Joyce Hatto

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A publicity photograph of Joyce Hatto at the height of her concert career
A publicity photograph of Joyce Hatto at the height of her concert career

Joyce Hatto (5 September 1928 – 29 or 30 June 2006) was a minor British pianist and piano teacher whose performing career spanned some twenty-five years, coming to an end in 1976. Late in her life, doctored copies of commercial recordings made by other pianists were released under her name, earning her high praise from critics. The deception only came to light a few months after her death.

Contents

[edit] Career

Hatto gave concerts in London from the 1950s onwards; there were also concerts by "pupils of Joyce Hatto".[1][2] She taught the piano at a girls' boarding school, Crofton Grange, in Hertfordshire.[3] In later life she claimed to have been in close contact with many of the greatest musicians of the time, but these claims are unverifiable.[4]

Her performances drew mixed notices from the critics. A critic for The Times wrote of an October 1953 performance at Chelsea Town Hall that "Joyce Hatto grappled doggedly with too hasty tempi in Mozart's D Minor piano concerto and was impeded from conveying significant feelings towards the work, especially in quick figuration."[4] Trevor Harvey wrote of her Saga recording of Rachmaninov's second Piano Concerto "one wonders ... whether her technique is really on top of the difficulties of this music ... She shows a musical sense of give and take with the orchestra but it remains a small, rather pallid performance" (The Gramophone, August 1961).

Vernon Handley, who conducted the Guildford Philharmonic on her recording of Sir Arnold Bax's Symphonic Variations, also had reservations about her playing: "She was very, very good as a solo player, and a very nice person, but she had a very doubtful sense of rhythm ... [t]he recording of the Bax was a tremendous labour."[5] Still the record received a favourable review: "Joyce Hatto gives a highly commendable account of the demanding piano part," wrote Robert Layton (Gramophone, February 1971).

It was claimed in newspaper obituaries that the eminent music critic Neville Cardus commented enthusiastically on her work[6], but it has been impossible to confirm these claims.

Hatto stopped performing in public in 1976, with only a few recordings to her credit, none of them for a major label. It was later claimed that she was already battling cancer at the time.[7]However, the consultant radiologist who saw her every six weeks for the last eight years of her life stated that she was first treated for ovarian cancer only fourteen years before her death and had had no previous history of the disease.[8]

[edit] Later attributed recordings

In her last years, more than 100 recordings attributed to her appeared. The repertoire represented on the CDs included the complete sonatas by Beethoven, Mozart and Prokofiev, concertos by Rachmaninoff, Tchaikovsky, Brahms and Mendelssohn, and most of Chopin's compositions, besides rarer works such as the complete Godowsky Chopin Studies. The recordings were released by the English label Concert Artist Recordings, run by Hatto's husband W. H. Barrington-Coupe. Barrington-Coupe had had extensive experience as a record producer and record-label owner.

From 2003 onwards, the recordings attributed to Hatto began to receive enthusiastic praise from a small number of participants on various Usenet groups, mailing lists, and web forums[9], sparked by a blind-listening test in December 2002 posted on ThePiano Yahoo group featuring a recording under Hatto's name of Liszt's Mephisto Waltz. Specialized record review magazines and websites, such as Gramophone, MusicWeb and Classics Today, as well as newspapers such as the Boston Globe, eventually discovered Hatto, reviewed the recordings (with mostly very favourable notices), and published interviews and appreciations of her career; in one case, she was described as "the greatest living pianist that almost no one has ever heard of."[10] Those praising the recordings included Tom Deacon, a former record producer for Philips, who produced the Great Pianists series, Bryce Morrison, a long-time reviewer for Gramophone, Jed Distler, a reviewer for Classics Today, Ateş Orga, a music critic who also wrote some of the liner notes for Concert Artist, as well as an obituary, and Ivan Davis, a well-known professional pianist [11].

