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In Reply to: RE: Well, at least one undoctored CD slipped into the stream of commerce, and the jig was well and truly up. posted by John Marks on October 30, 2011 at 11:33:44
I'm a lawyer too, so I have good reason to know what you say about con artists being too greedy or dumb to know when to stop is usually true. Not always -- I've heard of cons who knew enough to retire rich in an Arizona ranch rather than behind bars, but I'm sure those are exceptions rather than the rule.
I've researched the Hatto case pretty thoroughly, and I've come to suspect that they wanted to see just how far they could push it before they were found out (which might well have happened only after both of them were dead, of course). My theory is, rather than being greedy or dumb (which I admit is the usual case, as in your examples), they wanted maximum revenge on a musical establishment that had (in their view) rudely and arbitrarily pushed her aside. I suppose getting the full measure of revenge would require getting found out and becoming front-page news at some point, to embarrass all who had been had.
And you are absolutely right about the improbable size and scope of her discography, even when recorded over a long career, much less the 13 years in which the Hatto recordings were supposedly made.
Follow Ups:
For Moravec, counting very roughly, I count 40 "sessions" over 40 years of recording (1962-2002). But that 40 "sessions" includes several recorded live performances, the "Amadeus" soundtrack, and two DVDs.
For a serious artist, it's a lot to put out one recording a year with very serious repertory. Nathaniel Rosen's Bach solo cello Suites were recorded in two sessions that were six months apart. A serious artist like Moravec would clear the decks and work very hard for a major piece like the Schumann Concerto, knowing that his reputation depended upon being able to be mentioned in the same breath with--anyone. I can tell you that for the 90 days before recording his solo LP and CD of Ysa˙e, Kreisler, and Bach, Arturo Delmoni for all intents and purposes dropped everything and did nothing but practice and prepare for that session. You can't do that too many times a year.
So, yes, when all is said and done, the critics were too gullible. But perhaps they are just restaurant critics who have never spent 10 sweaty hours in a commercial kitchen. In other words, they think that the stork brings the recordings, and have little idea how much work great recordings are. E.g., most musicians I know don't want anyone else supervising the editing, and most want to attend the mastering too. OK, that's weeks and days not being able to do anything else.
The clues were all there, but people wanted to believe a good story.
JM
I have both of Moravec's recordings of the Schumann concerto--the studio recording with the Czech Phil and a live performance from Dallas conducted by Mata. Both are fine recordings, but he's especially good in the Czech recording.
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