Hurwitz and Distler on Hatto Controversy
Matthew Silverstein
ClassicsToday. Here's the link to part one:
Matty
Gerard
Where Hurwitz writes:
"Her Ravel seems to be Roger Muraro’s cycle on Accord (Universal Classics
France), recorded in May, 2003. It’s worth pointing out in this case that the La
Valse is a special edition prepared by Muraro, and in his review Jed pointed out
the unique textural layering in just this performance. The Muraro cycle was
never released in the United States and consequently was not reviewed by
ClassicsToday.com."
jrs...@aol.com
> Matthew Silverstein wrote:
> > A two-part editorial (half by Distler and half by Hurwitz) is now up
> > at ClassicsToday. Here's the link to part one:
>
> >http://tinyurl.com/2hdbys
>
> Where Hurwitz writes:
>
> "Her Ravel seems to be Roger Muraro's cycle on Accord (Universal Classics
> France), recorded in May, 2003. It's worth pointing out in this case that the La
> Valse is a special edition prepared by Muraro, and in his review Jed pointed out
> the unique textural layering in just this performance. The Muraro cycle was
> never released in the United States and consequently was not reviewed by
> ClassicsToday.com."
True. Should it be pointed out that the Hatto cycle was never released
in the United States and consequently not reviewed by.... Oops.
I wonder why Muraro, an equally well known pianist, never got promoted
here by ClassicsToday.
--Jeff
JohnGavin
Also mentioned is that the Saint-Saens PC#2 seems to be the Collard
recording.
Kirk McElhearn
"I almost hope that Miss Hatto and her husband engineered this whole
thing to teach a lesson to the “establishment” that effectively forced
her into premature retirement from the concert stage in the first
place. What a delicious bit of revenge that would be! "
Kirk
--
Read my blog, Kirkville
http://www.mcelhearn.com
Paul Ilechko
"Gramophone has, alongside MusicWeb, been Hatto’s most ardent champion."
But not Jed Distler on ClassicsToday? All those 10-10 ratings don't
count as being a champion?
Matt
news:45d87fa7$0$92855$dbd4...@news.wanadoo.nl...
> "Her Ravel seems to be Roger Muraro's cycle on Accord (Universal Classics
> France), recorded in May, 2003. It's worth pointing out in this case that
> the La
> Valse is a special edition prepared by Muraro, and in his review Jed
> pointed out
> the unique textural layering in just this performance. The Muraro cycle
> was
> never released in the United States and consequently was not reviewed by
> ClassicsToday.com."
Muraro has also released a Messiaen cycle I believe. At an rate there is a
DVD Vingt Regards that I wish were playable on US machines; check out
YouTube for clips.
Perhaps Muraro is also the source for the "Hatto's" widely praised Vingt
Regards.
Regards,
Matt
Paul Ilechko
> "Gerard" <ghen_nosp...@hotmail.com> wrote in message
> news:45d87fa7$0$92855$dbd4...@news.wanadoo.nl...
>> "Her Ravel seems to be Roger Muraro's cycle on Accord (Universal Classics
>> France), recorded in May, 2003. It's worth pointing out in this case that
>> the La
>> Valse is a special edition prepared by Muraro, and in his review Jed
>> pointed out
>> the unique textural layering in just this performance. The Muraro cycle
>> was
>> never released in the United States and consequently was not reviewed by
>> ClassicsToday.com."
> Muraro has also released a Messiaen cycle I believe.
And an Iberia ...
Steve Emerson
Matthew Silverstein <msil...@yahoo.com> wrote:
Some of this is pretty amusingly self-serving.
"I do understand Gramophone's motivations, and really don't care about
being first past the post. This has the makings of a critic's nightmare
for the publications most committed to Hatto's work. After all, if these
discs turn out to be fake, as seems likely, and if the same critics who
praised them to the skies panned their original incarnations, then it
won't just be Hatto and her label who wind up with mud on their faces.
And Gramophone has, alongside MusicWeb, been Hatto's most ardent
champion."
