I remember one 'expert' review of the Hatto recordings which praised
the "consistency" of her playing.  Oooops!

I was interested by Virginia Knight's comment that in the past orchestras
and conductors recorded under false names.  I did not know that and it
would perhaps explain how so many 'experts' were taken in the Kohler,
the previously unknown conductor.  I still find it extrodinary that so
many people with claimed high levels of knowledge were taken in so easily.
Remember too that the ripped off recordings were sometimes DDD so those
at least could not fall into a 'false names' practice as I assume the
practice died away a while ago (is this right?).

Interestingly I have seen lots of discussions of the Hatto scandal
in Gramophone with little discussion on how this reflects on reviewing
knowledge and standards.  The Hatto recordings obviously ripped off many
painists and conductors with vastly different styles.  Bearing this in
mind I still find it extrodinaty that the fakes were not spotted earlier.
As I said, this raises important questions for reviewers and those who
read reviews.

David Harbin
Nottingham UK

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