Richard Schulze, a music director of the Telemann Society, was Chief of Mechanical Engineering for a Long Island electronics firm in 1959, when notice was given to the tenants of Carnegie Hall to vacate theiir studios to make way for demolition crews. Richard Schulze called a meeting of tenants and other interested parties.  At that time, Richard Schulze organized the Carnegie Hall Fund, Inc.  As organizer and the driving force behind this effort, Mr. Schulze kept the press fully informed of daily developments, creating a climate of public opinion which made it possible to reopen and to re-examine a situaton which had already been considered a dead issue.  He also carried out the first Feasibility Study of the Carnegie Hall Building, which revealed the managerial inadequacies of the then business owners; by means of this study, he authored the Management Plan which was subsequently adopted and which enabled the building to be operated in the "black" even after departure of the New York Philharmonic, its largest single tenant, to Lincoln Center.

Daily efforts to fully inform the press of breaking developments, and the creation of favorable public opinion finally paid off when Issac Stern heard Schulze's historic recording and decided to lend his support to the Carnegie Hall Fund's efforts to save Carnegie Hall.  All of Schulze's findings were then turned over to Stern's newly formed committee of prominent citizens, which, making use of the Schulze documentation, took over management of the building after title was obtained from the prior owners by the City of New York on behalf of the new management.

Carnegie Hall pessimists, in 1959, pointed out that sufficient money could never be raised in time to prevent demolition.  Yet Richard Schulze and the Carnegie Hall Fund, Inc. made it possible to save Carnegie Hall without raising a dime.

Recognizing another perrenial situation, adverse to the American economy, Schulze galvanized and developed a comprehensive merchandising program which, in 1962, included the establishment of his own record company in New York City, naming it, "Amphion Record Company", whose function would be to produce the recordings of the Telemann Society Orchestra, Chorus, and Instrumental Ensembles.  Through this medium, he was able to guide the Telemann Society, musical direction of which he shared with his wife Theodora, to the establishment of a nationwide enrollment of Baroque Music enthusiasts to whom the U.S. produced recordings of the Telemann Society could be distrubuted by direct mail.  To widen the distribution of Telemann Society Recordings, Schulze then licensed production and manufacturing rights to his many recordings, which soon appeared on such well-known labels as Vox, Nonesuch, and Counterpoint-Esoteric.  By this initiative, recordings of the Telemann Society found their way into a competitive position in every market of the free world.  The combination of income from licensing his recordings to the commercial record companies and from their sale to Telemann Society subscribers enabled Schulze to become the only large scale producer of Baroque LP recordings on this side of the Atlantic.