Henri Vasson

[Arle Lommel]

Hi all,

Just discovered a recording on iTunes byHenri Vasson called Hurdy-Gurdy Music recorded in 1976. Anyone know the story behind this recording?

I've not bought it, but listening to the samples it sounds like someone needed to buy the performer a cake of rosin. But I'm wondering if this is one of those recordings of an older player who was rediscovered after not playing for years or something like that. The playing, from what I can tell, it actually pretty reasonable, if a bit heavy on the dog, and the deficiency seems to be in the set-up of the instrument. 

-Arle

[Arle Lommel]

Here's a link to one of the songs on iTunes:

http://itunes.apple.com/us/album/en-passant-par-le-bois/id279016462?i=279016564

This one is performed a violone, so you can hear that the wheel is out and the rosin is less than ideal.

-Arle

[Kevin Hughes]

You can listen to the whole thing free on Spotify. ( www.spotify.com )

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[Kevin Hughes]

24 pages into a google search I found this link:

 

http://www.trumpetherald.com/forum/viewtopic.php?t=17518&sid=a4fab1d500d4e9ff4819cd41ceea2c27

 

which yielded this paragraph from the Grove music dictionary:

 

“By the 20th century the hurdy-gurdy had begun to die out, and the Pajot firm closed in 1939. However, by the 1960s the revival of folk traditions led to a renewal of interest in the instrument. Players of the older generation, such as Gaston Rivière, Georges Simon and Henri Vasson, served as teachers for a growing group of young players. The festival of Saint Chartier, organized by Michèle Fromenteau, begun in 1976, brings together hurdy-gurdy players from many countries. The hurdy-gurdy museum at Montluçon has one of the largest collections of instruments and serves as a centre for study. Valentin Clastrier and Gilles Chabenat have endeavoured to create a more contemporary idiom, while the Briton Nigel Eaton and others have developed a more popular style incorporating elements of rock and jazz.”

 

You can hear the dog quite well in the recordings but I’m having trouble discerning the chanters or drones over the accordion.  Part of that could be the way it was recorded; the other part how the instrument was set up.

 

From: Arle Lommel

Sent: Tuesday, December 27, 2011 5:22 PM

To: hurdy...@googlegroups.com

Subject: [HG-new] Henri Vasson

 

[Kevin Hughes]

Here is some more info:

 

http://lfs.alexanderstreet.com/liner/2dc384e01e7f768afacc547b9b5e8d1c/FW08747.pdf

 

 

[Kevin Hughes]

Arle Lommel wrote:
>This one is performed a violone, so you can hear that the wheel is out and
>the rosin is less than ideal.

This is mentioned in the notes (
http://lfs.alexanderstreet.com/liner/2dc384e01e7f768afacc547b9b5e8d1c/FW08747.pdf
) :

'The instrument is played in what they call "fiddle imp
itation". The musician takes off the wheel all the strings
but one chanterelle, producing a very light melody, without
le rhythmic effect and the drones. This type of music is
rarely done by home musicians, but rather by the "profess-
ionals" who used to go from a village to another until the
turn of the century. .Mr. Vasson, who is a "home musician"
don't give a very good idea of how the hurdy-gurdy is close
from the fiddle, as he plays in such a way every ten years
or so. Furthermore, his instruments produces many har-
mnics, the string being a little bit too high on the bridge.
I have tried to make him.play on another instrument, but even
the devil can't change the mind of an Auvergnat. The tune
played here, "Walking Through the Wood", is a "regret", a
sorrow. It is the expression of blues they have there.
Regrets are as long, sad and lonesome as the bour�e's are
fast, happy and lively. They generally have words, but
the musicians proclaim people would cry if they hear them!'

[cwhill]

http://www.amazon.co.uk/Hurdy-Gurdy-Music-Henri-Vasson/dp/B001GBNLBW/ref=sr_1_1_digr?s=music&ie=UTF8&qid=1325075663&sr=1-1

Just buying the mp3 album from Amazon but I do wish they would do the
insert as well!
I understand what you say about the sound but (as a child of the 60's
and the Folk Revival when things were not quite as sophisticated
(musically) as they are now (remember washboards and tea-chest basses?
I do!), just my cup of tea and my favourite variety of HG music.
It's on the Folkways label (they press the CD as required from their
archives).
I do agree that track 13 is "unusual", as is 18.
One wonders though, if it an intentional way of playing considering the
status of the artist. Is it a traditional sound from the region rather
than a failing?
I also agree that it sounds like my HG when the rosin isn't right though.
I suspect that he's actually doing it on purpose in a traditional way
that sounds odd to our ears (trying a tremolo effect, moving the wheel
slowly - you can hear him stop and start). I just can't see someone like
him either playing badly or not setting the instrument up correctly. He
was a stickler for the "traditional" way, after all.