With ClassicsToday in, what, third place?
SE.
Thornhill
"We critics have a choice: to stick only to major labels (or the
remnants of them) and the certified "big" artists, or to try to
identify and promote excellence wherever we find it; to give new
artists and their small, often financially strapped companies their
day in the sun; and to try to sift out the wheat from the chaff for
our readers, regardless of provenance or the trappings of fame"
But in an actual blind test, they ended up loving the big bad major
labels. I find that quite amusing.
Tony Overington
Two idiotts. Distler in particular should have the courage to shut up
and walk away.
Alan Cooper
news:53ri5bF...@mid.individual.net:
Good suggestion. I've only heard Muraro's Iberia once, and do not own it. But it's a
quick-paced, technically accurate, and unidiomatic performance accommodated on a single
CD--all characteristics shared by "Hatto." I've heard some of Muraro's Ravel, too, and
was impressed only by its technical accomplishment. The Tombeau de Couperin Prelude and
Jeux d'eau (my two litmus tests) were not at all to my liking.
AC
Matthew B. Tepper
in news:1171816608.8...@h3g2000cwc.googlegroups.com:
Any idea about availability of the Muraro set? I see it on Amazon.fr for
EUR 24,72, but maybe that could be bettered.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
Harrington/Coy is a gay wrestler who won't come out of the closet
Matthew B. Tepper
be typed in news:hi0Ch.15501$O02....@newssvr11.news.prodigy.net:
And maybe Albeniz' "Iberia."
Matthew B. Tepper
following letters to be typed in
> I've only heard Muraro's Iberia once, and do not own it. But it's a
> quick-paced, technically accurate, and unidiomatic performance accommodated
> on a single CD--all characteristics shared by "Hatto." I've heard some of
> Muraro's Ravel, too, and was impressed only by its technical
> accomplishment. The Tombeau de Couperin Prelude and Jeux d'eau (my two
> litmus tests) were not at all to my liking.
Maybe I won't buy it after all. :--(
Royke
news:emersn-F7BA2E....@nnrp-virt.nntp.sonic.net...
If I read this article correctly, ClassicsToday was first past the post (in
detection, not in publication), and the Gramophone did not have the decency
to mention that.
Steve Emerson
wrote:
Quite right. CT is in third place as to "and Gramophone has, alongside
MusicWeb, been Hatto's most ardent champion."
SE.
Royke
news:5G1Ch.104500$Oa.20832@edtnps82...
Anyone at the Gramophone care to comment?
RJ
Josep Vilanova
> jrsn...@aol.com appears to have caused the following letters to be typed
> innews:1171816608.8...@h3g2000cwc.googlegroups.com:
>
>
>
> > On Feb 18, 8:32 am, "Gerard" <ghen_nospam_drik...@hotmail.com> wrote:
> >> Matthew Silverstein wrote:
> >> > A two-part editorial (half by Distler and half by Hurwitz) is now up
> >> > at ClassicsToday. Here's the link to part one:
>
> >> >http://tinyurl.com/2hdbys
>
> >> Where Hurwitz writes:
>
> >> Classics France), recorded in May, 2003. It's worth pointing out in
> >> this case that the La Valse is a special edition prepared byMuraro,
> >> and in his review Jed pointed out the unique textural layering in just
> >> States and consequently was not reviewed by ClassicsToday.com."
>
> > True. Should it be pointed out that the Hatto cycle was never released
> > in the United States and consequently not reviewed by.... Oops.
>
> > here by ClassicsToday.
>
> Any idea about availability of theMuraroset? I see it on Amazon.fr for
> EUR 24,72, but maybe that could be bettered.
