Discography.
This page will discuss the various
commercial recordings that can be
heard of the repertoire including

those featuring Musette.

To the bottom.

List of the significant recordings with a general review of this writer's opinions:


Rene Zosso: Il Pastor Fido 1972
  Vielle featured only in sonatas 1,2 & 5

I loved these recordings and they played a significant part in inspiring my interest in the instrument. The vielle does NOT appear on many tracks, but where it does appear I think that Mr Zosso gave a rather marvellous performance. The vielle was a W & A Jacot, 1970 model type unspecified.




Claude Flagel:

La Belle Vielleuse.

1979
 M.Corrette    
 Suite 2:

Fanfare 1

 
 "
Fanfare 2   
 
 " Menuet   
 
 " Allemande  
 
 " Carillon   
 
 " Allemande  
  Mussette de Clerembault &
Tambourin
 
  La Furstemburg  
 Suite 1 Pastorale 1    
 
 " Pastorale 2  
 "
Badine   
 " Menuet 1,2,3
 
 " Chaconne
 
  Suite de Vaudevilles  
  Que vous dirai-je maman  
  Musette & Tambourin  
  Suite de Contredanses  
  Arriettes avec la basse  
  Musette d'Ajax & allemand  
  Suite de Cotillons  
   My initial reaction to these recordings is that they sound like a performance from the folk music perspective. This is not necessarily entirely a bad thing and there is much to enjoy in the performances BUT they must not be mistaken as an authentic historical interpretation. Robert Green says that the instruments used were historically authentic however (p.26)
 
     
Michelle Fromenteau Vielle à Roue Vol. 1 1979
 Anon 13c. Dance Royale
 
 Arbeau Allemande and Gavotte
 
 Anon 18c. Suite de Contredanses
 
 Hotteterre Noce Champetre: Marche & Contredanse.
 
 Chédeville E-P Laissez paître vos bêtes
 
 Chédeville N. Le Printemps from Vivaldi The Seasons  
 Buterne Suite Pastorale
 
 Chédeville N. Il Pastor Fido #1
 
 Corrette M.
La servante au bon tabac.
 
 Corrette M. Les recreations du berger fortune  
 Doche Air de Fanchon la vielleuse
 
 Mozart Menuet #2, K 602
 
   Robert Green says that these recordings were made using a Pajot from the 19th century (p.25-26) and that seems to borne out by the cover art. The first volume seems a little crude in comparison to the second which concentrates on core baroque repertoire. There is a lot that I enjoy.
 
     
Michelle Fromenteau
Vielle à Roue Vol. 2
1980
 Lavigne Sonata La Simianne, opus 2
 
 Naudot Trio # 1 in C
 
 Chédeville E-P
Sonatille Galante #3
 
 Boismortier Sonata #1, Op.27
 
 Anon Sonata #3
 
 Chédeville N
Il Pastor Fido #2
 
 Chédeville N
Winter from the 4 seasons
 
   As stated above this is a more refined recording than the previous and rewards repeated listening.

     
La Villanelle de Paris, dir. Claude Tailhades
Vielle et Musettes au
XVIIIeme Si
ècle. VOl. 1

1983
 
Various pieces including works by Anet, Corrette,
Chedevilles & Boismortier
 
   Under consideration.
 
     
La Villanelle de Paris, dir. Claude Tailhades
Vielles et Musettes au
XVIIIeme Siècle. Vol. 2
1985
   Various pieces including
 works by  Naudot, Ch
édeville N, Boismortier & Corrette.
 
   Under consideration.  
     
