Het zal morgen twintig jaar geleden zijn dat de Italiaanse dirigent Alberto Lizzio is overleden. U heeft vast wel CD’s van hem in huis, kijk maar eens bij je goedkope aanschaffen. Helaas, maestro Lizzio heeft nooit bestaan. Hij is een creatie van zijn Duitse confrater Alfred Scholz – op voorwaarde dat we er mogen vanuit gaan dat deze Scholz wel degelijk zo heet en dat hij inderdaad een dirigent is. Allemaal heel raadselachtig en wat ik o.a. op Wikipedia en Discogs heb gevonden, verklaart wel een beetje maar niet alles…
Alberto Lizzio was a pseudonym invented by record producer and conductor Alfred Scholz which Scholz attached to older performances, often conducted by Hans Swarowsky, Milan Horvat, Carl Melles or himself. These performances were used to put out inexpensive classical recordings for the mass market or for production music. Scholz wrote a fictitious biography of Lizzio, claiming he was born in Merano, South Tyrol on 30 May 1926, studied violin, composition and conducting in Milan, Lombardy, and that his second wife, with whom he had a son, died in 1980 in a car accident in which Lizzio was severely injured. The fictitious biography concludes with his death on 22 October 1999, in Dresden. (Wikipedia)
Alfred Scholz (foto NTS) was a prolific producer of budget recordings, who fraudulently sold recordings credited with fake artists and orchestras. Sometimes the names of real people were given credit for performances which were not theirs. Working as a conductor, he performed under the guise of Alberto Lizzio as well as many other names.
“Alberto Lizzio” was a pseudonym invented by Scholz and attached to older recordings which he obtained and then credited with fake artists like Hans Swarowsky (who was a real conductor and also Scholz’s teacher, but was never on any of Scholz’s recording) or himself. “Hans Zanotelli” (the name of a real conductor and also Scholz’s fellow student) was another name fraudulently used on Alfred Scholz’s records, as are Milan Horvat and Carl Melles.
It is not clear if Alfred Scholz was a real conductor who was also a fraudster, or the perpetrator of the fraud, who was using his name as well as many others, real or imaginary as “conductors” on his recordings.
The most common orchestra used by Scholz in his fake productions was the Süddeutsche Philharmonie or “South German Philharmonic”. If the attribution is correct, this was originally a short-lived pick-up ensemble assembled by Scholz from members of the Czech Philharmonic in Prague and the Bamberg Symphony around 1968. Other fake orchestras conducted by fake conductors include Philharmonia Slavonica.
Many dozens of budget labels use the recordings originally obtained from Alfred Scholz, who had a catalog of about 2000 titles. Most of these were old analogue recordings made between 1968 and 1970 for Polyband and Primaton and by the Austrian Radio prior to 1977. The recordings by the Austrian Radio were sold in 1977 to PREMIS, a company owned or controlled by Scholz. His catalog also includes a limited number of legitimate digital recordings made in England (London), Slovenia (Ljubljana), Slovakia (Bratislava), and Hungary (Budapest).
The catalog subsequently passed into the ownership of Musikförderung and is now owned by Point Productions. (www.discogs.com)
Op wiki.musicbrainz.org is er een nog veel uitgebreidere uitleg, waarin ook de fameuze pianiste “Martha Bergerich” ter sprake komt: “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. There could be a number of reasons why a release would 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.”
De naam “M.Bergerich” is aanklikbaar en dan krijgt men dit te zien: “pseudonym used on budget recordings – not Martha Argerich)”
(Met dank aan Erik Vercauteren en Igor Tiemens)