VII. Contradances, Cotillions and Diverse Dances."]
Among the composers whose work is represented in this collection are: Baptiste, de Caix, Clerambault, Colin, F. Couperin, Dandrieu, Danguy, Desjardins, Duval, Fessart, Forcroy, Halarius, Mouret, Hotteterre le Romain, Jacquet, de L'Orme, de Lacoste, Marais, Monteclair and Rameau.
Most of the pieces in this collection which have the composer's name are works of Francois Couperin and all come from his " Pièces de Clavecin", a collection of 240 pieces arranged in 27 ordres [comment JW: spelling?] and which appeared in four parts in 1713, 1717, 1722 and 1730. The "pieces de Clavecin" were especially suited to be played on another instrument. They are mostly short pieces which the composer in part even
composed so that they could be played on other instruments. Among the many pieces of Couperin's in this collection are found the 'Musette de Choisy' and the ' Musette de Taverny' which immediately follows [fn]. Couperin wrote both of these musettes in three voices over one another, of which the lowest represents a constant drone which when played on the harpsichord has to be continually struck. The second voice represents an accompaniment to the upper voice, and moves in the same tonal range as it. This second voice was intended to be played on a two-manual harpsichord and can be left out if the second manual is not available. With regards to both of these pieces Couperin remarks that they can be played on all instruments played in unison [fn]. Both musettes are written in A major and must be transposed to C major to be played on hurdy-gurdies or musettes. After transpostition they can be played, since the tonal range does not go beyond that of those instruments. In this collection of hurdy-gurdy pieces of various authors the 'Musettes' are arranged for two hurdy-gurdies, so that both voices written by Couperin for the harpsichord can be played. There is no third instrument since the drone is already provided by the hurdy-gurdies (ex. 30).
The most extensive and significant 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'esti