I've also thought in ordering it. Critical opinions of the Muraro
before being passed as Hatto are less enthusiastic. Look at
Gramophone:
http://www.gramophone.co.uk/gramofilereview.asp?reviewID=200210671
It's a fairly stupid review anyway and since Barrington-Coupe seemed
to have a good taste in choosing who to copy I may give it a try and
order it.
j
rkhalona
This is the part (by Hurwitz) that really got me:
<<I almost hope that Miss Hatto and her husband engineered this whole
thing to teach a lesson to the "establishment" that effectively forced
her into premature retirement from the concert stage in the first
place. What a delicious bit of revenge that would be! The only real
problem is that the public is also involved, and to deceive innocent
music lovers into spending their limited budgets on recordings they
otherwise would not want or need really is unforgivable.>>
Not a word about the artists whose actual recordings were being lifted
and who would receive no credit (artistically or financially). Is
this part forgivable?
There are a number of people in this NG who have made it their mission
in life to put down labels that reissue performances that are now in
the public domain as "thieves". What about this act of pure
thievery? Are we supposed to look the other way in this case?
RK
JohnGavin
This is the last part of the Hurwitz statement:
"We are at the beginning of a process; there will be many more
revelations to come, and I am happy to leave it to those far more
involved than we ever were in Miss Hatto and her work to report on
them. We have many other CDs to review, and no shortage of fine,
hopefully authentic recordings to bring to your attention."
Taffy Brendel
There is no shortage of cds for them to review as long as
archivmusic.com continues to both reissue authorized cdrs and pay
classicstoday.com for advertising. The same goes for Cedille. I am
not criticizing the recordings only the mechanism by which they are
reviewed. You can expect good reviews to be produced if you pay for
them. Classicstoday.com goes into the los/no credibility bin. Jed
Distler should refrain from any more reviewing. If he has another
profession he might just want to stick with it.
Taffy
Andrew Rose
The technical work I carried out was commissioned by The Gramophone on
Wednesday afternoon, after Distler had contacted both them and CT. At no
time was I contacted by CT.
As such the initial confirmation - and then the detection of the use of
Nojima and Grante recordings - was made as a result of Gramophone acting
on the same information that had been supplied to both magazines at more
or less the same time.
Gramophone waited until they decided the evidence was conclusive (enough
not to worry their lawyers) - that both discs were faked and that a
deliberate attempt had been made to obscure the origins - before going
public.
To a certain extent I guess their decision was forced by their press
deadline of Monday (tomorrow). But why CT effectively sat on their
knowledge and didn't go public I don't know.
I note too that BBC Music Magazine's news story spends a good chunk of
its space quoting a Gramophone review of Hatto rather than reporting the
story:
http://www.bbcmusicmagazine.com/newsread.asp?id=27286
At the end of the day I guess it's journalism - Gramophone got the story
out first and got the publicity, leaving the rest scrambling to catch
up. That's what it's all about - today's news is of course tomorrow's
fish wrapping...
--
Andrew Rose - Pristine Classical
The online home of Classical Music: www.pristineclassical.com
Roland van Gaalen
news:1171829777....@t69g2000cwt.googlegroups.com...
"We" should not look the other way - oh no!!! - because the whole affair
happens to be extremely entertaining
A hoax indeed!
-the embarrassment (again, everbody has something to be seriously
embarrassed about from time to time);
-the pompous reactions;
-Joyce Hatto's photograph;
-the small studio (?) big enough to accommodate the Vienna Philharmonic or
equivalent;
-Mr Barrington-Coupé's prose, which seems to make so much more sense now;
-yes, his somewhat peculiar last name (maybe not straight out of Dickens,
but as Paul Ilechko pointed out on Jan. 23, "a Barrington Coupé sounds
rather like some obscure vintage car"; this comment gave me a good laugh at
that time and was the beginning of all the fun for me)
-Simon Roberts's suggestion that all Hatto CDs be sent to Dan Koren because
he can flawlessly identify a pianist after one or two notes;
-the complaint that somebody made here in 2005 or 2006 that Joyce Hatto was
getting to much attention -- although she is reported to have died in the
meantime , she seems to be back with a vengeance;
and so on.
And of course we are all very curious how you-know-who will change the topic
etc.
Lighten up everybody please!!!
At this stage, my only complaint is the lack of subplots, but I expect that
to change.