Colin Hill

Colin Hill

On 28/12/2011 02:39, Kevin Hughes wrote:
> You can listen to the whole thing free on Spotify. ( www.spotify.com

> <http://www.spotify.com> )
> *From:* Arle Lommel <mailto:arle....@gmail.com>
> *Sent:* Tuesday, December 27, 2011 5:22 PM
> *To:* hurdy...@googlegroups.com <mailto:hurdy...@googlegroups.com>
> *Subject:* [HG-new] Henri Vasson
> Hi all,
> Just discovered a recording on iTunes byHenri Vasson called /Hurdy-Gurdy
> Music/ recorded in 1976. Anyone know the story behind this recording?

> I've not bought it, but listening to the samples it sounds like someone
> needed to buy the performer a cake of rosin. But I'm wondering if this
> is one of those recordings of an older player who was rediscovered after
> not playing for years or something like that. The playing, from what I
> can tell, it actually pretty reasonable, if a bit heavy on the dog, and
> the deficiency seems to be in the set-up of the instrument.
> -Arle
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[Arle Lommel]

Hi Kevin,

Thanks for all this information. I didn't note your mails until today as my mail program didn't alert me when they came in, so apologies for my tardy response. Interesting that the person who made the notes (I don't find the name right off) was aware of the deficiencies. He also notes the following at the end:

The hurdy-gurdy used for this recording has a very good rhythmic effect, clear and strong, but the melody has no volume. The reason is that it was designed for a D tuning, id set, with two “chanterelles” supporting a high tension. The G tuning, used by Mr. Vasson on the record, is lower, and the string vibrations may be improper in comparison of the [sic] body. You may have noticed it when you first listened to that record. As it was impossible to make to make Mr. Vasson play on another hurdy-gurdy, we tried our best with what we had, without using electronic system [sic] to modify the natural sound.

I was talking to Bob Green once and he said that one of his biggest frustrations in teaching people was that he'd spend a few hours getting their instruments into what he considered playable shape and by the next day they’d have them back to the way they were, completely undoing everything they did. He said the problem was that people knew what they wanted and would go back to it, even if it wasn't right for the music he was teaching them. Seems like Vasson knew what his instrument should sound like and stuck to it, even if others disagreed.

Best,

Arle

On Dec 27, 2011, at 20:50 , Kevin Hughes wrote:

…

[cwhill]

I can well understand his attitude.
He'd been playing for many years and was a great supporter of the local
"tradition".
Many collectors have tried to get people to play or sing in an accepted
manner and been told "that's not what it sounds like".
Fortunately the great collectors like Lomax and Kennedy realised that an
"unusual" way of performing was more important than musical correctness
rather than try and "correct" their notes!
It is, after all, the "real" thing.

Colin Hill

On 05/01/2012 01:35, Arle Lommel wrote:
> Hi Kevin,
>
> Thanks for all this information. I didn't note your mails until today as
> my mail program didn't alert me when they came in, so apologies for my
> tardy response. Interesting that the person who made the notes (I don't
> find the name right off) was aware of the deficiencies. He also notes
> the following at the end:
>
> The hurdy-gurdy used for this recording has a very good rhythmic
> effect, clear and strong, but the melody has no volume. The reason
> is that it was designed for a D tuning, id set, with two

> �chanterelles� supporting a high tension. The G tuning, used by Mr.

> Vasson on the record, is lower, and the string vibrations may be
> improper in comparison of the [sic] body. You may have noticed it
> when you first listened to that record. As it was impossible to make
> to make Mr. Vasson play on another hurdy-gurdy, we tried our best
> with what we had, without using electronic system [sic] to modify
> the natural sound.
>
>
> I was talking to Bob Green once and he said that one of his biggest
> frustrations in teaching people was that he'd spend a few hours getting
> their instruments into what he considered playable shape and by the next

> day they�d have them back to the way they were, completely undoing

> everything they did. He said the problem was that people knew what they
> wanted and would go back to it, even if it wasn't right for the music he
> was teaching them. Seems like Vasson knew what his instrument should
> sound like and stuck to it, even if others disagreed.
>
> Best,
>
> Arle
>
>
>
> On Dec 27, 2011, at 20:50 , Kevin Hughes wrote:
>
>> Arle Lommel wrote:
>>> This one is performed a violone, so you can hear that the wheel is
>>> out and the rosin is less than ideal.
>>
>> This is mentioned in the notes (
>> http://lfs.alexanderstreet.com/liner/2dc384e01e7f768afacc547b9b5e8d1c/FW08747.pdf
>> ) :

>> �

>
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> Version: 2012.0.1901 / Virus Database: 2109/4722 - Release Date: 01/04/12

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[Felicia Dale]

Arle, 

I've noticed that if I play someone else's gurdy that after a little while it starts sounding like my Volksgurdy. This happens whether I do set up on it or not. I don't know why this happens. I've also given my instrument to others to play and after a while it will sound very different and when I take it back it seems to take a few minutes before it starts sounding the way I want it to again. Very strange.