In May 2005, the musicologist Marc-André Roberge reported on the Yahoo! Godowsky group![12] that, in Hatto’s version of the Chopin-Godowsky Studies on the Concert Artist label, a misreading of a chord was identical to one on the Carlo Grante recording (AIR-CD-9092, released 1993). However, this curious coincidence did not prompt Roberge (or others) to investigate further, and verification of the copying from the Grante disc only occurred in 2007 (see below).

In early 2006, doubts about various aspects of Hatto's recording output were expressed, both in the RMCR Usenet Group and, following the publication of a lengthy appreciation of Hatto in the March issue of Gramophone, by readers of that magazine. In particular, some found it hard to believe that a pianist who had not performed in public for decades and was said to be fighting cancer should produce in her old age a vast number of recordings, all apparently of high quality. It also proved difficult to confirm any of the details of the recordings made with orchestra, including even the existence of the conductor credited. The doubters were vigorously countered, most publicly by critic Jeremy Nicholas who, in the July 2006 issue of Gramophone, challenged unnamed sceptics to substantiate their accusations by providing evidence that would "stand up in a court of law". Nicholas's challenge was not taken up, and in December, Radio New Zealand was able, in all innocence, to re-broadcast their hour-long programme of glowing appreciation of the Concert Artist Hatto CDs. This programme included excerpts from a phone interview with Hatto herself, conducted on 6 April 2006, shortly before her death, in which she said nothing to dispel the presenter's assumption that she was the sole pianist on all the CDs.

The favourable reviews and publicity generated enormous sales for the Concert Artist CDs: in 2006, one online retailer did £50,000 worth of business with Barrington-Coupe.[13]

[edit] Recordings unmasked

In February 2007 it was announced that the CDs ascribed to Hatto had been discovered to contain copies, in some cases digitally manipulated (stretched or shrunk in time, re-equalised and rebalanced), of published commercial recordings made by other artists. While some of these artists were well-known, the majority were less so. When Brian Ventura, a financial analyst from Mount Vernon, New York, put the recording of Liszt's 12 "Transcendental Études" credited to Hatto into his computer, the Gracenote database used by the iTunes software identified the disc not as a recording by Hatto but as one by László Simon. On checking online samples of the Simon recording, Ventura found it to be remarkably similar to the version credited to Hatto. He then contacted Jed Distler, a critic for http://www.classicstoday.com and Gramophone, who had praised many of the recordings ascribed to Hatto. [14]

Says Distler,

When I received Brian Ventura’s e-mail I decided to investigate further. After careful comparison of the actual Simon performances to the Hatto, it appeared to me that 10 out of 12 tracks showed remarkable similarity in terms of tempi, accents, dynamics, balances, etc. By contrast, Track Five, Feux Follets, sounded different between the two sources. I reported my findings to Mr. Ventura, and cc'd Classicstoday.com editor David Hurwitz. I also cc'd Gramophone's editor James Inverne, plus three of my Gramophone colleagues who had written about Hatto. Then I wrote Mr. Barrington-Coupe. He quickly replied, claiming not to know what had happened, and to be as puzzled as I was. At James Inverne's suggestion, Andrew Rose [of the audio-restoration business Pristine Audio] contacted me, and I uploaded three MP3s from the Hatto Liszt disc. Andrew's research[15] confirmed what my ears suspected: at least two Liszt tracks were identical between BIS and Concert Artist, while at least one was not.[16]

An identification of the source of another recording, which had been in preparation for some months,[17] was released the following day by The AHRC Research Centre for the History and Analysis of Recorded Music (CHARM), Royal Holloway, University of London[18] as a by-product of research on performances of Chopin mazurkas. [19] Within a week of the initial story being posted on the Gramophone website on 15 February, the sources for some 20 of Hatto's Concert Artist CDs had been identified.

