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In Reply to: RE: I Have a Question For You....... posted by Todd Krieger on April 21, 2008 at 09:09:05
I don't honestly see the point.
In the Hatto case the orchestras and musicians credited were entirely invented - they had to be or someone would have 'squealed'.
An orchestral recording can be an incredibly expensive thing to make, and the musicians expect to be paid. I think they'd also expect to recognise their own performances - that was certainly the case when we were trying to pull apart one of the Hatto Godowsky pieces played originally by Carlo Grante and subjected to an unusual degree of manipulation by Barrington-Coupe. Carlo knew it was his playing days before I was able to prove it. Likewise he knew when it wasn't him.
Now there's no doubt that murky goings on have always existed in the music business - and the name Barrington-Coupe comes up again when you look at some of the slightly unusual LPs of the 60's - but I think it highly unlikely that you'd get a big-name (or potentially big-name) conductor and orchestra to collude in an enterprise such as that which you've suggested - or to have the wool pulled over their ears by devious record company engineers for no apparent purpose, having already spent days recording them - and paying them.
Barrington-Coupe got away with Hatto until the technology caught up with him. Whilst the ability to manipulate sound will continue to develop, so with the ability to spot this. Why go to such an effort to deceive - especially when there's a regular opportunity to hear the real thing in the flesh, again something which the Hatto set-up was able to side-step?
Andrew Rose
www.pristineclassical.com
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