--
Roland van Gaalen
Amsterdam
r.p.vangaalenATchello.nl
aravin...@wmconnect.com
"We also should not forget that somewhere in this mess there is,
apparently, the very human story of a career cut short, a struggle
with a terminal illness, and a loving husband who lost his wife--
unless that turns out to be nonsense as well. Robert von Bahr of BIS
records captured the human dimension very sensitively when he told me:
"If it is his love for his wife that was the reason behind this, I for
one am not inclined to press charges."
IF anything, the "human dimension" to this story makes it all the more
loathsome. The very idea that this couple would use the woman's
terminal illness--assuming that is to be believed as well--as an
effective tool in explaining and promoting the cook-up (my, my, if
this isn't the script for a "A Beautiful Mind 2") is nothing less than
pernicious.
And, now, after this fraud has been exposed, we're expected to be
sensitive and sympathetic to the fact that this was all done for a
husband's "love for his wife".
Has the concept of love become so debased in our society that it
leaves no room for integrity or fortitude in the face of life's
difficulties? I would like to think otherwise, but, sadly, we seem to
live in an world where success, fame, and all the sentimentality that
goes along with them, have become the reigning ends of our time.
AA
John Wilson
<taffy_...@yahoo.com> wrote:
>
>There is no shortage of cds for them to review ...
>
>Taffy
Especially those with Tam-tams.
John
Matthew B. Tepper
to be typed in news:01kht252d5s3numhe...@4ax.com:
> On 18 Feb 2007 12:48:34 -0800, "Taffy Brendel"
> <taffy_...@yahoo.com> wrote:
>>
>> There is no shortage of cds for them to review ...
>
> Especially those with Tam-tams.
Where are you gong with that?
John Wilson
wrote:
>
>Not a word about the artists whose actual recordings were being lifted
>and who would receive no credit (artistically or financially). Is
>this part forgivable?
>There are a number of people in this NG who have made it their mission
>in life to put down labels that reissue performances that are now in
>the public domain as "thieves". What about this act of pure
>thievery? Are we supposed to look the other way in this case?
>
The reason that the DJ Deacon, self appointed reissue policeman, has
not been complaining in this case is because is one of the people
perpetrating the fraud.
John
borisgo...@yahoo.com
> A two-part editorial (half by Distler and half by Hurwitz) is now up at
> ClassicsToday. Here's the link to part one:
>
> http://tinyurl.com/2hdbys
>
> Matty
"That said, I firmly believe that critics who review music based on
what
they actually hear, rather than what the name of the artist leads them
to
believe they ought to hear, have little cause for concern."
OK. Shift the focus. That which an art critic actually sees is all
that
counts. By that standard a very well executed faux Monet water lily
canvas
has greater standing than a less well executed genuine Monet.
Nuts !!!
"No rational person expects anyone, professional critic or layman, to
be
able to identify blindly any but a small handful of favorite
recordings of
any one piece."
No; but give some thought to the remarkable catalog, and its quality,
put
forth by this "mature" and ill and withdrawn-from-the-concert-hall
pianist
and bring a bit of alertness to the endeavor.
"Beyond a fair and accurate appraisal of the music on the disc,
discovering fraud must necessarily be a matter of chance and
opportunity. It
is no more the critic's job than it is the purchaser's."
What a craven sloughing-off of duty to one's readers. How about
bringing a
modicum of that alertness I mentioned to bear upon the reviewing
process?
"As for Mr. Barrington-Coupe, he can very easily answer his accusers.
He
is being accused of stealing, among other things, entire concerto
recordings. As I told him a few days ago, either he hired an
orchestra,
engineers, a recording space, a conductor, and paid them all, or he
did
not."
There ya go ! What better starting place for exercising that
alertness than
to run down some of these folks who "did" the Hatto discs.
Even after CT exposes it as a fraud, the Hatto Ravel still sits
amongst their
home page monthly preferences.
