#recording artists

[stone-cold-groove]

Linda Ronstadt.

[opera-ghosts]

Francis Planté (2 March 1839 – 19 December 1934) was a French pianist famed as one of the first ever recording artists.

While recordings of pupils of renowned composers like Liszt and Brahms, as well as Rachmaninoff himself, offer glimpses into the musical ethos, the absence of recordings by Chopin and his direct pupils is notable. However, we encounter a captivating exception in the recordings of Francis Planté, a French pianist born in 1839, who not only predates Chopin but also recalls hearing the legendary composer play. Planté’s connection to Chopin, through both direct exposure and association with the composer’s pupils, provides a distinctive window into the musical world of the past.

Francis Planté’s recordings, made in 1928 when he was approaching his 90th birthday, present a rare opportunity to witness a pianist from the 19th century using advanced sound reproduction technology of the early 20th century. Born before the advent of recording technology, Planté’s performances offer a direct link to the era of Chopin, Schumann, and Mendelssohn. The decision to record in Planté’s home, as opposed to a studio, adds an intimate dimension to the recordings. This unconventional choice, suggested by a friend after Planté’s two concerts in 1928, resulted in the preservation of 18 works on nine two-sided discs, totaling approximately 45 minutes.

Despite Planté’s age at the time of recording, the performances showcase a remarkable level of dexterity and musicality. While not in his prime, Planté’s recordings highlight his enduring skill, evidenced by his ability to play Chopin’s Barcarolle exceptionally well even in his advanced years. The recordings reveal moments of agility and precision, with occasional imperfections that were inherent in the technology of the time. Planté’s playing, characterized by a full-bodied sonority, vibrant colors, and rhythmic vitality, reflects an extraordinary musical intelligence. Noteworthy is his emphasis on left-hand harmonic support, an essential element in 19th-century pianism often overlooked in modern interpretations.

In the echoes of Francis Planté’s recordings, we encounter a sonic time capsule that bridges the gap between the 19th and 20th centuries. These recordings, capturing the essence of a pianist born in 1839, offer a poignant glimpse into the artistry of Chopin’s era. Planté’s music, preserved with authenticity in the advanced technology of 1928, stands as a testament to the enduring power of music. The imperfections, a consequence of the recording technology’s limitations, become integral to the narrative, reinforcing the historical authenticity of these artifacts. Planté’s legacy extends beyond mere documentation, inviting contemporary listeners to engage with a living tradition and reaffirming his invaluable contribution to the evolving tapestry of classical music. In the resounding notes of Planté’s piano, we discover not only a historical record but a resonant echo—a reminder that the language of music transcends time, speaking to us across the ages.

One pianist who is particularly fascinating to hear is one who was not only born before Chopin died but was also old enough to actually remember hearing the legendary composer play! Furthermore, this artist also performed with chamber musicians who had played with Chopin himself. This was the French pianist Francis Planté, who was born in 1839 and died in 1934 at the age of 95.

Planté studied with the legendary teacher Antoine François Marmontel and also knew some Chopin pupils, in addition to having heard the composer himself. It must be noted that this does not mean that he necessarily played like Chopin, but it is fascinating to consider what he might have gleaned from his close proximity to the composer and his circle. He also knew Liszt, and he performed with Saint-Saëns; in fact, Arthur Rubinstein provided some fascinating recollections about hearing these two French musicians perform in a way that would certainly be considered unconventional in our time. Here, Rubinstein first discusses Saint-Saëns’s style of playing before discussing how the composer performed together with Planté.

It is remarkable that a pianist of Planté’s generation should have made recordings — and in very good sound. These discs were produced in 1928 when the technology in sound reproduction was vastly superior to even a few years earlier. That said, Planté was naturally not at his prime, as he was approaching his 90th birthday. Nevertheless, the recordings demonstrate that he kept his dexterity at an impressive level, although it was obviously not what one would expect from a younger artist. The renowned pianists Gaby and Robert Casadesus spent an afternoon with Planté at his home around the time that these recordings were made and reported that he played the Chopin Barcarolle remarkably well even at that age.

How these recordings came to be made is fascinating, too. Planté had given two concerts in a single day in May 1928 — he was 89 at the time! — when one of his friends suggested to the Columbia recording company that Planté’s playing be preserved on disc. As the aged French pianist was not interested in going to the studio, the company arranged for the equipment to be sent to his country home, and on July 3 and 4, 1928, a set of nine two-sided discs comprising 18 works was recorded and issued — a total of about 45 minutes. Some film of the artist was also made, albeit silent: you can see Planté playing some Chopin.

