Over de violiste Renée Chemet (Boulogne-sur-Seine, 07.01.1887 - ?) is niet heel veel bekend. In 1974 schreef Thomas Clear over haar:
Overigens heeft Renée Chemet in de periode 1924 en 1932 opnamen gemaakt (Thomas Clear sprak alleen over de elektrische opnamen).A pioneer recording artist who, during the period 1926-1931 was represented by twelve 10" electric discs for Victor (while during the same period Elman had eight and Heifetz one), disappeared from the American scene forever in 1932.Renée Chemet must surely present the strangest enigma of her time.Born in Boulogne-sur-Seine, France, she studied with Berthelier (same teacher as Solloway) and upon graduation was engaged as first violinist by the Colonne Orch. Appeared as soloist with Nikisch in Berlin, Wood in London, Mahler in Vienna and Steinbach in Cologne.Decorated with Cross of Merit, American debut in 1921 with Mengelberg and National Sym. Acclaimed by critics as one of the outstanding violinists of the day.In 1932 sailed for the Far East, appearing in principal cities of China and Japan. In Tokyo, her concerts were honored by presence of the Royal Family. But all this does not explain the sudden cessation of activity in the recording studios. She was the first to record Lalo's Symphony Espagnol for His Master's Voice (accoustic & abridged, albeit contemporary with Strokoff's recording for Columbia) and her Saint-Saens "Introduction and Rondo Capriccioso" pre-dated Heifetz' by at lease ten years. Was she offered more lucrative prospects in Japan? Only one record was issued after 1932, a Japanese folk tune on DA 1314. Or - as is most likely - was her contract cancelled by Victor because her name was not big enough to bail them out of bankrupcy? We shall never learn the answer - unless a living relative can supply it. And today - with the economy at an all-time peak - would anyone at RCA have the brains to rescue her legacy from the vaults and re-issue them on the Victrola label? The question answers itself. My offering here is not only not listed in WERK, but is unknown in the British Empire (the Sec. of the British Institute told me he had never seen it, and the BBC Library does not have it). This is a French pressing, and the fact that two different pianists accompany her - plus the difference in sound levels on each side - lead me to believe it was an "experimental" electric. Old-timers who recall Miss Chemet's pre-occupation with sentimental trifles, as well as those younger folk who never heard of her, are in for a surprise - and her place among the all-time greats is certified.
Ze is in 1910 getrouwd met Camille Decreus (1876-1939), vriend en begeleider van de Belgische violist Eugène Ysaÿe.
Wie meer over haar weet mag aanvullen!
Ik heb 3 25cm plaatjes van haar: flink ruisende HMV DA, dus er zat wat werk in om de ergste hagel eruit te filteren. Van de eerste twee plaatjes is de opnamedatum onbekend, maar dat zal vermoedelijk ca. 1926, 1927 zijn.
Renée Chemet, viool:
1 Frantisec Drdla: Souvenir 3:14
2 Ede Poldini, arr. Fritz Kreisler: Dancing doll (Poupée valsante) 2:09
met Marguerite Delcourt, piano
78t 25 cm: HMV DA 811 (7-7947/8) Bb8898-2 / Bb8899-3
3 Manuel de Falla: El paño moruna 2:45
4 Manuel de Falla: Jota 3:19
met Marguerite Delcourt, piano
78t 25 cm: HMV DA 814 (7-7953/6) Bb8887-4 / Bb8890-1
5 Enrico Toselli: Serenade 3:36
6 Gabriel Pierné: Sérénade 2:34
met Anca Seidlova, piano
78t 25 cm: HMV DA 955 (8-7902/3) A41712/3