More about the new Paris Concert Hall

Further details are emerging about the new Concert Hall which is to be built in Paris. It will be known as The Philharmonie de Paris, and a series of computer-generated images has now been published. Check out this New york Times article and follow the Multimedia link. The image above is one of several in the set, and gives some idea at least of the Hall’s innovative design. I must say I’d be a bit concerned about the acoustic implications of all those curved surfaces, and I’m not sure if I’d fancy being perched in one of those weird balconies!

‘Flying Dutchman’ Hall for Hamburg

Washington Post Entertainment News

The North German city of Hamburg has unveiled plans for a massive new concert hall designed by the architects Herzog & DeMeuron. The design, which is already being compared to that ghostly schooner, The Flying Dutchman, has clearly been created with global iconic status in mind. “The project is part of ongoing efforts to redevelop the city’s old docklands — known as Hafencity, or Harbor City — as a center of homes, offices and cultural events.”

The pic is an artist’s impression of the new Elbe Philharmonic Hall. The futuristic new complex will stand on top of an old coffee warehouse, located at the end of a spit of land that juts out into the Elbe river at one end of Hamburg’s busy harbor. It will be 110 meters (360 feet) tall.

New concert hall for Paris

French architect Jean Nouvel has been chosen to design a new orchestra hall in Paris, reports the Associated Press. The 2,400-seat hall, called the Philharmonie de Paris and estimated to cost €200 million, will be home to the Orchestre de Paris and other groups. The auditorium will be constructed in Parc de la Villette in northeastern Paris (the capital’s biggest park), and is scheduled to open in 2012. The park already contains the Cité de la Musique complex, which houses a science museum and a music center with several smaller auditoriums.

Dudamel to take over at Los Angeles

Chicago Sun-Times article
The LA Philharmonic apparently hired its new music director, Gustavo Dudamel, right out from under the nose of the Chicago Symphony, where the young Venezuelan appeared last week as a guest conductor. “[Chicago’s] backstage was jumping with well-wishers, agents, heads of other orchestras and the CSO’s own musicians as it hadn’t since Daniel Barenboim’s farewell concerts or Georg Solti’s retirement as music director. The Internet was abuzz and speculation was rife that the CSO might be able to work out some arrangement with Dudamel.”

26-year-old Gustavo Dudamel certainly is the new kid on the block! Not only does he continue to wow audiences and critics everywhere he appears, but now he’s landed one of the top conducting jobs, taking over the Los Angeles Philharmonic when Esa-Pekka Salonen’s contract finishes two years from now. This article tells the sad story of how Chicago’s hopes to nab the wunderkind went up in smoke.

There’s been quite a lot of coverage of Gustavo’s new job recently, most especially in Los Angeles itself. Here are some links:
LA Times, 8th April
LA Times, 9th April
La Times, 10th April

Joyce Hatto: The Ultimate Recording Hoax

The real story
The Joyce Hatto hoax story — inevitably now dubbed “Hattogate” in certain parts of the media — has been told many times in newspapers, magazines and journals around the world, as well as being summarised on radio and TV news programmes and discussed all over the Internet. Over 100 CDs, issued over recent years, are believed to be the work of other pianists, sometimes solo, sometimes with other orchestras and conductors, and that not of Joyce Hatto. Whilst there were a number of genuine recordings made by Joyce Hatto in the 1960s and 1970, there appears to be nothing to suggest she played on any of the more recent alleged recordings.

It has been interesting to see how different media have interpreted the story, how inaccuracies creep into one story and are then repeated in the next, and how certain sections of the press, particularly in the UK, seem to have little regard for basic fact-checking or research. On this page I’ve aimed to outline the story based on my own knowledge and understanding of what happened and when, and my own involvement in the technical side of proving the fact and nature of the hoax. What then follows are the eight pages of this site, preserved more or less at the point they’d reached when William Barrington-Coupe finally began to admit his involvement in public

That’s the beginning of a detailed article about the uncovering of this hoax, literally straight from the horse’s mouth, since it comes from Andrew Rose of Pristine Audio, specialists in digital remastering of old recordings, who were the ones contacted by Gramophone magazine to investigate the original claim. The article makes fascinating reading.