On each of the concerto recordings published in Hatto's final years under her name, the conductor's name was given as "René Köhler". Barrington-Coupe provided a detailed biography for Köhler,[20] but there are no known photographs of him, and the Jagiellonian University of Krakow, where he was claimed to have studied, has denied that anyone of that name studied there.[4] The conductors whose work is represented on the concerto recordings credited to Hatto and Köhler are now known to include Esa-Pekka Salonen, André Previn and Bernard Haitink, while the orchestras, claimed to be the National Philharmonic-Symphony and the Warsaw Philharmonia, are now known to include the Vienna Philharmonic, The Philharmonia, and the Royal Philharmonic.

[edit] Admission of fraud

Barrington-Coupe initially denied any wrongdoing but subsequently admitted the fraud in a letter to Robert von Bahr, the head of the Swedish BIS record label that had originally issued some of the recordings plagiarized by Concert Artists. Bahr shared the contents of the letter with Gramophone magazine, which reported the confession on its website on February 26, 2007. [21] Barrington-Coupe claims that Hatto was unaware of the deception, that he acted out of love and made little money from the enterprise, and that he started out by pasting portions of other pianists' recordings into recordings made by Hatto in order to cover up her "gasps of pain". Some critics, however, have cast doubt on this version of events.[22][23] Barrington-Coupe has so far refused to help identify the sources of the recordings issued under Hatto's name, claiming that "whatever I do, it won’t be enough".[24]

The extent of Hatto's own complicity in the fraud remains unclear, in the absence of direct evidence of her personal involvement. Andrew Rose of Pristine Audio opines that "you can only conclude that she was a party to the whole thing" [25] and the arts critic Denis Dutton is emphatic that "it is a palpable absurdity to imagine she did not know."[23]

The British Phonographic Industry [BPI] has begun an investigation. If the allegations are true, it would be "one of the most extraordinary cases of piracy the record industry had ever seen", according to a BPI spokesman.[26]

[edit] Recordings and their sources

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Here is a list of some of the performances attributed to Hatto whose sources have so far been discovered (sorted by Concert Artist catalogue number):