Felicia.

[Christa Muths]

On 5 January 2012 02:49, Felicia Dale <cruiks...@pintndale.com> wrote:

Arle, 

I've noticed that if I play someone else's gurdy that after a little while it starts sounding like my Volksgurdy. This happens whether I do set up on it or not. I don't know why this happens. I've also given my instrument to others to play and after a while it will sound very different and when I take it back it seems to take a few minutes before it starts sounding the way I want it to again. Very strange.

Felicia.

Hi Felicia and All,

no, this is not strange at all and here some explanations as to why:

1. Dizzy Gillespie let NOBODY touch or play his trumpet. His fellow musicians thought he was a bit eccentric and OTT (over the top) and one quiet night I asked him as to why he was so particular about his beloved trumpet. And he explained to me that when somebody else played his trumpet the vibes changed and that it would take him some time to get HIS sound out of his own trumpet back. Although I nodded, back then I really had no idea what he was talking about (a bit similar to the situation with Felicia in Southampton, when she charged across the room to close a window which I had opened next to her gurdy. Back then I could not understand what damage fresh air could do to an instrument) :-)))

2. Referring to vibes:  several experiments have been done with clocks, 15 clocks work fine and when one has been changed either too slow or to fast, within a certain period of time all other 14 clocks adapt the speed of the odd one out. So far nobody knows why.

3. The US institute in Boulder Colorado (www.heartmath.org) has been researching the heart intelligence for almost 20 years in order to archive better stress management and also anger control. They scientifically verified that appreciation, gratitude, love etc. produce coherent heart rates (EKG) whereas scorn, critic, anger etc. produce incoherent heart rates and a very different electromagnetic heart field. The coherent heart field is much stronger, balanced and has a wider radius than an angered, disappointed, bitter incoherent heart field and of course both types of electromagnetic heart field influence the body either way: coherent and stress releasing or incoherent and therefore stress supporting.

The institute works in many projects throughout the US to help kids in disadvantage backgrounds and also GI's to control their stress levels. According to the research results of Heartmath a coherent heart learns much better and is able to make more balanced observations and therefore also more balanced decisions.

4. Researchers especially in the US and Germany played different types of music to plants. (sps.nus.edu.sg/~tanshenm/2172.pdf) Overall it can be said that classical music and especially Sitar music stimulate not only germination but also growth; some plants grew around the speakers; whereas some plants did not like heavy metal music for example and grew much slower and also away from the speakers. The same experiment was done speaking to plants, praising  or insulting them. The praised plants grew rapidly and looked good whereas the insulted plants grew very little, looked sickly or even died!!

5. Dr. Dean Dauger (http://dauger.com/Dauger.com/ and http://lib.stanford.edu/atom-box-hd-app) wrote a programme about 15 years ago visualising the Hydrogen atomic orbitals, the three-dimensional states that the electron occupies in Hydrogen, a prime and otherwise unwieldy example of Quantum Mechanics. When the hydrogen atom gets exited it changes its orbit and each atom has an unlimited possibility of movements. It blew my mind when I got this programme in 1995/96 and I contacted Dean Dauger who explained his findings and I began to understand that human and other objects are linked, or better influence each other on a much deeper level than I had understood so far.

So the "simple" summary is: We play music with our hearts and while doing it we influence the way our instruments work, they way they vibrate.

Saludos

Christa

--

"Wo der Wind des Wandels weht, bauen die einen Mauern und die anderen Windmühlen."

Chinesische Redensart

"Where the wind of change is blowing some build walls and others windmills."
Chinese proverb

"Cuando el viento de cambio sopla unos construyen muros y otros molinos de viento."
Proverbio chino

[Felicia Dale]

Christa, 

what a fascinating set of links and descriptions. Thank you very much!

Felicia.

[Felicia Dale]

Hi, all,
does anyone have a recommendation for a soft case for a semi-flat back
full sized Hackman gurdy?

Thanks!
Felicia.

[Wolodymyr Smishkewych]

Hi Felicia,

Excellent soft cases are to be had by Colorado Case Co. They are at http://coloradocase.com/, and include Cavallaro and Small dog cases in their line. They can make any custom size for you; I had on made for my Luciano Perez zanfona and it is excellent. Of course, as these are generally custom-made, they aren't cheap--but they are lifetime soft cases!

good luck,
Vlad

[David Gillett]

Felicia,

 

If you're handy with a sewing macine, keep an eye open in Marshalls or Goodwill for a large rolling duffel bag - the ones that look like a large backpack, and has a lining (you'll see why in a minute). I just found one and made a soft/stiffened inner shell with materials from Joanne Fabrics. It wasn't pretty, but it works and is hidden by the lining. Now I have a case with wheels, handles, and pockets gafore - space for tools, music, stands, a couple of changes of clothes, and room for other instruments! All in one package, for about $60.