Because recording technology at the time did not allow for editing to correct any mistakes, what you hear in Planté’s recordings (and all 78-rpm disc performances) are complete, undoctored performances (unlike heavily edited modern recordings). There are a few moments at which he is definitely less agile and precise, such as in a couple of the Chopin Etudes — in fact, after Planté struggles a bit with the ending of one of these works, we can hear him swear in frustration! — but with the exception of these few passages, his playing is absolutely extraordinary. Even at his advanced age, he produced a gorgeous full-bodied sonority (he was playing on his own Érard piano), beautiful colors, and wonderful pedal effects, playing with astounding rhythmic vitality and buoyancy.

In Planté’s playing, we always hear great intelligence and aliveness in the music, some of which were written during or close to his lifetime (Chopin, Schumann, and Mendelssohn were all alive in his first years). His timing is quite natural, his rubato not as pronounced as that of many of his contemporaries, and his vivaciousness is quite infectious in some of the more upbeat compositions (such as the opening Berlioz work and the Schumann near the end of this selection). Also noteworthy is his clear but unobtrusive highlighting of left-hand harmonic support, an important element in 19th century pianism that is sorely overlooked by many performers today.

In the echoes of Francis Planté’s recordings, we discover a sonic time capsule that bridges the expanse between the 19th and 20th centuries. Born in 1839, Planté’s music reverberates with a living connection to the era of Chopin, Schumann, and Mendelssohn. As we step into the world of his performances, meticulously preserved in the advanced technology of 1928, we are granted a poignant glimpse into the artistry that flourished a century ago.

These recordings, produced when Planté was approaching his 90th year, offer a testament to the enduring power of music. The decision to record in his home, away from the constraints of a studio, adds an intimate dimension to the experience. The imperfections, a consequence of the technology’s limitations, become part of the narrative, reminding us of the authenticity of these historical artifacts.

Planté’s musicality transcends the passage of time. While moments of diminished agility surface, his performances exude a profound understanding of the compositions. The recordings capture his nuanced approach, revealing a pianist with a natural sense of timing and rhythmic vitality. Notably, his emphasis on left-hand harmonic support unveils a facet often overlooked in modern interpretations.

Revisiting Planté’s legacy is not a mere archaeological endeavor but an encounter with a living tradition. His ability to evoke a rich sonority and infectious musical spirit, even in his advanced age, attests to a pianist deeply embedded in the soul of his craft. These recordings, a gift to contemporary listeners, serve as a reminder of Planté’s invaluable contribution to the ever-evolving tapestry of classical music.

In the resounding notes of Planté’s piano, we find more than historical documentation; we discover a resonant echo from the past—a reminder that the language of music, spoken by hands long stilled, continues to speak to us across the ages.

[lenbryant]

Rock music history.

[heartbanter]

All The Best

This John Prine song has been lauded as, “One of the best breakup songs ever written.” Here’s my cover of Prine’s “All The Best.”

[genexxer]

music isn't revenue generating

In the 20th century, greed science was applied to music so that private ownership and licensing of recordings was lucrative. Streaming companies are not lucrative. So artists revenue comes from live performance gate receipts. That's why elderly artists still do concerts. There's no other revenue like a cd sales stream. Young artists don't exist because their music isn't revenue generating except via huge gate receipts. So they can't get the chops after a debut album to be great. They eat by working day jobs with no hope. Why even try to make a debut album. They won't get paid until the draw at concerts is huge. Talent stays undiscovered and unexploited for life.

[edensbackyard]

Tape recorder click sound my beloved

[cyberstarlope]

based off of a beautifully unfortunate phrasing of conversation between myself and @arsonistmoth

[stone-cold-groove]

Capitol Records promo ad for The Beatles’ Magical Mystery Tour album - 1967.

[rasmasandra]

Music Artists Tommy James and the Shondells

Crimson and Clover Tommy James and the Shondells Tommy James and the Shondells hold a special place in my heart because they have so many great songs which I just simply love to listen to again and again. They reached the peak of their success in the late 1960s. This American rock band had two very popular hit singles in the U.S. which are still played on the radio today. The hits were ”Hanky…

[bluismie]

Big bro out on a run (งツ)ว

Extra:

[heartbanter]

A Beautiful Ode to Life: "Silent Sunlight"

Cat Stevens ( Yusuf Islam) has never publicly said what this song is about, so we are left to offer our own interpretations. When I read the lyrics, I get a picture of a farmer of indiscriminate age waking up at the crack of dawn and looking out through a window at his fields. At the very instant when the sun rises, there is barely sound. Our farmer reflects back on his youth and how it felt…