Recording Sources
CACD20012 -- Chopin Mazurkas Eugen Indjic's 1988 performances released on the Claves label and re-released on Calliope 3321 in 2005. The number of mazurkas on both CD sets is the same, but the ordering of the mazurkas is different. The CACD20012 release has added filtering, and the speeds of each performance pair vary slightly in the range of a few percent (+1.2%, -2.8%, and -0.7% for three sample mazurkas).[27]
CACD20022 -- Godowsky Studies on Chopin Etudes Tracks 1 and 14 are from the recording by Ian Hobson on Arabesque Z6537. Track 1 is sped up by 7.837%. Tracks 2, 4-13, 16, 18, 22, and 23 are from the recording by Carlo Grante on Altarus. Tracks 3, 15, 17, 19-21, and 24-27 are from Marc-André Hamelin's recording on Hyperion. The second volume of the Hatto Godowsky CD set has yet to be investigated.
CACD20032 -- Messiaen Vingt regards sur l'enfant-Jésus. A copy of a performance by Paul Kim, recorded for Centaur in January 2002, time-stretched (slowed down) by 2.4%.[28]
CACD20042 -- Ravel Complete Piano Music. Found to be a copy of a CD release by Roger Muraro on the Accord label (Universal Classics France), recorded in May, 2003.[29]
CACD80002 -- Brahms Piano Concerto No. 1, Two Rhapsodies, Op.79 & Rhapsody Op.119 No. 4. PC 1 copied from a performance by Horacio Gutiérrez with the Royal Philharmonic Orchestra conducted by Andre Previn on the Telarc label.
CACD80012 -- Brahms Piano Concerto No. 2, Klavierstücke Op.118. PC 2 copied from a performance by Vladimir Ashkenazy with the Vienna Philharmonic conducted by Bernard Haitink on Decca. Four of the 6 pieces op. 118 are performed by Dezső Ránki; the pianist in nos. 4 and 5 has yet to be identified.
CACD80102 -- Beethoven Piano Sonatas Nos. 30-32 Taken from the recording by John O'Conor on Telarc CD80261
CACD90382 -- Chopin Complete Piano Works, Vol.4, The Ballades and Rondos Rondos taken from the recording by Joanna Trzeciak on Pavane ADW 7291[30]
CACD90432 -- Chopin Complete Works, Vol.8, The Three Piano Sonatas Sonata No. 1 taken from the recording by Joanna Trzeciak on Pavane ADW 7291[31]
CACD90522 -- Mozart Piano Sonatas, K.284, K.309, K.310 These three sonatas are copied from the set by Ingrid Haebler on Denon (CO-79399 for this CD). Hatto's other solo Mozart CDs have also been compared and the recordings have been shown to be identical to Haebler's.
CACD90682 -- Bach Goldberg Variations. At least in part a copy of a performance by Chen Pi-hsien available on Naxos. The Theme and first five variations have been compared side to side and are confirmed matches.
CACD90842 -- Liszt Transcendental Studies. Found to be a copy of performances by László Simon (released by BIS Records). In some copies, Minoru Nojima's recording replaces Simon's for Etude 5; in some of these copies, Simon's Etude 12 has also been replaced by a recording by another artist (not yet identified).[32]
CACD90852 -- Saint-Säens Piano Concerto No. 2 Appears to be the performance of Jean-Philippe Collard, accompanied by conductor Andre Previn, on EMI.[33]
CACD91112 -- Liszt Operatic Transcriptions: The Italian Opera, vol 2. Tracks 1 and 3 are from Hungaroton HCD 31299 performed by Endre Hegedűs. Tracks 2 and 4 remain unidentified.
CACD91122 -- Liszt Operatic Transcriptions: The Italian Opera, vol 3. Tracks 1-5 derived from two CDs (Hungaroton HCD 31547 and HCD 31299) performed by Endre Hegedűs. Track 6 is from Giovanni Bellucci's recording on Assai, 222172 (see also CACD91332)
CACD91202 -- Albeniz Iberia. All tracks taken from the recording by Jean-Francois Heisser on Erato 4509-94807. Evocacion is stretched by 30 seconds.
CACD91212, 91222, 91232, 91242 -- Prokofiev Piano Works Taken at least in large part from the set recorded by Oleg Marshev on the Danacord label. Sonatas 1, 6, 7, and 8 have been matched so far.[34][35]
CACD91272 -- Rachmaninov Preludes Preludes Op. 23 No. 4 in D Major, Op. 32 No. 5 in G Major, op. 32 No. 12 in G sharp minor, and op. 32 No. 13 in D flat Major are copied from John Browning's CD Delos DE 3044. The remaining Preludes have yet to be identified.
