The Phono Museum – ‘When Music Was Magic’
THE YEAR WAS 1889 and Belle Époque Paris was in the midst of a golden age. Relative peace, economic prosperity, technological and scientific innovation and a flourishing of the arts had superseded the catastrophe of the Franco-Prussian War of 1870-71 and the bloody events of the Paris Commune. A spirit of optimism prevailed across the city.
In Pigalle, Mistinguett, (Jeanne-Marie Bourgeois), later to become the highest paid female entertainer in the world, was performing at the café-concert, le Trianon in Boulevard de Rochechouart, Aristide Bruant, dressed in his trademark red shirt, black velvet jacket, high boots, and long red scarf, was poking fun at the upper-crust guests who were out ‘slumming’ in this lower-crust territory and a new mecca of pleasure and entertainment, the now world-famous, Moulin Rouge, had just opened its doors for the first time.
Across town, the Champ de Mars, the Trocadéro, and the quai d’Orsay were hosting the gigantic Exposition Universelle, the latest of four World Fairs to be held in the city. The newly constructed and then still controversial Tour Eiffel stood at one end of the Champs de Mars at the entrance to the Exposition and at the other end, opposite the École Militaire, stood the Galerie des Machines, a vaulted building spanning the largest interior space in the world at the time.
While the American sharpshooter, Annie Oakley, was performing to packed audiences in Buffalo Bill’s “Wild West Show” at the Exposition, another American, the inventor and businessman, Thomas Edison, was the centre of attention in the Galerie des Machines.
The Edison exhibition occupied two pavilions, one dedicated to electric light and the other to the phonograph. Edison’s phonograph was not the only sound-reproduction device presented at the Exposition but it was the only one to hit the headlines.
No praise seemed too warm for Edison, the man who had ‘tamed the lightning with his incandescent lightening system’ and ‘organised the echoes with his phonograph’.
Thomas Edison, “The Types of Edison Phonographs,” The Paris Universal Exhibition Album (1889), CXLI
While both the Galerie des Machines and the risqué performances of Mistinguett have long since disappeared, Thomas Edison’s legacy lives on just across the street from the Moulin Rouge and le Trianon in Pigalle.
Opened in September 2014, the Phono Museum is one of the newest museums in Paris and the only museum in the city dedicated to the history of recorded sound.
Jalal Aro, Founder of the Phono Museum
The founder of the Phono Museum, Jalal Aro, is passionate about ‘talking machines’, mechanical sound-reproduction devices from an age when ‘music was magic’*. Although he is an enthusiastic collector and restorer of phonographs and gramophones he doesn’t see them simply as interesting objects, he believes they only have real meaning when they come to life and actually speak. Consequently, as well as his enormous collection of phonographs and gramophones he also has an even bigger collection of wax cylinders, records, posters and other memorabilia which occupies every nook and cranny of his Phono Galerie next door to the Phono Museum.
Founding the Phono Museum was Jalal’s way of sharing his passion for the history of recorded sound with a wider audience.
Jalal has a very democratic approach to sound. He believes these precious objects should be accessible to all and that becomes obvious when you enter the museum. For an admission fee of just €10, you can stay for as long as you like, explore the exhibits on your own or, if you prefer, Jalal, Charlotte, or one of the other staff will give you a personal guided tour of exhibits ranging from Thomas Edison’s 1878 tin-foil machine, to Emile Berliner’s 1897 flat-disc machine, magnificent two-horn, two-reproducer, dance hall machines, gramophones cleverly disguised as elegant furniture, talking dolls and lots more. All the exhibits in the museum work so the sound of music fills the air.
Last Sunday morning, before the museum opened, I went along to talk to Jalal about the museum and, very excitingly for me, to record some of the sounds of his ‘talking machines’.
Jalal Aro talks to me about the Phono Museum:
The museum is a non-profit organisation and, with no financial support so far from the City of Paris, it relies solely on ticket sales and voluntary donations to cover its costs.
As Jalal says in the interview, anyone making a donation becomes a valuable stakeholder in the museum. Click on this link to learn more: https://www.ulule.com/phonomuseum/
In 1889, Thomas Edison’s phonograph captured the public imagination at the Exposition Universelle with a dream: ‘that of preserving humanly generated sound for – as the hyperbole went – eternity’**.
Visit the Phono Museum in Pigalle and you can share that dream.
With my thanks to Jalal Aro for giving up his Sunday morning to talk to me and for his permission to share sounds from the Phono Museum on this blog.
The Phono Museum is at:
53, boulevard de Rochechouart, 75009 Paris
* When Music was Magic: history, phonographs and gramophones from 1879 to 1939 / / by John Paul Kurdyla.
** Musical Encounters at the 1889 Paris World’s Fair By Annegret Fauser