I find it amazing that Gramophone 'experts' did not spot the fake orchestra
and conductor, neither of which, to my mind, made any recordings in the
past.  Also the fact that major talents were ripped off and not spotted
(eg Haitink ...)

The real question this raises for me is the validity or reviews in the
light of the Hatto scandal.  What does all this say about the standard
of reviews and knowledge?  There has not been enough discussion of this
in Gramophone.  Classicstoday.com did at least compare their Hatto reviews
with some of their original reviews for the original 'real' recordings,
to their credit.

David Harbin
Nottingham UK

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