Francoise Bois-Poteur La Vielle à Roue Baroque
1987
 Chédeville N
Bellone: Les plaisir de Mars  
  Bellone: Les Henri IV. Rond. 1 & 2  
  Bellone: Les Dogelsheim  
  Bellone: Les Weynolsheim  
  Bellone: Les Houzarts  
  Mars: Plaisirs de Bellone      
 
  Mars: La Ilversheim       
  Mars: La Niderulm        
  Mars: La Oberulm        
  Mars: La Bermesheim   
 
  Mars: La Benheim        
  Mars: La Oggersheim    
  Militaire: Le Retour de Rhin    
 
  Militaire: Les Turckhaim      
  Militaire: Le Saint-Vandel      
  Militaire: Le saint-Lambert      
  Palatin: le retour de Mars  
 
  Palatin: Le Cerf    
  Palatin: Menuets 1 & 2   
  Palatin: La Mozelle    
  Palatin: La Quille    
  Palatin: La Clausen    
  Palatin: L'Amnistie.   
 Anon Les Missions. 1st Suite in D
 
 Anon Les Missions. 2nd Suite in C
 
 Bâton C.
1st Suite from Op. 1
 
  Gracieusement  
  Gayement (omitted)
 
  Menuets 1 & 2
 
  Riguadons 1 & 2
 
  La Favorite
 
  L'Inconstant  
   The vielle with harpsichord pieces have grown on me and I value them now for their particular atmosphere. The Baton suite with musette on the lower part is poorly balanced and almost the worst ensemble playing that I have ever heard on a professional recording: and yet, the music and the quality of the sound is nonetheless quite inspiring.   
     
Nigel Eaton
The Music of the
Hurdy-Gurdy

1988
Chédeville N.

 
Il Pastor Fido #1 Moderato  
  Allegro tempo di gavotta
 
  Aria, affetuoso
 
  Allegro  
  Giga  
Bâton C.

 
Sonata #3, Op. 3 Gayement  
  Gigue  
  Gracieusement  
  Moderement et marque
(omitted)
 
   Technically flawless performances that somehow seem to be lacking in any kind of baroque grace. I am sure that if Mr Eaton ever returned to this genre as a mature man and musician and gave us a new recording it would really be something very special indeed.
 
     
Dr. Robert Green
French Music for Hurdy-Gurdy
1993
Couperin F./ Anon
Le Carillon de cythère
 
  Le Vendengeuses  
Corrette M
 
Concerto comique XI Allegro  
  Adagio  
  Allegro  
Aubert J    
4e Concert L'Inconstante (légèrement sans vitesse)  
  Les Vivants de Loche  
  La Paresseuse (lentement)  
  L'Egrillard (gai)  
Boismortier J Modérément  
5 Loisir Rondeau ( gaiment)  
  Gavotte  
  Menuet  
Dupuits J-B La Guerrière  
Toulou A Modérément  
Sonata #2 in G Gigue  
  Doux  
  Menuet  
Lavigne P Gracieusement  
Sonata in C Op2 #2 Légèrement  
  Gavotte (gracieusement)  
  Gigue  
Boismortier J Gayement  
Gentilesse Op 100, #1 Gracieusement  
  Mouvement de Tambourin  
   As to some degree I see Dr Robert Green as my mentor there is no possibility of a negative review here, but neither is one called for. The performance quality is really excellent; the performances well thought out and considered; the instruments as authentic as possible; and all musicians experts in their fields. I understand from Dr. Green that he would make different  choices regarding the use of trompette if he were doing it again and this issue may be the only real aspect of the recordings that can be seriously questioned. Nonetheless, delightful overall.
 
     
Dr. Robert Green The Baroque Hurdy-Gurdy 2001
Naudot J-C Gaiment  
Fête rustique #6 in G Gracieusement  
  Gaiment  
Dupuits J-B    
Pièces de caractère L'Obligeant  
Dupuits J-B    
IIe Suite d'amusement en duo Les petits coups  
  Menuit cors de chasse  
  Brunete  
  Fanfare  
  Contredanse  
  Gavotte provençalle  
Dupuits J-B    
Pièces de caractère La badine  
  Le badin  
Michon    
Première suite en divertissement Ouverture  
  Musette en rondeau  
  Riguadon 1 et 2  
  Marche  
  Gigue 1 et 2
 
  Menuet 1 et 2  
Bordet T    
popular melodies Dans nos hameau  
  Musette des Amours champetres  
  Carrillon de Dunkerque  
Blavet M Musette de Rameau  
Corrette M    
Melodies Dame française  
  Musette en rondeau  
  Cotillon  
Michon Lustucru  
  Le loup garoux  
  Le Carrillon de Dunkerque  
  La Mississippi  
  La nouvelle anonymé  
  La Bourbonaise  
   This album seems to have all the same pedigree as that of the previous and first album yet it fails to satisfy as well. Poor instrumental balance e.g. between flute and vielle, demands much more attention from the listener. Still, in terms of researching the genre it includes some valuable, even unmissable, gems.
 
