Georgen
  • Gründer (1859) und Inhaber: Rob. Ruppach.
  • H. L. T. W. Schultz had a piano factory at Ellernthorsbr. 12
  • Johann Jacob Wagner founded a piano factory in 1837, neustraße Neustraße 4. Its owner (in 1873) was Johann Jacob Levin
  • Rich. Wolkenhauer had a piano factory at Steuerwall 50.[8]
  • Wilh. Freudentheil founded a piano factory in Hamburg in 1862. In 1873, his son, Wilh. Freudentheil, Jr., joined the firm as an owner, after which, the firm was known as Freudentheil & Sohn
  • Herm. Jochimsen founded a piano factory in Hamburg in 1864. The factory was located at Mühlenstraße 6
Piano makers in America from Hamburg
Piano component manufacturers
Mitte (borough)
St. Pauli (quarter)
  • J. H. Möller founded his Pianomechanikfabrik in Hamburg in 1861. It was located at Kastanienalle 39
Other
  • Johann Christian Ludolph Isermann (1813–1898) began making piano actions in 1842 on Grindelhof, a street in the former Grindel (de) district of Hamburg, thirty-two years after Cox Brooks (1773–1847) of London defined the making of piano actions as a stand-alone industry. The area is now in the area of the University of Hamburg. Isermann's company operated under the names "Pianoforte-Mechaniken-Fabrik von L. Isermann." and "Isermann's Industriehaus." In 1870, Carl Wilhelm Isermann (1849–1910),[36] his son, became head of the company. According to the listing in Sandler's 1874 Handbuch der Leistungsfähigkeit, the factory was the largest of its kind on the continent of Europe, employed 300, and supplied actions for 8,000 pianos, and facilities for pianos, claviers, and the like, annually. In 1904, Peter Ludolph Isermann (de) (born 1882), his grandson, took over. In 1909, Isermann merged with F. Langer + Co. (Franz Langer) of Berlin.[23][37] The merger was driven, in part, by bitter labor strikes at Isermann's Hamburg factory.[38]
  • Wilh Merckel (aka Merkel) of Hamburg began producing machine made hammers in 1845, an era long recognized as a sub-industry. Before that, hammers were covered by hand. Merckel introduced machines of his own design and construction in 1860.[23]
  • Heinr. Lösch had a Pianofortemechanikfabrik at Sternstraße, in the Sternschanze section of Hamburg.
  • A. H. Scholle had a piano mechanics factory at Poolstraße 15/18. He founded it in 1863. In 1973, he had 60 employees.[8]
  • Dragonerstall 10
    Dragonerstall 10
  • Isermann's factory with workshops, built in 1873 for Isermann; C.E. Hermann (architect) (see Schulterblatt (de))
    Isermann's factory with workshops, built in 1873 for Isermann; C.E. Hermann (architect) (see Schulterblatt (de))