"After all, at a minimum, everyone loves a scandal, and the hunt to
discover how much Hatto is real, and how much is not, ought to provide
classical music fans with many hours of pleasant diversion."
Nope, only a diversion from recognizing the CT flub.
"Finally, if it hadn't been for the passion of one music-loving
reader,
Mr. Ventura, would we even be having this conversation? Let's give
him, and
Jed, the credit they deserve for caring, and doing the right thing
with
speed, thoroughness, and tact."
Whoa, Bessie !!! What's this "and Jed" stuff ? Jed is the fuck-up
artist
with the blinders on. All he did post-Ventura was try to get far
enough out
ahead of the fan to avoid the splatter when the shit would inevitably
hit
it.
When discredited, Mr. DH, cravenness isn't a way out.
Philip Peters
> Matthew Silverstein wrote:
>> A two-part editorial (half by Distler and half by Hurwitz) is now up
>> at ClassicsToday. Here's the link to part one:
>>
>> http://tinyurl.com/2hdbys
>>
>
>
> "Her Ravel seems to be Roger Muraro’s cycle on Accord (Universal Classics
> France), recorded in May, 2003. It’s worth pointing out in this case that the La
> the unique textural layering in just this performance. The Muraro cycle was
> never released in the United States and consequently was not reviewed by
> ClassicsToday.com."
>
> http://www.classicstoday.com/Classics/ConcertReview_ASPFiles/ViewConcertReview.asp?Action=User&ID=532
>
>
>
He also writes:
"We also should not forget that somewhere in this mess there is,
apparently, the very human story of a career cut short, a struggle with
a terminal illness, and a loving husband who lost his wife--unless that
turns out to be nonsense as well. Robert von Bahr of BIS records
captured the human dimension very sensitively when he told me: “If it is
his love for his wife that was the reason behind this, I for one am not
inclined to press charges.”"
I'm impressed my Mr. von Bahr (and I have read worse by Hurwitz).
Philip
news.verizon.net
"Taffy Brendel" <taffy_...@yahoo.com> wrote in message
news:1171831714.6...@p10g2000cwp.googlegroups.com...
> There is no shortage of cds for them to review as long as
> archivmusic.com continues to both reissue authorized cdrs and pay
> classicstoday.com for advertising. The same goes for Cedille. I am
> not criticizing the recordings only the mechanism by which they are
> reviewed. You can expect good reviews to be produced if you pay for
> them. Classicstoday.com goes into the los/no credibility bin. Jed
> Distler should refrain from any more reviewing. If he has another
> profession he might just want to stick with it.
>
> Taffy
I don't know how things work at classicstoday.com. However, I write reviews
for MusicWeb International (though I'm not one of the more prolific
reviewers). And there has never been any mention or hint that I should
review any recording in any particular way.
My negative reviews have been as happily received and happily published as
have been my positive ones.
Also--again, just from my experience--the only payment I receive is a copy
of the CD I review. When one considers the time to listen, reflect
intelligently upon, and write the review...the motivation has to be to
communicate about music, having the opportunity to learn/experience and
share that with others.
I just simply have no motivation to put lipstick on any pig I happen across.
--Brian Burtt
brian.burttATgmail.com
Simon Roberts
=?ISO-8859-1?Q?Wayne_Reimer?= says...
>And there is a French version of Classics Today. They should be aware
>of the Muraro. They *did* review the Muraro Iberia, which I believe
>was also never released in the United States.
>
>Hurwitz is still the irritating self-serving ass he was when he
>frequented this group - just reading that example of his writing sets
>my teeth on edge. He's one former rmcr person I do not miss.
I don't find Hurwitz's explanation -- they're not released in the USA -- for not
reviewing Muraro's discs very persuasive. He often reviews stuff that's not
released in the USA - Australian Eloquence CDs, Japanese RCAs, the
Szell-in-Japan concert, French Sonys, etc., etc.
