cant arrangement for the hurdy-gurdy in the 18th century is that of Antonio Vivaldi's concertos, the 'Four Seasons' for hurdy-gurdy, violin, flute, and basso continuo. This arrangement is the work of Nicolas Chédeville (le Cadet) [trans SB: "the younger"] and appeared under the title 'Le Printems ou les saisons amusantes. Concerto d'Antonio Vivaldi mis pour les musettes et vielles, avec accompangement de violon, flûte et basse-continue", Paris 1750. [trans SB: "Spring, or The Amusing Seasons. Conterto by Antonio Vivaldi, arranged for musettes and hurdy-gurdies, accompanied by violin, flute and basso continuo".]
Besides arrangements of the works of other composers Chédeville also wrote a great number of compositions for the hurdy-gurdy. He was the youngest of three
brothers, who were all in the kings' service as musicians. On their mother's side they were related to the Hotteterre family which had great influence on the development of the musette. Pierre Chédeville (1694-1725), the oldest of three brothers, did not leave any compositions behind. His younger brothers Esprit-Philippe Chédeville (1696-1762) and Nicolas Chédeville (1705-1782) both composed pieces for the hurdy-gurdy, and entered the orchestra of the opera together. All three brothers were good musette players and oboists. Nicolas wrote numerous pieces for the hurdy-gurdy or musette and had great success as a teacher of these instruments. This is proved by his many students from the nobility, whom he sometimes mentioned in his works, who first learned to play the musette but then, as the hurdy-gurdy became increasingly popular, were directed to the study of this instrument [fn].
Of interest is the dedication to the Marquis de Collande with which Nicolas prefaced his arrangement of Vivaldi's concertos. It displays the efforts of the arranger to show justice to Vivaldi's work: "Monsieur, Lorsque j'ay entrepris d'adopter les grandes compositions d'Antonio Vivaldi au ton champêtre, d'un instrument qui fait tout l'objet de mon travail, j'etois sûr de l'estime du Public pour les excellens materiaux que j'ay mis en oeuvre, Votre goût, Monsieur, si delicat et si eclairé en même tems, m'apprendre si mon auteur n'a rien perdu dans son travestissement, et jusqu'ou je peux porter la hardiesse pour étendre un instrument que vous desirez de voir perfectionner. Cet essay vous prouvera du moins publiquement l'envie que j'ay de vous plaire et le respect avec le quel je Suis Monsieur votre tres humble et tres obeissant Serviteur Chédeville le Cadet." [Trans SB: "Sir, when I undertook to adapt the great compositions of Antonio Vivaldi in a pastoral style, for an instrument which is the entire object of my work, I was certain of the esteem of the Public for the excellent materials that I have brought together, Your taste, Sir, so delicate and so piercing at the same time, will inform me if our author has indeed lost nothing in this pastoral disguise, and how far I may take this liberty to extend an instrument that you would like to see perfected. This essay will prove to you, by these public means the desire I have to please you and the respect with which I Am Sir your very humble and obedient Servant Chédeville the Younger."]
Nicolas indeed described his arrangement as "The Printems ou les saisons amusantes..." but did not confine himself to the concerti of the 'Four Seasons' but included also among these six concerti put together from various concerti of Vivaldi from the opus 8 series. The movements used by him come from the following concerti of Vivaldi:
Chédeville's latest selection and the arrangements of the individual concerti cannot be explained in reference to the technical limits of the hurdy-gurdy or the musette. The remaining movements do not go beyond the usual range and could have been used as well. His selection was apparently subjective and the movements so arranged according to how he thought they best fit together and reflected the mood indicated in the title.
Chédeville transposed the individual movements from their original keys into the principal keys of the 