Hamburg maps

[edit]
Maps by Heinrich Wagner (de) and Ernst Debes (de) of Leipzig


Hamburg landmarks of 1870

Selected musical works

[edit]
Arrangements by Otto Börs
Heinrichshofen'schen (publisher), Magdeburg
(Wilhelm von Heinrichshofen; 1782–1881)
  1. "Carl Charlotten Galopp;" OCLC 873335462
        From Der Jüngling am Bache, Op. 1
        By Heinrich Proch, for voice, cello, and piano
  2. "Heimath Galopp"
        From Die Heimath, Op.56
        By Karl August Krebs
  3. "Die Freundlichen Hamburginnen"
  4. "König's Galopp" (December 1842); OCLC 316289040
        By Hermann Louis König (1815–1870)
        ... German virtuoso cornetist who, in 1844, published
            his composition, "Post Horn Galop"
  5. "Marien Walzer" oder "Redowa" (March 1843); OCLC 956608559
        From the opera, Die Tochter des Regiments
        By Gaetano Donizetti
  6. "Contretanz"
  7. "Amina Galopp" (September 1841)
        From the opera, Die Nachtwandlerin
        By Vincenzo Bellini
  8. "Die Schwedische Nachtigall"
        From the opera, Die Nachtwandlerin
        By Vincenzo Bellini
  9. "Vereins Galopp"
  10. "Contretanz"
        From the opera, Der Feen-See
        By Daniel Auber
  11. "Cracovienne" (1844)
        (french for Krakowiak)
        Leicht, arr. von Börs
  12. "Helgoländer Lustfahrt Galopp" (August 1844)
        Possibly inspired by the anthology, Die Lustfahrt nach Helgoland
        By Theodor Hans Heinrich Lambrecht (1812–1898)
  13. "Der Krieger Heimkehr" (March 1946)
        Fast march from the opera, Nabucco
        For piano[41]
Schmilinsky (publisher), Magdeburg
  1. "Erinnerung" (song) (September 1841)
        Words by Ludwig Koßarski (1810–1873) (German poet)[41]
August Cranz (1814–1897) (publisher), Hamburg
(Cranz was acquired by Schott Music in 1992)
  1. "Freudenklänge" (fast march) (September 1845)
  2. "Beruhigungs-Marsch der vier Haimonskinder" (December 1845)
        (fast march)
  3. "Alma-Polka" (December 1845)
        Danced by Dslle. Fanny Cerito and Mr. St. Leon
  4. "Alma-Galopp" (December 1845)
  5. "Jenny Lind's Norma-Galopp No. 1" (September 1846)
  6. "Der Friedensbot" (fast march)
  7. "Zigeunerleben" (dances) (March 1847)
        From the opera, Gitana
        By Michael William Balfe
    1. "Gitana Walzer"
    2. "Gitana Galopp"
    3. "Gitana Polka"
    4. "Zigeuner Marsch"
  8. "Dances" (April 1847)
        From the opera, Ernani
        By Verdi
    1. "Ernani-Polka"
    2. "Ernani-Galopp"
    3. "Ernani-Marsch"
    4. "Liebespolonaise"
    Johann August Böhme (1766–1847) (publisher), Hamburg
    1. "Isolde-Marsch" (June 1850)
          For piano
          From the scene, "Der Alte vom Berge"
          From the opera, The Crusaders, Op. 40
          By Julius Benedict
Selected dedications to Börs family members
  1. Four Duets, for soprano, alto, and piano; Op. 7
    Music by Carl Krill (1847–1927)
    OCLC 71653029, 71653032, 71653026
    Dutch National Catalog identifiers: GGC:AC:292221916 & GGC:AC:292221959
    1. "Abend am Meere," words by Alfred Meissner
    2. "Trost der Nacht," words by Gottfried Kinkel
    3. "Im Gebirge," words by Hoffmann von Fallersleben
    4. "Nachtgruss," words by Julius Rodenberg

    Dedicated to Thoma and Meta Börs

    Premiered by Thoma and Meta Börs 1870[42]

––––––––––––––––––––

Note: A Galopp is a fast, lively, country dance that became popular in the 1820s in Vienna, Berlin and London.

Resources

[edit]
Alexander Pilipczuk, PhD, Erwerbungen für die Sammlung alter Musikinstrumente im Jahre 1983 (1984); OCLC 617692062
Handbuch, Museum für Kunst und Gewerbe Hamburg, Munich: Prestel (1980); OCLC 6789497
Beurmann Collection — collection of Andreas E. Beurmann (de) (1928–2016)
Christian L. Küster
Jahrbuch, Altonaer Museum in Hamberg (1977); ISSN 0440-1417
To do
Photo of building at Große Theaterstraße 38-54
(www.hamburg.de/staatsarchiv/)
(recherche.staatsarchiv.hamburg.de/ScopeQuery5.1/suchinfo.aspx)

References

[edit]
Thoma Therese Börs (Boers)
  Authority control (cont.) BLMO
Otto Börs (Boers)
Loose stuff

