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:
La Belle Vielleuse. Fanfare 1
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:
1979
M.Corrette
Suite 2:
"
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 Siècle. VOl. 1
1983
Under consideration.
La Villanelle de Paris, dir. Claude Tailhades
Vielles et Musettes au
XVIIIeme Siècle. Vol. 2 1985
Various pieces including
works by Naudot, Chédeville 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.
Hurdy-Gurdy
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