Piano World Home Page Forums Our Most Popular Forums Pianist Corner Joyce Hatto Redux

This from the latest "The New Yorker":

http://www.andrys.com/Hatto-by-Singer.pdf

it's a good read for sure.

Posting that is undoubtedly copyright infringement. If you want to read it, buy the magazine.

And UK members, the magazine is available in London. BDB, thanks for making the point about copyright infringement.

You would be wrong about that.

Permission was granted to the following website to post the article and to allow others to download it.

Obviously, "The New Yorker" has much to gain from the publicity, and even more to be grateful for, since this website has methodically laid all the research groundwork for the content manifested in this article.

But, thank you for attempting to insult me. It's a great welcome to this Forum.

http://www.andrys.com/hatto.html#news

Hi, -
Yes, I was given permission to forward my advance copy to anyone I liked, so I offer it to the interested. But I also ask that people support the magazine. Amazingly, the entire New Yorker history is on 9 DVDs for only $30 there.

I describe the article and point to both the full online article that is in HTML on their site now and more readable (on the monitor) which one can print out via their print version. It's text without the usual non-related cartoons and poetry if that's preferred but the cartoons and poetry are quite worthwhile.

I also point to the article's associated audio that, while it is highlighted on their current week's front page, is not obvious within the HTML article box itself. It is now on the left column but after this week might not be as prominently displayed.

I cannot recommend this article too highly. It's by far the most thorough and well-written one I've read, and the associated audio file acts both as introduction to the article and as a supplement in that it describes and explains the waveform analyses for the mainstream New Yorker readers who may not have heard about the story as most of us have.

My permalink, since more current articles at New Yorker and at my own news-history site, will move it a bit more out of sight eventually, is
http://www.andrys.com/hatto.html#newyorker

- Andrys

The New Yorker website says: The material on this site may not be reproduced, distributed, transmitted, cached, or otherwise used, except with the prior written permission of CondéNet Inc. I still have not seen that written permission. It undoubtedly has not been granted to PianoWorld, which probably makes the link on this page infringement.

It is unfortunate if anyone is insulted, but certainly I have done nothing wrong. It is your responsibility to show us that you are not breaking the terms of use for the New Yorker website.

If you want to fix it, use the Edit command, and link to the New Yorker website.

At some point you may find yourself getting income through intellectual property. You may wish that others will be as careful with it then.

Your concern is certainly quite high-minded and laudable, but I do have a question:

The icon used in Argerichfan's posts uses a reproduction of a Deutsche Grammophon CD cover that incorporates the intellectual property of a graphic designer and a photographer. Do we need to see written proof of permission in this instance as well?

Are you worried about PianoWorld's liability here, too?

No answer was the loud reply - surprise, surprise!

I for one would like to thank you for drawing our attention to the article, Aldous. For me, it shed a new light on the character of Joyce Hatto's husband.

I've followed this story for a while-- it is truly fascinating and troubling at the same time. I've thought that the choice of "Concert Artist" for their label, which abbreviates conveniently to "Con Artist", was a sly wink and nudge at the world by the two of them. I find it hard to believe she was not aware of what was going on.

Sophia

I want to reiterate that while I have permission (from the author) to pass the pdf on as I please (and other website owners have received it as part of a Sunday advance-copy distribution), it is really easier on the eyes to read this online at New Yorker for as long as it is there (I think these usually last about 2 weeks or so?). You can print that version and it has no distracting cartoons or poetry.

It's also very beneficial to hear their featured 15-minute audio, a conversation with the author, introducing the piece.

My permalink to these, as mentioned before, is http://www.andrys.com/hatto.html#newyorker

Here's the link if you want to read it directly on the New Yorker site:

http://www.newyorker.com/reporting/2007/09/17/070917fa_fact_singer?currentPage=all

Does any one know who is actually playing the Chopin Ballades on Hatto CD ?

Octavia,
I've written them that if people go only to the article page w/o knowing more, they won't see there is an important associated audio conversation file with the author.

Today it's at least showing in the left column under their general headings.

If they enter by the front door, then it's evident once they find the box for the entire feature.

Serge,
Here's a really wonderful page presented by Farhan Malik that's constantly updated for latest identifications.

http://farhanmalik.com/hatto/cdlist.html

Doing that leads you to the Chopin box and
http://farhanmalik.com/hatto/chopin4t.html

- Andrys

it's insane that they actually copied from so many different pianists, known or unknown. should Hatto's husband be charged with some sort crime for this, or just give him a break till he dies?

I feel the husband got off too lightly. After all, he was stealing the life-work of others. If he is allowed to get off scot free, then others might do the same thing. Originally I assumed he was a pathetic old man trying to help his dying wife; we now know that he had a history of theft and deception, and that she was probably involved as well.

What puzzles me is that generally you can tell a pianist's playing from their own personal style, once you get to know them. Obviously Hatto must have appeared to possess a huge variety of styles. In retrospect it's difficult to imagine how they got away with it.

maryrose,
I think Hatto had been out of the public eye and ear long enough that very few if any could have recognized her personal style of playing. In a way, she was the perfect blank slate onto which others' playing could be projected and no doubt it's part of the reason they did get away with it as long as they did.

did they ever figure out who performed the Mephisto Waltz recording?

Sophia

Not yet, despite all the interest in it, probably because so many have recorded it, it's a lot more work to try to get and hear everything.

- Andrys

I suspect Barrington-Coupe knows. Since he has confessed, someone should just ASK him.

Has Ivan Davis said anything publicly since the truth became known? He was one of Hatto's promoters, and his website used to extol her 'new' recordings. I would be curious to hear his take on how these diverse styles could impress him (and many others, to be fair) as the same person.

It's not quite that simple. There was an excellent letter to the editor in the June issue of Gramophone by Robert von Bahr, CEO of BIS Records. Amongst other things, he pointed out the utter folly of trying to litigate against Barrington-Coupe.