Having just trawled through a bunch of rec.music.classical.recordings threads that veer from the carefully worded and well-researched to the moronic, I’m a bit Hatto’d out to be honest. But a couple of extra bits for now: first, the indomitable Centre for the History and Analysis of Recorded Music at Royal Holloway has got on the case; and in a more light-hearted vein, John TurtleTop observes that this goes into territory beyond even Milli Vanilla or John Oswald’s wildest dreams. Watch this space for when the lawyers get involved…
(Actually, there is something interesting to be said in here about the entanglement of musical forgery, listener response, the role and limits of criticism, music and the law, and the power of a Really Good Story, but I’ve not quite nailed it yet.)
Update: Oh, and there’s also this massive article from Christopher Howell on Musicweb, unearthing his past correspondence with Hatto and her husband.
Update 2: Those lawyers may be involved already.
The Times (“why is Radio 3 so creepy in the way it treats presenters and listeners alike, and why is it so keen to highlight dissent if it is in a comfortably far-off place such as Turkey or China, while making every attempt to squash it when it is rather nearer to home?”), and the Guardian (“In a few months, most listeners will have forgotten what the old format sounded like” (Geoffrey Wheatcroft takes the opposite side elsewhere on the GU site)) both get stuck into the ‘whither Radio 3’ debate.