Why would someone pay a bunch of money to round up those rights? What is the commercial value
-- Tom Fine
----- Original Message -----
From: "Mark Jenkins" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, December 06, 2011 7:06 PM
Subject: Re: [ARSCLIST] The Mysteries of Alfred Scholz
Your best bet would be to contact Jim Long at Telus Holdings for the documentation he has. He's
spent more money than you and I want to know, and years of litigation and time in rounding up the
rights to most of the Scholz recordings, and I can tell you personally that this was a Herculean
effort in doing so. He owns the majority of the catalogue at this point, and should have most of
the background information you're seeking.
From: Association for Recorded Sound Discussion List [mailto:[log in to unmask]] On Behalf Of
Sent: December-06-11 12:48 PM
To: [log in to unmask]
Subject: [ARSCLIST] The Mysteries of Alfred Scholz
Greetings fellow ARSC recording detectives,
I am looking for some help, pinning down recording dates and actual conductors for the indefatigable
(I'm trying to be diplomatic here) Alfred Scholz, a gadfly record producer and conductor who was
active in the late 60's and 70's. I am specifically interested in his activities as they regard
recordings of the symphonies of Joseph Haydn. Can anyone shed some light here? For those who
might, I've included information below I currently know.
Background (not for publication):
Alfred Scholz, the record producer and conductor had a history of fabricating conductors and
orchestras in the recordings he marketed to cut-rate labels like Pilz (since bankrupt, owner
convicted for embezzlement). The use of his own name on someone else's recording was within the
range of his professional conduct. Among the pseudonymous conductors and orchestras listed in the
Scholz catalog in recordings of Haydn symphonies were: Alberto Lizzio, Henry (or Henri) Adolph,
Alexander von Pitamic, and the Süddeutsche Philharmonie (South German Philharmonic Orchestra).
Scholz assembled pick-up orchestras using players from eastern Europe to make some of his
recordings. He purchased other recordings from Austrian Radio. The original recordings are mostly
analog and date from the late 1960's and early 1970's. The recording dates for the original sessions
as well as the actual artists involved seem almost impossible to trace. Scholz was a student of the
Austrian conductor, Hans Swarowsky, an early Haydn recording pioneer, and Scholz was not above using
his teacher's name on recordings Swarowsky never made.
Primary sources: the late Ernst A. Lumpe's pioneering work in ARSC; and Bruckner discographer, John
F. Berky, "Pseudonyms: Alfred Scholz and the South German Philharmonic". 12 March 2003 (revised
January, 2009). Published on-line at
(www.abruckner.com/data/articles/articlesenglish/berkyjohpseudonym/psedonyms.pdf) accessed 24 June
Here also, is an account of Scholz's work with the London Symphony Orchestra by Philip Stuart in his
discography on the ensemble: (6 January 1980) "To capitalize on the new digital technology, Scholz
spent a week recording three sessions per day with three London Orchestras (the Philharmonia on 3
and 7, and the LPO on 4 and 5 January). The tapes were then licensed to a large number of labels.
Many issues used pseudonyms for conductor, orchestra, or both and there was soon confusion over
which works had been recorded with which orchestra, and which had been conducted by Scholz's
assistant, Laurence Siegel. eg: Wagner's Overture to Tannhäuser, credited to "LSO, Henry Adolph" on
Sonata 91047 was actually played by the Philharmonia."
For those who have read through all this, many thanks.