Somehow not the expected look of a con-woman
My current theory on the motivations for the hoax (5/22/07)
William Barrington-Coupe often released new editions of
recordings by Hatto, 'improving' them, then telling people that Joyce Hatto went 'back to the studio' to 'rework'
passages she wasn't happy with, and he would release a "remastering" of the set.
Someone sped up by almost 15% some of the Grante Godowsky etudes, (a criticism of Grante's set was that he was too cautious) and it's been reported that someone both sped up and slowed down sections of other pianists' recordings, with results which some listeners even now can find more pleasing than the original pianists' versions. Maybe they both decided (after listening sessions in which they might complain that a pianist should have done this or shouldn't have done that) to CREATE their own ideal versions, using her musical ideas and his technological know-how -- not much is needed to do what was done.
They could have convinced themselves she was the musical mastermind behind the "improved" recordings and therefore WAS, in their minds, the interpreter, or 'pianist' on the recordings.
This would be both payback to the critics and a way for her to express pianism of a type beyond her current (or even past) physical capabilities. And they could use the money just to survive.
If true, it would have been a bent form, then, of creativity for both of them. He was the producer of these improved versions while she was the musician behind them. They could both enjoy the accolades rolling in. Sweet revenge for what was felt to be insufficient recognition of past achievements and a means of financial survival. A more practical form of folie à deux.
This would explain how he can still insist even today that people are not listening for her spirituality in the final results.