––––––––––––––––––––

Notes

Adolf Bösendorfer (1839–1904) was a music publisher from Vienna. He was the brother of Ludwig Joseph Michael Bösendorfer (1835–1919), both of whom were the sons of Ignaz Bösendorfer (1796–1859), founder of the Vienna-based Bösendorfer piano manufacturing company. In 1870, Adolf Börsendorfer sold his businesses, which included his music publishing firm, to Rudolf Вussjäger and Theodor Rettig, who continued to run it under Börsendorfer's name. In turn, they sold it in 1872 to Carl Anton Spina (1827–1906), who, in turn, that same year, sold it to Friedrich Schreiber. In 1876, the Schreiber firm merged with the firm of August Cranz (1789–1870) of Hamburg, which, since 1857, was being run by his son, August Alwin Cranz (1834–1923). In 1879, August Cranz acquired Schreiber.[43] In 1992, the firm was sold to Schott Music GmbH & Co. KG of Mainz. From 1875 to 1877, Bösendorfer published the Illustrirtes Musik- und Theater Journal — OCLC 838168703, 72694412

––––––––––––––––––––

Inline citations
  1. ^ a b "Otto Börs," Signale für die Musikalische Welt, Vol. 28, N° 48, October 25, 1870, pg. 754
  2. ^ My Path Through Life, by Lilli Lehmann, translated by Alice Benedict Seligman, G.P. Putnam's Sons (1914), pg. 18; OCLC 268087
  3. ^ Mein Weg (My way), by Lilli Lehmann, Leipsig: Verlag von S. Hirzel (de) (1913), pg. 78; OCLC 1840506
  4. ^ "Wegen Ortsveränderung ... " (classified ad), Hamburger Nachrichten (de), September 1, 1887, col. 4, pg. 7 (retrieved October 25, 2016, via www.theeuropeanlibrary.org)
  5. ^ a b c Verschiedene Welten II: 109 Historische und Aktuelle Stationen in Hamburgs Neustadt (paperback), by Rita Bake, Landeszentrale für politische Bildung Hamburg (de) (2010); pps. 245, 247, 260; OCLC 706971601, 830762458, 702662988
  6. ^ "Siebzig Jahre Hamburger Parteigeschichte," Der Sozialist, Mitteilungsblatt der SPD, Landesorganisation Hamburg (monthly bulletin of the Hamburg SPD), Vol. 12, N° 7, July 1, 1957; OCLC 476383448, 224941717
  7. ^ "Iraktion der Sozialdemokraten," Verzeichnis der Bevollmächtigten zum Bundesrat sowie Alphabetisches Verzeichnis der Mitglieder des Reichstages mit angehängter Fraktionsliste, Reichstag (German Parliament), 11th Parliamentary period, Session 1905–1906, N° 1, Annex 4, June 27, 1906, pg. 44; OCLC 633810094, 605500772
  8. ^ a b c d e f g Handbuch der Leistungsfähigkeit der gesammten Industrie der Kleinstaaten Norddeutschlands, der süddeutschen Länder, Elsass-Lothringens und der Schweiz, Vol. 2, N°s 4–5
    XI. "Die freien Hansestädte"
    a) "Die freie Hansestadt Hamburg," pps. 49–54
    Christoph Sandler (publisher) (1874); OCLC 162973872
  9. ^ a b c "Theatralische Sternwarte: Hamburg" (performance review of Thoma Börs' operatic debut), Leipsig: Allgemeine Theater-Chronik — Organ: für das Gesammtintereße der deutschen Bühnen und ihrer Mitglieder, Herausgeber und verantwortlicher Redacteur: Victor Kölbel in Leipzig, Vol. 36, N° 6, February 2, 1867, pg. 57
  10. ^ The Life of Johannes Brahms (Vol. 1 of 2), by Florence May, Edward Arnold (1905), pg. 84; OCLC 645077397
  11. ^ "Pianofórte," Meyers Hand-Lexikon Des Allgemeinen Wissens (Vol. 2 of 2), Bibliographisches Institut (1885), pps. 1494–1495; OCLC 10742187
  12. ^ "Julius v. Bernuth" (eulogy), by Emil Kraus (born 1840), Der Klavier-Lehrer, Vol. 26, N° 2, 15 January 1903, pps. 17–19; OCLC 611051641, 224555748
    Archived at the University of Michigan: Musikpädagogische Blatter, Vols. 25–26, edited from January 1878 to July 1899 by Emil Breslaur (de) (1836–1899); edited from January 1990 forward by Anna Morsch (1841– ); OCLC 19333200, 297695050
  13. ^ "Julius von Bernuth," Hamburger Persönlichkeiten, website registrant: Martin Sillem c/o Bankhaus Donner, Hamburg (retrieved October 27, 2016, via www.hamburgerpersoenlichkeiten.de
  14. ^ Das Leben Richard Wagners: 1872–1877 (Vol. 5 of 6), by Carl Friedrich Glasenapp (de), Breitkopf & Härtel (1907), pg. 63; OCLC 3538418, 20463799
