Difference between revisions of "Budget recordings of Alfred Scholz"

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* [[artist:8aa00798-89e9-4127-8c4d-1595b13f83b6|Wiener Johann Strauss Orchester]]
  
* [[artist:8aa00798-89e9-4127-8c4d-1595b13f83b6|Wiener Johann Strauss Orchester]]
 
* [[artist:5fcf3cd2-8dd8-41af-bbb5-842b9425889e|Festivalový orchestr Praha]] - Does not seem to be fictional.<ref>http://www.sms.cz/kapela/prazsky-festivalovy-orchestr</ref>
  
* [[artist:5fcf3cd2-8dd8-41af-bbb5-842b9425889e|Festivalový orchestr Praha]] - Does not seem to be fictional.<ref>http://www.sms.cz/kapela/prazsky-festivalovy-orchestr</ref>
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* [[artist:6ce4a47c-e4e6-4e02-8e8e-239e4a88b4f6|Amsterdam Symphony Orchestra]]
   
 
===“Fake” artists===
  
===“Fake” artists===

Revision as of 23:09, 17 June 2013

There is a subset of "classical" releases which are credited to performers who have never been seen or heard in a live performance. Many of these performers are pseudonyms. Why would a release be published under a pseudonym? It could be because the performer has a restrictive contract with a different record label. It could be because the performance has been "borrowed" from its owner. Or perhaps the pseudonym is considered more marketable: for example the “well-known” pianist M. Bergerich. In the case of an ensemble, it could be a "scratch" ensemble brought togther just for the recording, and which does not otherwise have a name.

The most prolific producer of such budget recordings was Alfred Scholz. Scholz sometimes used his own name, sometimes made-up names, and sometimes the names of real people were given credit for performances which were not theirs.

It is not correct to assume any correspondence between the real and fictitious performers - names were mixed and matched liberally. Scholz sold the same recordings to different labels as different artists, and there are examples in MBz of the same performance being credited in two or more distinct ways.

The recordings are usually found on labels including Point and PILZ (as Vienna Masters).

For example, Fake conductors and the Symphonie Fantastique describes how someone collected 170 differently credited recordings of the work, but on studying them found he only had 162 distinct performances.

The following lists are of artists known to be used by Scholz:

Real artists, names used (possibly) fraudulently

A few of these may in fact be the actual artists behind the music. In many cases the names are simply appropriated.

“Fake” artists

Some of these are possibly real. More research is needed.

Conductors

Ensembles

Soloists

Question

What is the best way to record these performances in the database? In particular, where a single performance, with identical acoustic fingerprint, is credited to two or more sets of performers, how should they be credited?

See the Talk page.

References

  1. ↑ 1.0 1.1 Pseudonyms: Alfred Scholz and the South German Philharmonic, John F. Berky, March 12, 2003 (revised January, 2009)
  2. ↑ http://www.sms.cz/kapela/prazsky-festivalovy-orchestr
  3. ↑ Wikipedia article for Alberto Lizzio and before cleanup
  4. ↑ Wikipedia article on the Capriccio Espagnole
  5. ↑ http://cellofun.yuku.com/topic/13814/Camerata-romana
  6. ↑ Tristan and Isolde discography

See also

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