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Tam Pollard
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« Reply #30 on: 23:11:40, 27-02-2007 » |
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An interesting piece. However, I fault the logic that 'I did it for the love of my wife' is the 'simplest' explanation (indeed, for many of the reasons he goes on to highlight). For me, the simplest explanation is money, plain and simple (tempered with a desire to pull one over on the critics he felt had done her down).
The only part the 'confession' I am convinced is the truth is his desire now to be left alone. A cynic might suggest of the that a mea culpa, mixed with a tragic love story was the surest way to achieve that.
I doubt we will ever know the full truth - in some ways just as well. Almost always, in conspiracy theories, the truth turns out to be incredibly dull (take Deep Throat, for example).
regards, Tam
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oliver sudden
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« Reply #31 on: 14:58:05, 02-03-2007 » |
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Certainly his comments in the press seem to go out of their way to push all available sympathy buttons. It might be interesting to hear some recordings where it was indeed a simple matter of dubbing over some involuntary noises rather than lifting entire CDs... Oh dear. Michael Spring, sales manager of Hyperion Records, some of whose recordings were released as Hattos, said: "I feel we should do something, although it will cost a lot of money to bring him to court. We need to get to the bottom of it and get a list of all the recordings he's pirated." Indeed, Hyperion know pretty darn well what a court case can set you back!  |
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trained-pianist
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« Reply #33 on: 16:48:12, 02-03-2007 » |
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You are very kind John W. I think he is just fraud-master. I am talking about Hatto's husband.
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John W
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« Reply #34 on: 17:01:34, 02-03-2007 » |
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t-p,
Yes he is a fraudster, he used other people's recordings and put his wife's name to them.
But prior to that he mentioned using clips of recordings to mask his wife's 'grunts', this was his experiments, but I'm not certain any of those edited recordings were released. When was he doing this, what year did she begin to grunt?
John W
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John W
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« Reply #35 on: 20:06:38, 02-03-2007 » |
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t-p, A new poster on the Beeb R3 boards posted this link regarding the Prokofiev sonatas recorded 'by Hatto', apparently they are actually by Oleg Marshev. Have you heard Mashev t-p? http://www.lsus.edu/sc/math/rmabry/HattoGate/John W |
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trained-pianist
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« Reply #36 on: 20:38:09, 02-03-2007 » |
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No, I did not hear Marshev. He must be young and relatively new.
I dont believe Hatto's husband was covering her grunts. May be I am becoming cinical. Do people know if she was really sick. Playing piano is very phisical activity and one has to be in relatively good health to play through so much reperoire.
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oliver sudden
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« Reply #37 on: 11:26:42, 04-03-2007 » |
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I'm afraid I'm cynical too now, t-p, especially when I read stuff from the husband like 'she was in so much pain'. You don't take on Messiaen in that state, do you?
I feel my sympathy buttons being pushed and I don't trust him. I'm afraid it's his own fault.
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Ian Pace
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« Reply #38 on: 11:42:17, 04-03-2007 » |
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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trained-pianist
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« Reply #39 on: 11:55:23, 04-03-2007 » |
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thank you, Ian. I feel more sympathy for Barrington-Coupe now.
I still can not understand how one can practise for hours in pain. I am playing Rachmaninoff one prelude op 23 in B flat and I am very tired at the end. I can not imagine an old woman playing Rachmaninoff concerto and other technical and long things. I could believe if she would play some short pieces of Grieg, or some Chopin or something like that.
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oliver sudden
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« Reply #40 on: 11:58:08, 04-03-2007 » |
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But mentioning B-C and Handel in the same article is surely appalling journalism. When Handel lifted a Postillon by Telemann in Belshazzar for example it was to fill the scene for a couple of minutes in a piece whose dramatic thrust was extremely original. And even then he added vocal lines which give it a new interest.
I feel less sympathy for him the more he says. I'm needing a demonstration that there really is a transitional stage of Naughty Embroidery between Pure Hatto and Outright Theft. Until then what B-C says cuts no ice with me I'm afraid. Especially all the onion juice stuff.
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teleplasm
Gender: 
Posts: 49
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« Reply #41 on: 16:26:08, 04-03-2007 » |
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The gullibility of the Times interviewer made me feel queasy. And how many Steinways did Rachmaninov own? 12.30 RACHMANINOV'S STEINWAY The Russian pianist Mikhail Pletnev, recorded at the Villa Senar, Switzerland, in June 1998, using the composer's recently restored 1933 Steinway.  |
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trained-pianist
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« Reply #42 on: 16:40:07, 04-03-2007 » |
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Yes, I was also thinking about it, teleplasm. I remember listening to Pletnev recordings on Steinway piano in Switzerland. Good point.
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George Garnett
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« Reply #43 on: 16:47:52, 04-03-2007 » |
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Oh dear, oh dear. There does seem to be far too much convenient detail in Mr Barrington-Coupe's account for it to ring true. It does look awfully like one of those text book examples of someone giving themselves away with an over-elaborated self-justifying story. If the text books are to be trusted though I wouldn't be at all surprised if he now fully believes this account too. Sorry to go in for obvious amateur psychology but this 'confession' couldn't look much more like someone deluding themselves if it tried. I still can't work up much outrage about the whole sad business though. The man himself, and sadly the remaining reputation of his wife, look like being the biggest victims of the fantasy he invented and possibly even came to believe.
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oliver sudden
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« Reply #44 on: 18:51:46, 04-03-2007 » |
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Then he read an article in a music magazine describing how Elisabeth Schwarzkopf had covered the high notes for Kirsten Flagstad in the celebrated EMI recording of Wagner’s Tristan and Isolde. Immediately he knew he’d found a solution.
Er, Schwarzkopf was in the studio standing next to Flagstad, or so I read - no splicing involved.
He thinks he began editing “ambience” in the late 1980s. Not long afterwards he began editing in small bits of others’ recordings whose sound and style were similar to his wife’s. “Everyone will say it’s impossible but I did it on a MiniDisc,” he says. “It has a wonderful capability; you can edit from one frame to another. Technically I was proud of what I did although I’m not proud of anything else.
MiniDisc in the late 1980s, OK, whatever, that would certainly have helped Sony bring it out in 1992 (so I read). But if you can really splice like he's describing, in the middle of nowhere from a completely different ambience and acoustic, then I really wonder why some of my studio sessions have lasted so long. Anyone out there with technical experience, er, see any point wasting their time commenting? Now that I put it like that probably not.
“It’s the old thing,” he says. “If you’ve killed someone once it’s easy to do it the second time, so in the end you kill ceaselessly. It wasn’t easy but God gave me a good ear.”
Er, right.
he responds with the somewhat implausible explanation that the more he reveals the more people will hound him. “Whatever I do, it won’t be enough. They want to see me kill myself because they want to believe that I can’t live with myself.”
I don't really go in for obvious amateur psychology any more than George does but I really don't like the sound of this.
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