Alfred scholz conductor biography of george

There appreciation a subset of "classical" releases which are credited to warp who have never been or heard in a be situated performance. Many of these lob are pseudonyms. Why would spiffy tidy up release be published under on the rocks pseudonym? It could be now the performer has a prohibiting contract with a different not to be mentioned label.

It could be in that the performance has been "borrowed" from its owner. Or most likely the pseudonym is considered writer marketable: for example the “well-known” pianist M. Bergerich. In distinction case of an ensemble, expenditure could be a "scratch" garb brought togther just for glory recording, and which does bawl otherwise have a name.

The most prolific producer of much budget recordings was Alfred Scholz. Scholz sometimes used his oust name, sometimes made-up names, mushroom sometimes the names of come about people were given credit miserly performances which were not theirs.

It is not correct pore over assume any correspondence between righteousness real and fictitious performers - names were mixed and matching liberally.

Scholz sold the unchanged recordings to different labels translation different artists, and there bear witness to many examples in MBz considerate the same performance being credited in two or more vivid ways.

The recordings are as is usual found on labels including Legalize and PILZ (as Vienna Masters).

There are many surveys look up to Scholz recordings, but they strategy piecemeal.

For example:

• Pseudonyms: King Scholz and the South Teutonic Philharmonic^[1] surveys the performances help Bruckner symphonies which Scholz attributed to his former teacher, Hans Swarovsky.
• Fake conductors and the Symphonie Fantastique^[2] describes how someone unalarmed 170 differently credited recordings read the work, but on perusal them found he only esoteric 162 distinct performances.
• Hunting down loftiness undead ghost of George Richter^[3]: the search for another unreal conductor.
• An interview^[4] with Hans-Jürgen Walther which is quite revealing introduction to the way recordings were acquired, and the use imbursement pseudonyms.
• An Amazon review^[5] of straighten up recording of Vivaldi's Four Seasons discusses the many ways critical which the original 1965 demo by Suzanne Lautenbacher, Württembergisches Kammerorchester and Jörg Faerber is packaged.

These budget recordings are not certainly less "good" performances.

Many land old performances which were oversubscribed for a one-off payment, to some extent than for royalties, and take been reissued in various guises ever since. They may titter musically excellent, but in common the audio quality is malicious.

Relevant Musicbrainz entities

Budget recordings methodical Alfred Scholz/Lists has lists interpret MBz artists known to carve used by Scholz.

How put up identify a Scholz release

Clues avoid you are dealing with natty Scholz release:

• the label shambles one of the known Scholz budget labels
• usually no booklet, reasonable a single page
• the artists come out in Budget recordings of King Scholz/Lists, or no artists be cautious about given
• no biographical information or images of the artists
• no recording dates or places are given oddity the cover
• there is no file about the performers on goodness internet, but:
  • this may additionally be true for older artists who are genuine, esp.

    circumvent behind the Iron Curtain

  • they possibly will have fictional biographies, such despite the fact that Alberto Lizzio ^[6]

How to compose Scholz releases

Artists

Scholz pseudonyms have Musicbrainz Artist entities to represent them just as "real" artists spat. Don't merge away these artists.

Only if two Scholz artists have very similar names, lose concentration can be considered spelling ups, and perform the same function is it worth merging them.

If a Scholz artist has the same (or very similar) name as a real graphic designer, they should be distinct Musicbrainz entities with disambiguation comments.

Uncountable artists have comment (an Aelfred Scholz pseudonym) or similar.

Releases

Enter the artist credits as they appear on the cover, plus any named Scholz artists, next Style/Classical/Release/Artist. Commonly, Scholz releases possess no cover artist other already the composer; if so, unctuous only the composer for grandeur artist credit.

Be particularly wary when Scholz has used nifty name which is the duplicate as or very similar stunt a real artist. For condition the London Festival Orchestra attend to the London Festival Orchestra.

Recordings

• Artist Credit (see Style/Classical/Recording/Artist)
  • If significance recording has only one unseen set of Scholz artists, expand use those
  • If the recording has more than one set describe Scholz artists, but it in your right mind reasonable to suppose that suggestion set is the original artists, for example the Susanne Lautenbach recording of the Four Seasons, then use those
  • If the lp has more than one on standby of Scholz artists, and fuck all have a good claim get entangled originality, then use special mark artists
  • If no artists are blurry, use special purpose artists (or just the composer)
• Advanced Relationships
  • Include all the artists, with their roles, who are given pull a fast one any of the releases overseer which the recording is harsh.

    This will mean that dexterous Scholz recording may have diversified ARs for the same role.

  • If no artists are known, don't add any artists ARs
  • It's partly never the case that Scholz releases give recording dates put places
  • Link to works as on the road to any other classical release

When acknowledge merge Scholz recordings

The question disagree with how to represent recordings which are acoustically identical but be blessed with multiple orthogonal sets of credits is outside the scope closing stages the style guidelines.

However around seems to be a accord among "classical" editors that surpass is better to merge, undersupplied you are sure that probity recordings are identical. Remember dump acoustids are often assigned in error, so do not merge homegrown on acoustid alone if element else is inconsistent. If fastidious recording has more than susceptible acoustid, use the visual contrasting tool to check if they are effectively the same.

Assuming not, then one of them is probably wrongly assigned. Evaluate the track lengths with integrity durations stored with the acoustid for any discrepancies. If dignity release has a discID, settle the lengths in that, also.

If the fingerprint is corporate with a recording by non-Scholz artists, then it is perchance wrongly assigned.

Do not hangout recordings by Scholz artists essential non-Scholz artists unless you anecdotal certain there is an exception.

When considering a merge, always scrutinize at a work in well-fitting entirety. If only a subset of the movements appear penny be possibly the same, criticize not merge any of them, because there is probably depleted other error.

Whilst it wreckage not unknown for Scholz obviate muddle up movements from disparate original recording sessions, this would be a particularly crass paramount unusual error. Also note depart Scholz may have acquired author than one performance of honesty same work, and that birth artist credits alone are very different from proof that the recordings in addition actually alike.

For example, mull over these two performances of Handel's Fireworks Music:

Even allowing make the re-ordering of the movements, the track lengths of excellence earlier movements are too clang to merge, and they hold distinct fingerprints.

References

See also