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COMPOSERBATON CORRETTE DAQUIN
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ORCHESTRA / ENSEMBLEEnsemble Danguy
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PERFORMERMiller
La belle vielleuse: The Virtuoso Hurdy Gurdy in 18th Century France / Miller
- Ricercar
- May 26, 2017
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RELEASE DATEMay 26, 2017
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UPC5400439003828
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CATALOG NUMBERRIC382
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LABELRicercar
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NUMBER OF DISCS1
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GENRE
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Air: Quels sons brillants se font entendre!
Composer: Christophe Le Menu de Saint-Philbert
Ensemble: Ensemble Danguy
Performer: Monika Mauch, Tobie Miller
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Recitative: Que vois-je!
Composer: Christophe Le Menu de Saint-Philbert
Ensemble: Ensemble Danguy
Performer: Monika Mauch, Tobie Miller
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Air: Viele aimable, regnez sans cesse
Composer: Christophe Le Menu de Saint-Philbert
Ensemble: Ensemble Danguy
Performer: Monika Mauch, Tobie Miller
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I. Prélude
Composer: Jean-Baptiste Dupuits
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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II. Rondeau
Composer: Jean-Baptiste Dupuits
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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III. Sarabande en rondeau
Composer: Jean-Baptiste Dupuits
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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IV. Rondeau: Minuet I - Minuet II
Composer: Jean-Baptiste Dupuits
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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V. Légèrement et animé
Composer: Jean-Baptiste Dupuits
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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Premier livre de pièces de clavecin, Suite No. 3: No. 3. Musette en rondeau
Composer: Louis-Claude Daquin
Performer: Marc Meisel
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I. Vivement et marqué
Composer: Ravet
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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II. Rondeau I - Rondeau II
Composer: Ravet
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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III. Minuet I - Minuet II - Tambourin
Composer: Ravet
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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I. Affectueusement
Composer: Ravet
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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II. Badine, Gayment sans vitesse -Vivement
Composer: Ravet
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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III. Tambourin vite - Tambourin II
Composer: Ravet
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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La belle vielleuse: La Furstemberg
Composer: Michel Corrette
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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Prélude: Écoute mes tristes soupirs
Composer: Jean-Baptiste Dupuits
Ensemble: Ensemble Danguy
Performer: Monika Mauch, Tobie Miller
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Air: Emprunte à ce berger
Composer: Jean-Baptiste Dupuits
Ensemble: Ensemble Danguy
Performer: Monika Mauch, Tobie Miller
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Récitatif: C'etoit dans des jardins charmans
Composer: Jean-Baptiste Dupuits
Ensemble: Ensemble Danguy
Performer: Monika Mauch, Tobie Miller
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Air: Volés zéphirs
Composer: Jean-Baptiste Dupuits
Ensemble: Ensemble Danguy
Performer: Monika Mauch, Tobie Miller
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Récitatif: Mais, qui puis-je charger du bouquet que j'apreste?
Composer: Jean-Baptiste Dupuits
Ensemble: Ensemble Danguy
Performer: Monika Mauch, Tobie Miller
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Air: Partés aimable Tourterelle
Composer: Jean-Baptiste Dupuits
Ensemble: Ensemble Danguy
Performer: Monika Mauch, Tobie Miller
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I. Gracieusement
Composer: Charles Bâton
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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II. Moderement
Composer: Charles Bâton
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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III. Gigue
Composer: Charles Bâton
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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Pièces de clavecin: Suite in E Minor: Mussette en rondeau
Composer: Jean-Philippe Rameau
Performer: Marc Meisel
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I. Largo
Composer: Jean-Baptiste Dupuits
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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II. Allegro en rondeau
Composer: Jean-Baptiste Dupuits
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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II. Tambourin I - Tambourin II
Composer: Jean-Baptiste Dupuits
Ensemble: Ensemble Danguy
Performer: Tobie Miller
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III. Caprice alla capella
Composer: Jean-Baptiste Dupuits
Ensemble: Ensemble Danguy
Performer: Tobie Miller
Featuring ⌄
Product Details ⌄
Works ⌄
In the time of Madame de Pompadour, the hurdy-gurdy, like the musette, enjoyed a great success. It was considered to be on a level with other instruments and, as can be seen in various paintings, was highly regarded by the ladies of the aristocracy. Several books of instruction for the instrument were published, one of which was Michel Corrette's La belle vielleuse; virtuoso players such as Danguy and Dupuits extended its playing techniques to their limits. The instrument's charm was sung by various poets whose words were then set as cantatas. The unknown works that constitute this recording place it firmly in the French court of the time with its stylized pastoral diversions.
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