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 Alex McGehee
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Background (not for publication):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 2011.
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.