A Short History of the
Hurdy-Gurdy.
The hurdy-gurdy is a fascinating instrument which dates back
to medieval times, but which is today enjoying a popular
revival in many countries, particularly France, both as a
folk instrument and for the performance of medieval and
18th- century music.
The hurdy-gurdy is a string instrument with a wheel (or
circular bow) which sets several melody and drone strings
vibrating together. The melody strings are stopped by
tangents attached to sliding keys. The familiar and rather
derogatory term “hurdy-gurdy”, with its comical overtones,
only came into use during the 18th century and suggests that
the instrument was not held in very high esteem in England
at that time. Confusion was caused by the later use of the
name “hurdy-gurdy” for the barrel organs and street pianos
of the 19th and early 20th centuries.
Other countries have bestowed more beautiful and dignified
names on the instrument. The French call it “ la vielle à
roue” (wheel fiddle) or simply “ vielle” , while in Italy it
is the “ghironda” or “lira tedesca”.
During the 12 and 13th centuries, the hurdy-gurdy is
described as either an organistrum or a symphonia. It was
usually figure of eight shaped, and was obviously a
modification of the bowed instruments of the period. These
names suggest that the music played on the instrument was
polyphonic, either with a constant drone or with a melody
strengthened by parallel organum at the 5th.
The organistrum appears first in Spain about 1150 in stone
carvings on the portals of the cathedrals of Soria and
Santiago de Compostela. It was a large, bass-sounding
instrument, made for two players, one of whom turned the
handle while the other used both hands to operate the keys.
This type of instrument, which would have been suitable for
slow and fairly fast-moving melodies, appeared also in
England and France, but disappeared in the 13th century and
was replaced by smaller instruments, which were played by
one musician.
During the period between the 14th and 16th centuries, music
underwent great changes. With the growth and development of
harmony with its vertical chord sequences, the inflexible
hurdy-gurdy with its constant drone found itself obsolete,
and it had no place in the art music of the renaissance.
Although it seems that professional musicians at that time
did not use the hurdy-gurdy, clearly it never ceased to
enjoy great popularity among folk musicians and peasants. It
is often shown in pictures together with bagpipes, an
instrument often associated with shepherds. Thus it became
one of the fashionable instruments taken up by the
aristocracy at the courts of Louis XIV and XV during the
vogue for pastoral entertainments.
During the 17th and the first half of the 18th centuries,
the hurdy-gurdy underwent refinements and improvements and
its compass was increased to two octaves. An enormous amount
of music was written and several tutors were published.
After the French revolution, the vielle in France again
retired to the relative obscurity of the countryside where
the brilliant style of playing which was developed in the
18th century has been carried on in an unbroken tradition to
this day.
With thanks to Doreen and Michael Muskett for this extract
from the excellent “Method for the Vielle”.
