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Jed Distler in classicstoday.com gave Hatto's Mozart sonatas 10/10 for both performance and recorded sound.This is Bryce Morrison's review of the same in the January 'Gramophone'. Last half : "Even with the likes of Pires, Uchida and Schiff before her, Hatto surely trumps everyone's ace, registering everything with a rare sense of discovery and delight. Scrupulously true to the score, she offers her own personal illumination, acutely yet naturally sensitive to the profound inner light that so often shines beneath Mozart's outwardly benign surface."
"Doubting Thomases should turn for confirmation to the slow movement of K533, where Mozart's audacities are registered with an ease which makes them all the more telling. Again, try the opening adagio from K282, where Hatto's speculation is the opposite of indulgence and where she is never lost in her own reverie. In the great A minor sonata, her performance is quite without a more familiar driven and disfiguring quality, its drama wistful rather than aggressively caught. And if K545 is impeccable in both line and detail, it is never merely bright-eyed in a way that can make, say, Ingrid Haebler's Mozart an altogether more limited experience. Overall, more beguiling but natural Mozart playing would be hard to imagine. Above all, Hatto's warmth and humanity shine through page after page, and she has been beautifully recorded."
I had a hunch that Hatto's performances were derived, at least in part from Haebler's late Denon set, based on stylistic grounds. [ The Haebler is available from hmv.co.jp at a very good price.] I placed a notice on the gramophone forum board to this effect. Overnight, the pristineclassical.com website has placed waveform analysis which virtually proves that at least one Hatto Mozart CD has been copied from one Haebler Denon CD.
Morrison's review forgot that Haebler had recorded the Mozart cycle at least twice. He must have been referring to the early Haebler Philips recording, because Denon classical never had good distribution outside of Japan.Summary. If the doctored CDs sound great, the original Haebler Mozart set from Denon is well worth purchasing as the top choice for both music and sound quality!
Follow Ups:
I have just completed a long post to the Gramophone.co.uk forum under 'instrumental' on Mr Joyce Hatto's 'sMEAred CULPA', which includes details of her terminal illness. It is awaiting moderation, and it may be posted in about 10 hours. If my post isn't accepted by Gramophone, I will repost the juicy details here.
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SORRY! WHOops...
Oh dear, I've stuck my Mac Safari in it : my message about jessicamusic.blogspot.com's inside info on Hatto's illness appeared on the gramophone message board some time on the morning of the 28th. By 1700 on the same day, Jessica Duchen had deleted that entire section from her blog.
Oleg Marshev on Danacord
Thanks for the info. I really like these recordings: quite forceful, extroverted, and masculine.
A
The guy is a complete idiot, and it doesn't surprise me that he uses "Hatto" (=Haebler) to underscore Haebler's "altogether more limited experience." Morrison, with his dull musical perception and his purple prose, is one of the many reasons I've avoided the Gramophone for years.
s
. . . but "decades" didn't fall as trippingly off the tongue! :-)
s
And since it's my bad day, I'll say what I otherwise wouldn't:If there had to be two critics to be hit the hardest by all this, I'm not sad it's Distler and BM. I never encountered a thought that makes sense in their crappy "reviews" in which one of them merely imposes his own very limited, very poor, and very weird tastes on everything, and the other one is blown away by whatever preformed notions and extramusical associations he might be having that day, feeling great about "the great art of music." Both of them are real provincial patriots, though in very different ways of course.
And the way they write is even worse than the way they think/feel/associate/whatever it is that's going on in there when they "work."
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...this is about the unfolding of an "artistic fraud on a scale unlike anything classical music has ever known." And it's starting to very much look like the perpetrators aren't exclusively music producers and performing artists: the most influential of our venerable music industry institutions has been using Haebler to refute Haebler! Funny in some kinky sort of a way, butStop the presses!
methinks,
that most impresses from all of this is the inability of the "pros" -- critics and reviewers -- to have been able to discern the difference. Lemmings aren't known for their judgement. Also, apparently not a lot of folks that purchased these copied recordings could discern the difference either...or they suspended their disbelief. My opinion only, but I think this is all small potatoes.
Some from John O'Conor, Telarc
Debussy Preludes at least Book 1 performed by Izumi Tateno on Canyon Classics
Well now I'm getting pissed. Tateno is my compatriot!
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