Simon
John Wilson
<oy兀earthlink.net> wrote:
>John Wilson <j...@earthlink.net> appears to have caused the following letters
>to be typed in news:01kht252d5s3numhe...@4ax.com:
>
>> On 18 Feb 2007 12:48:34 -0800, "Taffy Brendel"
>> <taffy_...@yahoo.com> wrote:
>>>
>>> There is no shortage of cds for them to review ...
>>
>> Especially those with Tam-tams.
>
>Where are you gong with that?
To the bathroom.
John
Thornhill
> Gerard schreef:
>
>
>
> > Matthew Silverstein wrote:
> >> A two-part editorial (half by Distler and half by Hurwitz) is now up
> >> at ClassicsToday. Here's the link to part one:
>
> >>http://tinyurl.com/2hdbys
>
> > Where Hurwitz writes:
>
> > "Her Ravel seems to be Roger Muraro's cycle on Accord (Universal Classics
> > France), recorded in May, 2003. It's worth pointing out in this case that the La
> > Valse is a special edition prepared by Muraro, and in his review Jed pointed out
> > the unique textural layering in just this performance. The Muraro cycle was
> > never released in the United States and consequently was not reviewed by
> > ClassicsToday.com."
>
>
> He also writes:
>
> "We also should not forget that somewhere in this mess there is,
> apparently, the very human story of a career cut short, a struggle with
> a terminal illness, and a loving husband who lost his wife--unless that
> turns out to be nonsense as well. Robert von Bahr of BIS records
> captured the human dimension very sensitively when he told me: "If it is
> his love for his wife that was the reason behind this, I for one am not
> inclined to press charges.""
>
> I'm impressed my Mr. von Bahr (and I have read worse by Hurwitz).
>
> Philip
I don't understand why some people are acting so mystified about why
it was done. Like all scams, it's all about money. The Hatto CDs were
sold for $20 each. Since there was no recording overhead or artist
fees, the only expense was replication and packaging. Replication and
packaging probably cost $3 per disc, but to be conservative let's say
$5. And to be further conservative, let's say that there were other
fees, and combined with the replication and packaging, the husband
made $10 profit per disc. If he sold 5,000 total Hatto disc in a year,
then he made $50,000 total. Not bad.
The sheer number of recordings that he issued and his sloppiness in
doctoring recordings (in some instance they are straight copies) is
symbolic of his greed.
There is nothing benevolent about scamming people in order to honor
your wife.
David Fox
> Well, I was with him until this ludicrous statement:
>
> "I almost hope that Miss Hatto and her husband engineered this whole
> thing to teach a lesson to the "establishment" that effectively forced
> her into premature retirement from the concert stage in the first
> place. What a delicious bit of revenge that would be! "
>
>
> --
> Read my blog, Kirkvillehttp://www.mcelhearn.com
Are you at all surprised that this argument comes from the same
person who recently wrote another editorial entitled, "Bye Bye Tower
(Thank God!)"? He is nothing but a narcissist. He views events in
the classical music world only in relation to his petty interests.
How can any U.S. collector feel any sense of joy in Tower's demise?
The thing that burns me up most about Hurwitz' response to the
situation is his arrogance in trying to frame the Hatto scandal to
deflect any sense of his own site's complicity in the matter. Rather
than either apologizing or shutting up, he has the temerity to assume
the role of his own judge . It is not his role to decide what's
fair, who the real victims are, what the appropriate reparations
should be, or what the ultimate meaning of all of this is. That is up
to his audience. This whole affair has to negatively impact his
reputation. Hopefully that will be reflected in diminished traffic to
this website and correspondingly diminished revenues.
In short, the situation called for humility. Not more hubris.
DF
Taffy Brendel
> "Gerard" <ghen_nospam_drik...@hotmail.com> wrote in message
>
> news:45d87fa7$0$92855$dbd4...@news.wanadoo.nl...
>
> > "Her Ravel seems to be Roger Muraro's cycle on Accord (Universal Classics
> > France), recorded in May, 2003. It's worth pointing out in this case that
> > the La
> > Valse is a special edition prepared by Muraro, and in his review Jed
> > pointed out
> > the unique textural layering in just this performance. The Muraro cycle
> > was
> > never released in the United States and consequently was not reviewed by
> > ClassicsToday.com."
