Press Review - Das Bilderlexikon der deutschen Schellack-Schallplatten - Fontes Artis Musicae
Anyone who is interested in German shellac records—whether as a collector, a research- er or a discophile—will have heard of Rainer Lotz. Lotz, who was born in Hamburg, says that he started collecting records in 1955 and is still doing so today. However, his talents include networking as well as collecting. Togeth- er these form the foundation on which his life’s work is based: Das Bilderlexikon der deutschen Schellack-Schallplatten (The German Record Label Book). This encyclopaedia is the work of the century—so much can be said even now.
Although the five-volume encyclopaedia clearly bears Lotz’s signature, his long-time col- laborators, Michael Gunrem and Stephan Puille, are also named as authors. Both of them are col- lectors with an outstanding knowledge of their subject, and their rare images, valuable notes, and important background information con- tribute significantly to the success of the work. However, they are not the only ones: around 300 other names are listed in the acknowledgements, including collectors, archivists, researchers, and institutions from all over the world whose knowl- edge has flowed into this lexicon, the creation of which spanned several decades. Rainer Lotz un- derstands his pictorial encyclopaedia as a colla- tion of information from a global community, and sees himself not as a guru, but rather as a kind of guiding spirit. This is no doubt another reason for the scope and quality of the work.
Anyone who is interested in German shellac records—whether as a collector, a research- er or a discophile—will have heard of Rainer Lotz. Lotz, who was born in Hamburg, says that he started collecting records in 1955 and is still doing so today. However, his talents include networking as well as collecting. Togeth- er these form the foundation on which his life’s work is based: Das Bilderlexikon der deutschen Schellack-Schallplatten (The German Record Label Book). This encyclopaedia is the work of the century—so much can be said even now.
Although the five-volume encyclopaedia clearly bears Lotz’s signature, his long-time col- laborators, Michael Gunrem and Stephan Puille, are also named as authors. Both of them are col- lectors with an outstanding knowledge of their subject, and their rare images, valuable notes, and important background information con- tribute significantly to the success of the work. However, they are not the only ones: around 300 other names are listed in the acknowledgements, including collectors, archivists, researchers, and institutions from all over the world whose knowl- edge has flowed into this lexicon, the creation of which spanned several decades. Rainer Lotz un- derstands his pictorial encyclopaedia as a colla- tion of information from a global community, and sees himself not as a guru, but rather as a kind of guiding spirit. This is no doubt another reason for the scope and quality of the work.
Press Review - Das Bilderlexikon der deutschen Schellack-Schallplatten - CLPGS
BOOK REVIEWS
DAS BILDERLEXIKON DER DEUTSCHEN SCHELLACK-SCHALLPLATTEN
Dr. Rainer Lotz first published his seminal work Grammophon-platten au der Ragtime Ara in 1979, since when he has produced a large body of work culminating in the magisterial, 44 CD, 2 volume Black Europe in 2013. It seemed impossible for him to produce anything that was even more impressive — but he has. This stupendous work is in 5 volumes with over 2200 pages, more than 10,000 colour pictures of record labels and countless black & white repro-ductions of trade-mark regis-trations and more. This book is not a discography; it has no catalogue reconstructions but it is, as described in the title, a picture encyclopaedia of German record labels. This does not mean that it con-tains information about record labels only sold in Germany; it embraces all records pressed in Germany ir-respective of the country of origin of the master.
BOOK REVIEWS
DAS BILDERLEXIKON DER DEUTSCHEN SCHELLACK-SCHALLPLATTEN
Dr. Rainer Lotz first published his seminal work Grammophon-platten au der Ragtime Ara in 1979, since when he has produced a large body of work culminating in the magisterial, 44 CD, 2 volume Black Europe in 2013. It seemed impossible for him to produce anything that was even more impressive — but he has. This stupendous work is in 5 volumes with over 2200 pages, more than 10,000 colour pictures of record labels and countless black & white repro-ductions of trade-mark regis-trations and more. This book is not a discography; it has no catalogue reconstructions but it is, as described in the title, a picture encyclopaedia of German record labels. This does not mean that it con-tains information about record labels only sold in Germany; it embraces all records pressed in Germany ir-respective of the country of origin of the master.