  15. ^ Makers of the Piano: 1820-1860 (Vol. 2 of 2), by Martha Novak Clinkscale, Oxford University Press (1999), pg. 40; OCLC 63063158
  16. ^ "Schmeil" (subject heading), Encyclopaedic Dictionary of Music, Hugo Riemann (ed.), Theodore Presser Company (1908), pg. 700
  17. ^ "Der in Allen Ländern Patentirte Schmeil'sche Notograph" (advertisement), Berlin: Beiblatt zum Kladderadatsch, Vol. 23, N° 7, February 13, 1870, pg. 3
  18. ^ For discussion of 231-3 Handelsregister, see "Quellen zur jüdischen Familiengeschichtsforschung im Staatsarchiv Hamburg Ein Wegweiser für die Spurensuche," by Jürgen Sielemann (de), Hamburg University Press (de) (2015), pps. 58-60; OCLC 923731694
  19. ^ "Otto Börs," Staatsarchiv der Freien und Hansestadt Hamburg (de), Deutsche Digitale Bibliothek (de), Staatsarchiv Hamburg, 231-3_B 12467 (retrieved October 27, 2016); 1452123
  20. ^ Lexikon Deutscher Klavierbauer (1st ed.), Fachbuchreihe Das Musikinstrument (Vol. 73), "Börs, Otto Pianofabrik" (subject heading), Hubert (Hubertus) Henkel, PhD (1937–2013) (ed.), Deutsche Bibliothek, Frankfurt: Verlag Erwin Bochinsky (2000), pg. 75; OCLC 43874512; ISSN 0429-9671
  21. ^ Hamburgisches Adress-Buch für 1879, "Personen- und Firmenverzeichnis: Dritter Abschnitt. Alphabetisches Verzeichniß der Einwohner der Stadt Hamburg, der Vorstadt und des Landgebiets, mit Angabe ihres Standes und ihrer Wohnungen" (retrieved November 10, 2016, via Univeristy of Hamburg)
  22. ^ Regierungs-Blatt für das Grossherzogthum Mecklenburg-Schwerin, Amtliche Beilage, Jahrgang 1877, N°. 17, Sect. II, pg. 99 (1877)
  23. ^ a b c d e Pianos and Their Makers, Vol. 2, by Alfred Dolge, Covina, California: Covina Publishing Company (1913), pg. 48; OCLC 500541714, 51374999
  24. ^ "Heirath-Anzeige: Otto Börs, Doris Börs, geb. Nagel," Hamburger Nachrichten (de), June 14, 1845, pg. 4, col. 3
    Heirath-Anzeige.
    Otto Börs
    Doris Börs, geb. Nagel.
    Hamburg, den 10ten Juni 1845
    (retrieved October 31, 2016, via www.theeuropeanlibrary.org/tel4/newspapers)
  25. ^ Hamburg City Directory (retrieved October 27, 2016, via www.agora.uni-hamburg.de/en/, AGORA — University of Hamburg)
  26. ^ Thoma Börs biography" (retrieved October 24, 2016, via www.isoldes-liebestod.net)
  27. ^ "Börs, Thoma (Theresa)," Großes Sängerlexikon (de) (Vol. 1 of 7), by Karl-Josef Kutsch (de), Leo Riemens (de) (1910–1985), K. G. Saur Verlag (2003); OCLC 5131214603
  28. ^ "Lokales: Hamburg 23 Mai. — Die Sängerin, Fraulein Thoma Börs," Hamburger Nachrichten (de), May 24, 1891, pg. 2, col. 2
  29. ^ "Tagesneuigkeiten — Wien, 26. Oktober," Fremden-Blatt (de), October 26, 1870, pg. 4, col. 3
  30. ^ "Dur und Moll — Herr Adolph Bösendorfer," Signale für die Musikalische Welt, Vol 26, N° 50, November 19, 1868, pg. 1039
  31. ^ "Bösendorfer, Familie," Austrian Music Association (de), IKM, Department of Musicology, Austrian Academy of Sciences (retrieved November 7, 2016)
  32. ^ "US Piano Sales History from 1900 to Present", Bluebook of Pianos (2012)
        1900 to 1959
        Piano Shipments reported by the National Piano Manufacturers Association
        1960 to 2012
        Piano Sales reported in MUSIC USA published by the American Music National Piano Foundation and Conference and the National Association of Music Merchants
  33. ^ "Zum 60 jährigen Bestehen der Firma C. T. Wolters in Hamburg," Zeitschrift für Instrumentenbau, Vol. 28, N° 1, October 1, 1907, pg. 101 (retrieved November 15, 2016, via State Institute for Music Research)
  34. ^ Flügel- und Pianofabrik F. L. Neumann, Hamburg, gegründet im Jahre 1854; OCLC 248490862
  35. ^ a b "Die Hamburger Pianoforte-Fabrik C.H. Schröder und Johannes Brahms," by Alexander Philipczuk, Das Musikinstrument (de), Vol. 39, N° 9, September 1990; pps. 22–32; ISSN 0027-4828
  36. ^ "Aufgebote: Standesamt Nr. 3 — Eduard Gustav Girnat mit Anna Maria Therese Börs," General-Anzeiger für Hamburg-Altona (de), December 31, 1910, pg. 7 — quote:

    Nach langem schweren Leiden entschlief am 29. Dezember mein innigst geliebter Mann, unser lieber Vater, Großvater, Schwiegervater, Bruder und Schwager
        Herr Willy Isermann
    im 61. Lebensjahre.
          In tiefer Trauer
            Anni Isermann
            geb. Esselsgroth
    nebst Verwandten
        Hamburg, den 30. Dezember 1910.
    Beerdigung findet Montag, den 2. Januar 1911, vorm. 11 Uhr, von der Niendorfer Kirche aus statt.
  37. ^ "Zur Vereinigung der Häuser Isermann und Langer," Zeitschrift für Instrumentenbau,, Paul de Wit (de), (ed.), Vol. 29, N° 10, January 1, 1909, pps. 327–329
  38. ^ "Labor Conditions in Germany," Music Trade Review, Vol. 46, N° 22, May 30, 1908, pg. 14
  39. ^ Harper's Hand-Book for Travelers in Europe and the East (ninth year), by William Pembroke Fetridge (1870)
  40. ^ Handbook for North Germany (19th ed., corrected), John Murray (ed.), Murray's Handbooks for Travellers (1877), pps. 116–122; OCLC 222902759
  41. ^ a b "März 1846: Märsche für das Pianoforte," archived in the Hofmeister XIX collection, Computer Centre, Royal Holloway, University of London (retrieved November 14, 2016, via Jisk)
  42. ^ "II. Korrespondenzen: Wien," Wien: Deutscher Theater-Correspondent, Vol. 15, N° 1, January 9, 1870, pg. 5, col. 2
  43. ^ Name entry: "Firmen- und Verlags-Besitzveränderungen im Musikalicnverlagshandel (1868–1876)," "Spina, C.A.," Handbuch der Musikalischen Literatur (4th supplement, Vol. 7, covering the years 1868–1873), Adolph Moritz Hofmeister (1802–1870) (ed.), Leipzig: Friedrich Hofmeister (1782–1864) (1876), pg. 14; OCLC 724264058, 632704732
    Note: Adolf Moritz Hofmeister was Friedrich's oldest of two sons

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