     
Robert Mandel & Jean-Christophe Maillaird La Belle Vielleuse 2002
Corrette M    
Suite #1 Pastorale #1 (affectuoso )  
  Pastorale #2  
  Badine (allegro )  
  Menuet 1, 2, et 3  
  Fanfare 1 et 2  
Corrette    
Que vous diraige maman Theme
 
  Var. 1 - 5
 
   This IS an indispensable album and yet, beware. Despite its title not all the music comes from La Belle Vielleuse, and it is shared between vielle (and not an 18th century instrument I think), the musette de cour (fantastically well played by J C Maillard: no complaints here) and, much less welcome, the flute. Hungaraton then completely disgraced themselves with a recording of De Lavigne's Les Fleurs, written for musette but in their hands distorted into another highly disappointing, even mis-sold flute recital. It has a similar impact to buying a recording of the Grieg piano concerto and then finding it played on a Hammond organ. There are only about 5 good tracks. 
 
     
Matthias Loibner & Ricardo Delfino Les Maîtres de la Vielle Baroque 2002
Dugué P    
IVe Sonate en Trio, Oeuvre IV Modérément  
  Gracieusement  
  Legèrement  
Buterne Ch Gratioso  
  Allegro La Bully  
  Minuetto  
Dupuits J-B    
1e Sonata, Oeuvre 4 Largo  
  1e Gavotte  
  2e Gavotte
 
  Fantasie   (vivement)  
  Ariette (gracieusement)  
  Tambourin  
  Menuet 1,2,et 3  
Naudot J-C    
Sonata en trio IV, Oeuvre XIV Modérément  
  Paysanne  
  Legèrement   La Justine  
  Air en Rondeau (gracieusement)  
  Menuet  
Ravet
   
1e Sonata La Champetre, Oeuvre II Tendrement  
  Modérément  
  Menuet  
  Tambourin  
Marchand J-N    
#3 Suite d'Airs en Duo, Oeuvre I 1e Allegretto moderatissimo. Gratioso  
  2e Allegretto  
  1e et 2e Menuetto  
  1e Gigue et 2e Gigue (dolce)  
Dugué Ph    
1e Sonata en Trio, Oeuvre IV Modérément  
  Gracieusement  
  Legèrement  
Baton Ch    
Sonata VI, Oeuvre III Gayement  
  Gracieusement  
  Gayement  
  Chaconne  
   This album is probably the most accessibly attractive recording currently available and most certainly the best recorded: probably ever. Unfortunately, there are serious academic questions over some of the musical decisions, particularly in regard to the dramatically modern use of the trompette which becomes, I am afraid, increasingly annoying and intrusive the more that one listens to the recordings AND the more that one learns about authentic historical practice. The liner notes by the prestigious Jean-Christophe Maillard go to some considerable lengths to try to deflect criticism regarding this issue but fail to be convincing to those of us who have actually read and studied the 18th century methods. The basic argument holds that the 18th century methods are vague and that in any case professional performers would have used techniques either not included in them or advanced far beyond them. I don't agree because the methods are repetitively EXPLICIT that trompetting was intended to be the equivalent of the tonguing of a wind player and NOT a separated musical effect, and NEVER to occur in such a way as to split a note, and ALWAYS being as brief/short as possible: sorry, no long buzzes. I do feel strongly about this, however, I still feel that if you only ever bought one cd then you ought to make it this one. Personally, I have listened to it, and continue to listen to it, more than any other album that I have ever owned. On the other hand I have at least one knowledgeable friend who has said that he finds it virtually un-listen-able basically for the reasons stated above: as well as some others.
 
 

 

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