The French pianist, Jeanne-Marie Darré, studied first with her mother from the age of 5, then at the Paris Conservatoire with Isidor Philipp and Marguerite Long, receiving a premier prix in 1919.
Jeanne-Marie Darré made her debut the following year at the age of 14 at the Salle Érard in Paris, and by the age of 16 was playing many concerts in France, England and Hungary. Her mother accompanied her, and whilst in Budapest around 1922 they attended a concert by Vladimir Horowitz. Darré later said, ĎHorowitz was really my inspiration. I realised then that music and the piano were the most important things. For me he is the greatest.í Darré received guidance from István Thomán and Margit Vargas, both pupils of Franz Liszt, and from Count Apponyi who was an intimate friend of F. Liszt. French composers of the time also helped her with the interpretation of their works: Gabriel Fauré in his nocturnes and a barcarolle; Ravel, with his Ondine and Toccata; Camille Saint-Saëns, in his piano concertos; and she even played Ferruccio Busoniís completion of F. Lisztís arrangement of Mozartís Le nozze di Figaro to the great Italian pianist and composer. She in turn heard F. Busoni play L.v. Beethovenís ĎEmperorí Concerto Op. 73 and a good deal of F. Liszt.
Her first concert with orchestra was given in Paris in 1923 with the Lamoureux Orchestra under Paul Paray, and a year later Jeanne-Marie Darré played with the Orchestre de la Société des Concerts du Conservatoire with Philippe Gaubert. However, it was on May 28, 1926 that Darréís career was really launched when, in one concert, when she was 21, she played all five piano concertos of C. Saint-Saëns, again with the Lamoureux Orchestra under Paray. A successful concert and recording career followed and Darré became a noted teacher holding posts at the Paris Conservatoire and LíAcadémie díété de Nice.
Although she toured Europe and Africa, Jeanne-Marie Darré did not play in America until 1962, making her debut in New York with the Boston Symphony Orchestra and Charles Munch and returning the following year to Carnegie Hall to give a F. Liszt recital. ĎOne hung on every note of the flamboyant Liszt. What so often seems rhetoric and sentimentality sounded like pure poetry and vivid drama last night.í She returned to the USA regularly until she retired from concert performance in the 1980ís. She was known for her lyrical and elegant interpretations of the solo works of Chopin and Franz Liszt, and of the C. Saint-Saëns Concertos.
Jeanne-Marie Darré made her first recordings whilst touring England in 1922 (at age 16). These Vocalion recordings are acoustic, yet the extraordinary power and energy of Darréís playing comes through. During the early 1930ís she recorded for Polydor and HMV. A disc of C. Saint-Saënsís Toccata displays her light, transparent sound, and very French style of finger independence. Virtuoso works including the 1838 version of F. Lisztís La Campanella and La Chasse and a Dohnányi arrangement of a Strauss waltz show a technique not necessarily modelled on Horowitz yet impressive for its flair and panache. Darré practised scales every day for at least an hour, claiming that she could not open her piano without playing them; she then would work on around six Chopin études for another hour followed by études of Carl Czerny, Charles-Valentin Alkan and Moszkowski. This regime lasted throughout her life and was, no doubt, responsible for her being able to give concerts when she was in her eighties.
Her recording of Vincent díIndyís Symphonie sur un chant montagnard français was made in 1931 with Albert Wolff conducting the Lamoureux Orchestra. It was a great success, staying in the catalogue until after World War II. From the recordings made for Pathé in France just after the war, there is a very fine performance of Chopinís Andante Spianato and Grande Polonaise Op. 22 with André Cluytens conducting the Paris Conservatoire Orchestra. Darré spins an Andante of particular tonal beauty, and the Polonaise is never overblown or bombastic. With conductor Paul Paray, Darré recorded the Piano Concerto No. 2 by C. Saint-Saëns, but a few years later after the introduction of long-playing records she recorded all five concertos with Louis Fourestier and the Orchestre National de la Radiodiffusion Française between 1955 and 1957. These have been reissued on compact disc, coupled with a delightful recording of C. Saint-Saënssís Septet Op. 65, and still represent the best recorded version of the piano concertos. In 1952 Darré committed to disc the études of Chopin, some of which she played every day, and in 1959 made a disc of F. Liszt and Chopin that includes one of the best versions of F. Lisztís Légende: St François de Paule marchant sur les flots. The power and drama of this reading is overwhelming and can be compared favourably with Alfred Cortotís recording.
Jeanne-Marie Darréís last commercial records were made for the American label Vanguard in 1965 and 1966. They were, however, recorded in Vienna. Of Chopin, she recorded the 24 préludes, the 14 waltzes, the 4 scherzos, the Fantaisie in F minor Op. 49, a nocturne and the Berceuse. The remaining disc was of F. Liszt, including her only recording of the Piano Sonata in B minor and two Études díexécution transcendente including Feux follets that she had previously recorded in the late 1940ís. All of her recordings contain a tremendous vitality and joie de vivre.
Jeanne-Marie Darré was a professor at the Paris Conservatoire between 1958 to 1975. From 1968 to 1970 she gave master-classes at Ithaca in New York. She was awarded the Légion d'honneur and had been made a Chevalier des Arts et des