CACD91292 -- Mussorgsky Pictures at an Exhibition; Rachmaninov Piano Sonata No. 1 The Rachmaninov is taken from the recording by Tomás Kramreiter on the Ex Libris label. The Mussorgsky source has not yet been traced.
CACD 91302 -- Debussy Preludes At least in part copied from Izumi Tateno's recording on Canyon Classics PCCL 00122: The entire Book 1 plus Feux d'artifice from Book 2 are confirmed matches. The remaining preludes have not yet been compared side to side.
CACD 91312 -- Debussy, the complete piano works, Vol. 2. Arabesque I is by Pascal Rogé (Decca). Hommage a Haydn and D'un cahier d'esquisses are by François-Joël Thiollier (Naxos). La plus que lente is by Klara Körmendi (Naxos). The source for the études has been identified as Thiollier (Naxos), but in some copies a different source recording seems to have been used for these pieces.[36]
CACD 91332 -- Liszt, Operatic Paraphrase & Transcriptions, Vol.1 Track 3, Aida Coro di festa e marcia funebre, is from Giovanni Bellucci's recording on Assai, 222172. (This track is also used as track 6 of CACD 91122, Liszt Operatic Paraphrase & Transcriptions Vol. 3.) The Verdi/Liszt Salve Maria from Il Lombardi and Verdi/Liszt Reminiscenes de Simon Boccanegra are taken from Alberto Reyes' CD on the Connoisseur Society label.[37]
CACD 91342 -- Beethoven Symphonies transcribed by Liszt vol. 1. Tracks 1-5: Symphony No. 6 'Pastoral' from Konstantin Scherbakov's recording on Naxos 8.557170 (Liszt Complete Piano Music Vol.19), with slight time stretching.
CACD91692 -- An Anthology of Recital Encores, Vol. 2. Tracks 4, Schubert-Godowsky Rosamunde, and 10, Albeniz-Godowsky Tango, are taken from CBC MVCD1026 (pianist: Marc-André Hamelin). Track 8, Rubinstein Scherzo, is taken from Josef Banowetz's recording on Marco Polo 8-223176. Track 9, Busoni Kammer-Fantasie über Carmen, is taken from Russian Disc RDCD 10026 (pianist: Leonid Kuzmin). Track 11, Sinding Rustle of Spring is taken from Hyperion CDA 67379 (pianist: Philip Martin). Track 12, Rossini-Liszt La Danza, is taken from EMI (France) 7243-5-55382-2-2 (pianist: François-René Duchable).
CACD91792 -- Rachmaninov The Transcriptions. Tracks 1-14 are taken from Harmonia Mundi (Saison Russe) RUS 288 122 performed by Alexander Guindin. (see also CACD92172 entry)
CACD92082 -- Domenico Scarlatti Keyboard Sonatas Vol. 1 Taken from recordings by Dubravka Tomsic on Sonia Classic CD 74537 and other labels (tracks 1, 5-6, 10-17) and Balázs Szokolay on Naxos 8.550252 (the rest).[38]
CACD92092 -- Domenico Scarlatti Keyboard Sonatas Vol. 2 Taken from recordings by Patricia Pagny on De Plein Vent DPV CD9346 (tracks 2-5, 9-11, 13, 16-19), Sergei Babayan on Pro Piano PPR224506 (tracks 1, 6, 15), and Balázs Szokolay on Naxos 8.550252 (tracks 7, 8, 12, 14) [39]
CACD92102 -- Domenico Scarlatti Keyboard Sonatas Vol. 3 Taken from recordings by Prisca Benoit, Maria Tipo, Chitose Okashiro, Balász Szokolay, and Sergei Babayan[40]
CACD92172 -- Rachmaninov Piano Concertos. Found to be a copy of performances by Yefim Bronfman, conducted by Esa-Pekka Salonen released by Sony. Coupled with Six moments musicaux Op.16, from Alexander Guindin's performance on Harmonia Mundi (Saison Russe) RUS 288 122.
CACD92182 -- Prokofiev Piano Concerto No.3 etc. Piano Concerto taken from the recording by Oleg Marshev with the South Jutland Symphony Orchestra conducted by Niklas Willén (Danacord DACOCD 585)[41].
CACD92402 -- Domenico Scarlatti Keyboard Sonatas Vol. 4 Taken from recordings by Beatrice Long, Benjamin Frith, Evgeny Zarafiants, Konstantin Scherbakov (all on Naxos) and Maria Tipo (on EMI)[42]
CACD92432 -- Chopin Etudes. At least some of these are copies of performances by Yuki Matsuzawa on the CD Novalis 150704.
CACD92742 -- Dukas complete piano music. Taken from SIMAX PSC1177 performed by Tor Espen Aspaas.[43] One track on the CD, "Pour le tombeau de Paul Dukas" by Falla, is taken from Miguel Baselga's recording on BIS CD 773 (reduced slightly in speed).

