Music critics trash and praise the same record

A 2007 scandal revealed that recordings, released under the name Joyce Hatto, were rip-offs of the recordings by other pianists. This was widely reported by the mainstream media. However, the media chose not to report that two critics trashed the CDs when they came out under the true names and then praised them as Hatto fakes.

The Rachmaninoff 3rd Concertos of Hatto is a rip-off of the performance by Yefim Bronfman. The reviewer for Gramophone, Bryce Morrison, gave the two CDs the following reviews:

Bronfman’s reading … operates at too low a voltage ... he lacks the sort of angst or urgency that has endeared Rachmaninov to millions ...I think you'll agree that this is hardly a case of how 'great things are done when men and mountains meet'

Joyce Hatto performance of the Third Concerto … [is] … among the finest on record ... opening theme is given with a special sense of its Slavic melancholy ... Above all, everything is vitally alive and freshly considered. Quite without preening gestures or mannerism this is also never the Third Concerto as we have always known it. The massive alternative cadenza is given with a stunning breadth and command, and in the Intermezzo’s skittering scherzando figuration you can hear volleys of notes thrown off with a clarity and verve that will astonish even this concerto's most seasoned listeners. Yet the concentration is always on purely musical values, reminding you at every point of qualities above and beyond mere flamboyance.

Many of the Hatto Chopin Etudes are rip-offs of Yuki Matsuzawa's performances. Tom Deacon, the producer of Philips Great Pianists of the 20th Century series, produced the following evaluations:

Matsuzawa: Faceless, typewriter, neat as a pin but utterly flaccid performances with small, tiny poetic gestures added like so much rouge on the face of a Russian doll. … Nothing could possibly equal the faceless, spineless, ever-so-tasteful performances of Ms. Matsuzawa. She is the very model of Lily Tomlin's much admired tasteful lady.

Hatto: My oh my, this is a beautiful recording of Chopin's music. The pieces flow so naturally and so completely without precious effects that you might, for a moment, think that there are no other ways of reading the music. … In Op. 10 No. 1 the right hand is fluent, flawless, clear as a bell, but the real story is the LH, which carries the interest of the piece anyway. The central episode in No. 3 is dramatic, but the drama doesn't overwhelm the A section, either the first or second time round. The C♯ minor, a knucklebuster if ever there was one, is played as a true Presto, but punctuated with all kinds of wondrous LH details. The first black key etude has fluttering RH detail, but again, it is the LH which is truly eloquent. …The A flat major, Op. 10 No. 10, restores all of Chopin's carefully notated differenciation between one section and another, a veritable study in the ability to vary detached sounds.

Music critics trash and praise the same record released under different names

originally posted by: vernichter
A 2007 scandal revealed that recordings, released under the name Joyce Hatto, were rip-offs of the recordings by other pianists. This was widely reported by the mainstream media. However, the media chose not to report that two critics trashed the CDs when they came out under the true names and then praised them as Hatto fakes.

The Rachmaninoff 3rd Concertos of Hatto is a rip-off of the performance by Yefim Bronfman. The reviewer for Gramophone, Bryce Morrison, gave the two CDs the following reviews:

Bronfman’s reading … operates at too low a voltage ... he lacks the sort of angst or urgency that has endeared Rachmaninov to millions ...I think you'll agree that this is hardly a case of how 'great things are done when men and mountains meet'

Joyce Hatto performance of the Third Concerto … [is] … among the finest on record ... opening theme is given with a special sense of its Slavic melancholy ... Above all, everything is vitally alive and freshly considered. Quite without preening gestures or mannerism this is also never the Third Concerto as we have always known it. The massive alternative cadenza is given with a stunning breadth and command, and in the Intermezzo’s skittering scherzando figuration you can hear volleys of notes thrown off with a clarity and verve that will astonish even this concerto's most seasoned listeners. Yet the concentration is always on purely musical values, reminding you at every point of qualities above and beyond mere flamboyance.

Many of the Hatto Chopin Etudes are rip-offs of Yuki Matsuzawa's performances. Tom Deacon, the producer of Philips Great Pianists of the 20th Century series, produced the following evaluations:

Matsuzawa: Faceless, typewriter, neat as a pin but utterly flaccid performances with small, tiny poetic gestures added like so much rouge on the face of a Russian doll. … Nothing could possibly equal the faceless, spineless, ever-so-tasteful performances of Ms. Matsuzawa. She is the very model of Lily Tomlin's much admired tasteful lady.

Hatto: My oh my, this is a beautiful recording of Chopin's music. The pieces flow so naturally and so completely without precious effects that you might, for a moment, think that there are no other ways of reading the music. … In Op. 10 No. 1 the right hand is fluent, flawless, clear as a bell, but the real story is the LH, which carries the interest of the piece anyway. The central episode in No. 3 is dramatic, but the drama doesn't overwhelm the A section, either the first or second time round. The C♯ minor, a knucklebuster if ever there was one, is played as a true Presto, but punctuated with all kinds of wondrous LH details. The first black key etude has fluttering RH detail, but again, it is the LH which is truly eloquent. …The A flat major, Op. 10 No. 10, restores all of Chopin's carefully notated differenciation between one section and another, a veritable study in the ability to vary detached sounds.

Music critics trash and praise the same record released under different names

Ah, subjectivity...

a reply to: chr0naut

Next: Monster Cables don't really make speakers sound better in A/B comparisons.

originally posted by: Bedlam
a reply to: chr0naut

Next: Monster Cables don't really make speakers sound better in A/B comparisons.

Thank goodness!

This means I didn't waste all my time and effort spent in education in electrical theory. Those hair tearing network diagrams and power factor calculations seem to still have been worthwhile.

a reply to: vernichter

And musicians and writers etc. use pseudonyms to prove the same thing: The name of the artist carries more weight than the art itself. Sad!

originally posted by: chr0naut
Ah, subjectivity...

Subjectivity would be the issue if different critics produced opposite opinions. Since the same critic produces opposite reviews he does not even have that subjective opinion. It is not therefore subjectivity: it is complete nonsense.

originally posted by: NarcolepticBuddha
a reply to: vernichter
And musicians and writers etc. use pseudonyms to prove the same thing:

Can you give an example?

originally posted by: NarcolepticBuddha
The name of the artist carries more weight than the art itself. Sad!

In the present case the name Bronfman is much more famous than the name Hatto. Nevertheless the critic trashed Bronfman and praised Hatto. So he is a non-conformist. That it was the same record is, of course, a different story.

originally posted by: Bedlam
Next: Monster Cables don't really make speakers sound better in A/B comparisons.

Yes, there must be similar stories about equipment. Would be interesting if someone gave a link.

a reply to: vernichter
Frankly speaking, I am intrigued by your choice of topics.

Subjectivity would be the issue if different critics produced opposite opinions. Since the same critic produces opposite reviews he does not even have that subjective opinion. It is not therefore subjectivity: it is complete nonsense.

It may seem like complete nonsense but don't you think it is worth looking into- trying to make a sense out of something that initially might look like utter nonsense?

What I mean is more often than not, we defer to the experts or "so called" experts (critics with credentials?) when it comes to topics or subjects that we know little about or way over our heads, because we have no choice but to take their words for it even with a grain of salt or maybe we're too lazy to check other sources or avenues even if it means it will fall largely in the realms of speculations.

I just think that your topic has larger implications (if I understand it correctly in the first place) and maybe start with the motive of the critic. Anyways, will we be drifting off topic?

a reply to: MaxTamesSiva

Yes, the topic has larger implications. One can use the methods of Comparative Religion to understand what is going on: www.abovetopsecret.com...