Zelle 23
French Pastoral Fashion and Parisian Instrument Making
Description
In France the glorification of nature and of a simple way of life is revealed in the pastoral mode and thus in the music of the time too.
From around 1700 onwards, the hurdy-gurdy and the musette were accepted by the upper classes. This can be clearly seen from the expensive materials and elaborate decorations used. The music played on them mainly comprised single dances and suites as well as arrangements of existing pieces.
The single-action pedal harp was heard for the first time in Paris in 1747. It became very popular when Marie-Antoinette, herself a harpist, moved to Paris in 1770. The city became the center of everything to do with the harp: craftsmen, composers and players.
The harp remained popular durilng the Revolution, was especially so in the first half of the 19th century and has remained so until today.
In Paris after the revolution and during the 19th century, there were many highly-skilled makers of other instruments, too .
Some of these fine wind instruments are on exhibit in this collection.
Audios
Introduction Cell 23
Hurdy-gurdy and Instruments Michel Corrette (1709 - 1795) Allegro, 1st movement from VIie concerto comique 'La servante au Tabac' Ensemble Stradivaria , dir. Daniel Cuiller P/C 1996; Ades 205432
Hurdy-gurdy and Voice Michel Corrette (1709 - 1795) Song 'V'la ce que c'est qu'd'aller au bois' Ensemble Stradivaria, dir. Daniel Cuiller P/C 1996; Ades 205432
Musette and Instruments Michel Corrette (1709 - 1795) Gavotte, 3rd movement from Concerto pour musette de cour, op. IV Nr. 3 Ensemble Stradivaria , dir. Daniel Cuiller P/C 1996; Ades 205432
Musette, Hurdy-gurdy and Instruments Michel Corrette (1709 - 1795) Allegro, 4th movement from Ille concerto comique 'Margoton' Ensemble Stradivaria, dir. Daniel Cuiller P/C 1996; Ades 205432
Flute and Pardessus de viole Nicolas Chedeville le cadet (1705 - 1782) 'Quitte la musette' from 'Variations amusantes', op. 14 1739 Conrad Steinmann, flute, Pere Ros, pardessus de viole P/C 1989; claves CD 50-8302
Wind octet lgnaz Joseph Pleyel (1757 - 1831) Rondo, 4th movement from the octet in E flat for 2 oboes, 2 clarinets, 2 bassoons, 2 horns Consortium Classicum P/C 1993; MD+GL 3460
Cornet (Cornet a pistons) JosephArban (1825 - 1889) after Georges Bizet Fantaisie sur Carmen for cornet and wind quintet Thierry Caens, cornet, Quintette a vent de Lyon P/C 1982, 1996; ARN 60267
Harp around 1800 François-Joseph Naderman (1773 - 1835) Allegro moderato fieramente, 1rst movement from the sonata in B flat major for harp around 1800 Annie Chalan, harp by Erard, Paris P 1997/C 1980, 1997; ARN 55394 Fran9ois Joseph Naderman is the brother of Henri Naderman (c. 1780 - after 1835), who built the harp inv.-no. 1948.166. in the big room. The father Jean-Henri (1735 - 1799) was already a well known harp maker in Paris.
Harp 20th c. Andre Caplet (1879 - 1925) Divertissement a la frarn;aise pour harpe Ursula Holliger, harp P/C 1987; claves CD 50-280
Pianoforte (1832) Frederic Chopin (1810 - 1849) Nocturne c minor, op. posth. for piano Jean Goverts, grand piano by Pierre Erard, Paris 1832 (collection HMB, inv.-Nr. 1927.258. purchase) P 1988/C 1992; HM 833-2 The instrument is in the big room on this floor.
Viol Antoine Forqueray le Pere (1672 - 1745) La Forqueray, 2nd movement from 1st suite in d minor from Pieces de Viole avec la Basse Continue Jordi Savall, Christophe Coin, viol Ton Koopman, harpsichord P/C 1978, 1988; Astree E 7762