[edit] Early discography

The recent release of Arnold Bax's Symphonic Variations in E Major (CACD90212), issued by the Concert Artist label, is confirmed to be a reissue of Hatto's 1970 recording with the Guildford Philharmonic conducted by Vernon Handley, originally issued on Barrington-Coupe's Revolution label.

Hatto's authentic recordings were never widespread, and as far as can be ascertained at this point, the above-mentioned work of Bax was the last to appear on LP in 1970. In the eighties, there were some more works released on tape cassettes (Grieg Piano Concerto and a number of Liszt compositions: the two Piano Concerti, Rigoletto paraphrase, Miserere del Trovatore paraphrase, Totentanz (solo piano version), Seven Hungarian Historical Portraits). The solo piano repertoire of these releases shows works Hatto played also at that period in London on various occasions at Royal Festival Hall and other venues.

Her early releases include:

  • Concert Artist 7-inch EPs:
    • Walter Gaze Cooper Piano Concerto #3
    • Elspeth Rhys-Williams, 4 Impressions, 2 Songs
    • Michael Williams Introduction & Allegro for piano & orchestra
  • Saga:
    • "Music for the Films" (Addinsell, Bath, Chas. Williams) w/London Variety Theatre Orchestra/Gilbert Vinter
    • Gershwin Rhapsody in Blue w/Hamburg Pro Musica/George Byrd[44]
    • Rachmaninoff Piano Concerto #2 w/Hamburg Pro Musica/George Hurst
    • Chopin Sonatas #1 & 3
    • Chopin Minor Piano works (Albumblatt, Fugue etc.)
  • Delta:
    • Mozart Piano Concertos K. 466 & 488 w/Pasdeloup Orchestra/Isaie Disenhaus
    • Mozart Piano Concerto K. 453, Rondo K. 382 w/London Classic Players/David Littaur
  • Fidelio:
    • Lecuona assorted piano pieces
    • Gershwin 16 items from the "Song Book"
  • Revolution:
    • Bax Piano Sonata #1, Piano Sonata #4, Toccata, Water Music
    • Bax Symphonic Variations in E w/Guildford Philharmonic/Vernon Handley