>
> DVD Vingt Regards that I wish were playable on US machines; check out
> YouTube for clips.
>
> Perhaps Muraro is also the source for the "Hatto's" widely praised Vingt
> Regards.
>
> Matt
I believe if you check into it you will find that classicstoday.com
reviews a number of recording that are not released domestically.
Hurwitz has on more than one occasion told readers to seek out
recording from non-US vendors. He/they are being disingenuous and
surprise surprise self-serving. 10/10 tam tam gongs for dishonesty.
Taffy
Philip Peters
I never said there was - although the story behind the hoax is still
largely unkown. I merely said that I was impressed by Mr. von Bahr's
magnanimous attitude. Maybe you can share some of that feeling.
Philip
>
Iain Neill Reid
>On Feb 18, 9:46 am, "Matt" <mld...@swbell.net> wrote:
>> "Gerard" <ghen_nospam_drik...@hotmail.com> wrote in message
>>
>> news:45d87fa7$0$92855$dbd4...@news.wanadoo.nl...
>>
>> > "Her Ravel seems to be Roger Muraro's cycle on Accord (Universal Classics
>> > France), recorded in May, 2003. It's worth pointing out in this case that
>> > the La
>> > Valse is a special edition prepared by Muraro, and in his review Jed
>> > pointed out
>> > the unique textural layering in just this performance. The Muraro cycle
>> > was
>> > never released in the United States and consequently was not reviewed by
>> > ClassicsToday.com."
>>
>> Muraro has also released a Messiaen cycle I believe. At an rate there is a
>> DVD Vingt Regards that I wish were playable on US machines; check out
>> YouTube for clips.
>>
>> Perhaps Muraro is also the source for the "Hatto's" widely praised Vingt
>> Regards.
>>
>> Regards,
>> Matt
>
>I believe if you check into it you will find that classicstoday.com
>reviews a number of recording that are not released domestically.
Such as the ~12 "Hatto" reviews that are still accessible on on his
web-site (just go to the artist search and click on "Joyce Hatto").
Of course, that's only a minor contribution and therefore not worthy
of a mea culpa. They've at least added a short introductory paragraph,
but seems a little on the disingenuous side to claim that the fault
lies entirely with MusicWeb & Gramophone (how many cds did Gramophone
actually review? For a while, the gripe was that they were ignoring this
massive talent.)
Neill Reid
Royke
news:Xns98DB6E3786F...@207.217.125.201...
> "Matt" <mld...@swbell.net> appears to have caused the following letters to
> be typed in news:hi0Ch.15501$O02....@newssvr11.news.prodigy.net:
>
>> "Gerard" <ghen_nosp...@hotmail.com> wrote in message
>> news:45d87fa7$0$92855$dbd4...@news.wanadoo.nl...
>>> "Her Ravel seems to be Roger Muraro's cycle on Accord (Universal
>>> Classics France), recorded in May, 2003. It's worth pointing out in this
>>> case that the La Valse is a special edition prepared by Muraro, and in
>>> his review Jed pointed out the unique textural layering in just this
>>> performance. The Muraro cycle was never released in the United States
>>> and consequently was not reviewed by ClassicsToday.com."
>>
>> Muraro has also released a Messiaen cycle I believe. At an rate there
>> is a DVD Vingt Regards that I wish were playable on US machines; check
>> out YouTube for clips.
>>
>> Perhaps Muraro is also the source for the "Hatto's" widely praised Vingt
>> Regards.
>
Apparently Heisser.
Matthew B. Tepper
be typed in news:%VkCh.106935$Y6.87018@edtnps89:
> "Matthew B. Tepper" <oy兀earthlink.net> wrote in message
> news:Xns98DB6E3786F...@207.217.125.201...
>>
>> And maybe Albeniz' "Iberia."
>
> Apparently Heisser.
What kind of reviews has that one received in its legitimate attribution?