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In Reply to: Re: FORENSIC MUSICOLOGY posted by Ramesh on February 19, 2007 at 21:01:34:
I think it's amazing that this whole scandal, unprecedented in the history of music reproduction, has received such a seemingly scant response from Asylum inmates. It is, literally, inconceivable that it could have happened. Nothing of it can be explained in any way. "What were they thinking?" is not even remotely adequate as our question. It's just too fantastical. And just to think of the repercussions of it all!
On the other hand, it raises interesting questions about intellectual property and the issue of authenticity of a work of art, something we've mostly been confronted in rap/DJ/house music up to now. What's borrowing, what's an adequate degree of alteration that makes the work into something else, into something new "belonging" to someone else? Why didn't those originals that you, Ramesh, list ever receive even the faintest amount of notice from the critics and the music lovers all around the world, but were immediately and unconditionally hailed as masterpieces after the 0.5% to 14% manipulations in pitch, equalization, and length by the Hatto "production" team? Were those tiny changes just that one little thing that elevated these works from mere ho-hum to the rank of timeless masterpieces? Or are the critics just really unbelievably stupid, unmusical, and psychologically infantile (herd mentality and cult cravings)? Don't tell me that those same critics had never listened to Ashkenazy, Haitink, Salonen, Bronfman, Previn, even Muraro and Paul Kim in these works (I've read reviews).
Curious. Baffling. Impossible. Good to get your updates on this, what seem to be unfolding as the biggest-ever scam in classical music (dunno about other genres), Ramesh. What else might be out there that we don't know of?
Tami, I placed an order for the Hatto Mozart sonatas yesterday [ rave review in January Gramophone ] with mdt.co.uk, before they removed the Hattos from sale. Assuming I get them, an inmate of sa-cd.net in London wants a listen, so I've asked mdt to post it directly to him. If you're interested, let me know, and I'll get him to post it to you when he's finished.
Can you rip them, burn a CD and put some old drawing on the cover for this limited distribution? We could fake fake Hatto, no one would notice. TL
While it appears Ms Hatto's bereaved spouse has decided to enhance her memory by publishing the work of others as that of his wife, it is hardly new or unprecedented.
Collectors with long memories will recall RCA's series of LP's in the early fifties on the Camden label with many famous performances from other labels deliberately misrepresented or attributed to fanciful sources such as the "Warwick Symphony Orchestra"--which turned out was a performance with Walter and the VPO from the 1930's.
Many purported Furtwaengler recordings were not made by him. There are bogus Lipatti issues, counterfeit Beecham's, the list goes on.
Plus the opposite is also true. Perlman tells a story (probably a rib anyhow) of a woman who insisted he hear a tape of her son's violin playing. Perlman was stunned by the high quality fiddling and asked the woman: "Is that really your son playing"? Reply: "No, that's Jascha Heifetz, but my son sounds just like him!"
Sure, probably nothing new as such, but here it's the extent that's unprecedented:
119 recordings issued in her name to date (plus the plans for future issues), and to all accounts every single one that got reviewed (and pretty much they all would have sooner or later gotten reviewed, pending availability, given their status as cult objects and their "in-the-know" appeal) was praised as basically a lasting, unique masterpiece by some or another of the most influential critics in the business (Gramophone, Jed Distler & co.).
If we are to trust the latter, a big number of the glowing peaks of classical music history of at least the last 50 years (has seemingly) turned out to be a fraud. Who am I going to read now: Hurwitz? My gawd.
I realize you are shocked, shocked! by Hatto-husband's duplicity. But a good or great performance remains so no matter who the artist is. You can enjoy it just the same. Or you can spend leisure hours sleuthing out frauds and copies like the fine folk at Grammophone.
Showing up a critic has always be a ton of fun, like the famous fellow who terrorized Vienniese musical life around the turn of the century, ripping into just about everyone he reviewed. Then, one day, he opined in print that "among the orchestra's brass the English horn solo was a particularly unpleasant standout". Career over!!
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