[edit] References

  1. ^ http://groups.google.com/group/rec.music.classical.recordings/msg/efcc5d55c9827583?dmode=source&hl=en
  2. ^ http://groups.google.com/group/rec.music.classical.recordings/msg/b1f82a9a73ffc695?dmode=source&hl=en
  3. ^ Report on Front Row, BBC Radio 4, 6 April 2007
  4. ^ a b c Joseph, Claudia, Luck, Adam. "Revenge of the fraudster pianist", Mail on Sunday, 2007-02-24. Retrieved on March 6, 2007.
  5. ^ Edgers, Geoff. "Cherished music wasn't hers", The Boston Globe, 2007-02-27. Retrieved on March 6, 2007.
  6. ^ The Guardian, July 10, 2006, http://www.guardian.co.uk/obituaries/story/0,,1816612,00.html (Jeremy Nicholas); The Daily Telegraph, July 28, 2006, http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2006/07/28/db2803.xml
  7. ^ http://www.musicweb-international.com/classrev/2006/July06/Joyce_Hatto_obituary.htm
  8. ^ Jessica Duchen, "Notes on a scandal", The Independent, 26 February, 2007.
  9. ^ See in particular the archives of rec.music.classical.recordings at http://groups.google.com/group/rec.music.classical.recordings and the Yahoo Groups Great Pianists and Pianophiles
  10. ^ Dyer, Richard. "After recording 119 CDs, a hidden jewel comes to light", The Boston Globe, 2005-08-21. Retrieved on February 21, 2007.
  11. ^ Boston Globe obituary July 4, 2006 (p. 2)
  12. ^ Roberge, Marc-André. "Misreading in Mrs. Hatto's recording of Etude no. 2", 2005-05-12. Retrieved on March 15, 2007. (In Hatto's recording of Study No. 2 (second version of Op. 10, No. 1), the penultimate chord was played as if it were preceded by an F-clef (which caused it to sound as F minor rather than D-flat major), just as Carlo Grante had done in his first recording of the entire set. As strange as it could be that a pianist who had allegedly lived with these studies for decades should not eventually have corrected the misreading, the coincidence was not pursued. A comparative listening of Hatto’s recording with those by Grante and Marc-André Hamelin would rapidly have led to the conclusions made public only in early 2007. For instance, one would have noted that bar 64 of Study No. 19 (first version of Op. 10, No. 10) features the same use of the lower octave as in Grante, and that bar 130 of Study No. 33 (first version of Op. 25, No. 4) has the same textural modification in the left hand as in Hamelin (Hyperion CDA67411/2, released 2000).)
  13. ^ Report on Front Row, BBC Radio 4, 6 April 2007
  14. ^ Jason Fry, "A Classical-Music Mystery", Wall Street Journal, 26 February 2007.
  15. ^ See http://www.pristineaudiodirect.com/HattoHoax.html for the evidence, including audio clips.
  16. ^ http://www.classicstoday.com/features/021807-joycehatto.asp
  17. ^ See this presentation from November 2006 for the essence of the findings: http://mazurka.org.uk/info/present/cambridge-20061128/cambridge-20061128-1up.pdf
  18. ^ http://www.charm.rhul.ac.uk/content/contact/hatto_article.html
  19. ^ http://mazurka.org.uk
  20. ^ http://www.musicweb-international.com/classrev/2006/Jan06/Hatto2_recordings.htm
  21. ^ James Inverne 'I did it for my wife' Joyce Hatto exclusive, William Barrington-Coupe confesses Gramophone 26 February 2007
  22. ^ See for example http://www.classicstoday.com/features/022607-mywife.asp (David Hurwitz)
  23. ^ a b Denis Dutton, 'Shoot the piano player, New York Times, February 26 2007, and at http://www.denisdutton.com/
  24. ^ Ann McFerran, interview with Barrington-Coupe, Sunday Times, 4 March 2007, http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article1466154.ece
  25. ^ http://www.theglobeandmail.com/servlet/story/RTGAM.20070302.wxpiano03/BNStory/Front/home
  26. ^ Theunis Bates Of Concertos and Copyrights Time 22 February 2007
  27. ^ http://www.charm.rhul.ac.uk/content/contact/hatto_article.html, http://www.musicweb-international.com/classrev/2007/Mar07/Chopin_1_indjic_cal3321.htm
  28. ^ http://www.musicweb-international.com/classrev/2007/Mar07/Messiaen2_kim_crc2627-8.htm
  29. ^ http://www.classicstoday.com/review.asp?ReviewNum=10667
  30. ^ http://groups.google.com/group/rec.music.classical.recordings/msg/cc2af099fc8150f5
  31. ^ http://groups.google.com/group/rec.music.classical.recordings/msg/cc2af099fc8150f5
  32. ^ http://launch.groups.yahoo.com/group/Pianophiles/message/5404, http://launch.groups.yahoo.com/group/Pianophiles/message/5414
  33. ^ http://www.classicstoday.com/Classics/ConcertReview_ASPFiles/ViewConcertReview.asp?Action=User&ID=532
  34. ^ http://www.lsus.edu/sc/math/rmabry/HattoGate/
  35. ^ http://www.prokofiev.org/forum/viewmessages.cfm?Forum=7&Topic=804
  36. ^ http://groups.google.com/group/rec.music.classical.recordings/msg/48d5674a377072ee
  37. ^ http://groups.google.com/group/rec.music.classical.recordings/msg/1fcc25792f57675d
  38. ^ http://groups.google.com/group/rec.music.classical.recordings/msg/1b1a1ca589cc0e4a
  39. ^ http://groups.google.com/group/rec.music.classical.recordings/msg/54ed9c044ae4bb00
  40. ^ http://groups.google.com/group/rec.music.classical.recordings/msg/95e9848ce1e84e93
  41. ^ http://www.prokofiev.org/forum/viewmessages.cfm?Forum=7&Topic=804
  42. ^ http://groups.google.com/group/rec.music.classical.recordings/msg/852ff173f795f180
  43. ^ http://www.musicweb-international.com/classrev/2007/Mar07/Dukas_Aspass_PSC1177.htm
  44. ^ Also issued on the Forum label: Carnovale, Norman (2000). George Gershwin: a Bio-bibliography. Greenwood Press, 419. ISBN 0313260036. 

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