Felicia.

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[MITC...@aol.com]

I really love the "semi-rigid case" that Neil Brook sold to me with my new 3-chanter flatback. It'll also fit a lute-back. It's about $185 US, plus shipping from the UK. I was nervous about the idea of a soft case because I'm really hard on instruments, but this thing is VERY protective due to layers of plastic sheeting inserted under the layers of padding. Plus it has backpack straps, so I can throw it over a shoulder when I'm simultaneously hauling the gurdy, a couple of button accordions and a case of bagpipes (which is usually).

 

Here's the link: http://www.hurdy-gurdy.org.uk/case.html

 

Mitch Gordon

Guerneville, California, US

 

 

[Felicia Dale]

Hi, Mitch, and thanks for the vote for this case! I was just looking at it but I think maybe the price has gone up. Though, for a good case I don't mind spending some money, that's for sure.

Felicia.

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[Felicia Dale]

Hi,

I'm actually not terribly handy with a sewing machine but I have friends who are. This is a very interesting idea and I'm going to look into it farther. I love the idea of having wheels and space for more stuff but it will have to be tempered by size restrictions for extended travel. Great idea and thanks again for the idea!

Felicia.

hurdygurdy+...@googlegroups.com

[Judith Lindenau]

Ann Dorries, Hurdy Gurdy Crafters, will make you one to your specifications.

Contact her at their website...

judith

On Tue, Jan 10, 2012 at 4:44 PM, Felicia Dale <cruiks...@pintndale.com> wrote:

Felicia.

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[Leonard Williams]

RE:  spending big $$ on good cases:  would you rather repair/replace the instrument??

Leonard

[Tania]

Don't forget that Mike Saunders, right over here on the Kitsap
Peninsula*, has been filling the void left by Alice, who made your
purple cases. Mike now makes all the cases for Cali & Alden as well as
for Casey Burns, and I'll bet custom jobs are not a problem, so if you
want to work with somebody local...
(*yes, we're back from Alaska, and waiting for you to get back from
California!)
~ Tania

[Augusto de Ornellas Abreu]

do you have a link?

[Tania]

He seems to keep a low web profile - only phone number and PO box are
listed: Canvasman / Mike Saunders, P.O. BOX 753. Gig Harbor, WA
98335. Phone: (253) 851-8719. I'm sure you could get photos of his
work from Olympic Instruments owners on this list.

On Jan 12, 11:17 am, Augusto de Ornellas Abreu

<augusto.ornel...@gmail.com> wrote:
> do you have a link?
>

> On Thu, Jan 12, 2012 at 6:12 PM, Tania <taniaopl...@gmail.com> wrote:
> > Don't forget that Mike Saunders, right over here on the Kitsap

> > Peninsula*, ...

[Michael Saunders]

Hi everyone,

Mike Saunders here, and yes I do make custom cases for gurdies (thanks for the plug, Tania). I've made Volksgurdy cases for Olympic Instruments since they began their business, and I've made instrument cases since 1982. I'm in "semi"-retirement now and doing less work, but I will consider doing cases for folks on this list. I will supply photos and specs to those looking for a high quality "soft" shelled case, w or w/o backpack straps, and all the standard amenities. NO wheels, or plastic sheets in with the padding. These are not suitable for checking into airline luggage compartments, but they're dandy for carry-on.

Cheers,

Mike

mikesa...@centurytel.net

[Norm Sohl]

I'll add my endorsement - my new HG came with a Saunders case, and it is awesome.  Places for everything!  If I was doing it all over the only change I'd make would be backpack straps.
 

---

From: mikesa...@centurytel.net
Subject: Re: [HG-new] Re: Cases
Date: Thu, 12 Jan 2012 15:51:01 -0800
To: hurdy...@googlegroups.com

[Felicia Dale]

Norm- you'd add the straps? 

Felicia.

The rules of posting, courtesy, and other list information may be found athttp://hurdygurdy.com/mailinglist/index.htm.  To reduce spam, posts from new subscribers are held pending approval by the webmaster.

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[Norm Sohl]

I would add the straps - I fell for the first time in years while carrying the case in a narrow walkway.  Having the instrument on my back would have spared it any impact.  As it is the wheel cover cracked - easy to have repaired, but I'd rather it not have happened.  Still, a great case that has prevented all other harm!
 

---

From: cruiks...@pintndale.com
To: hurdy...@googlegroups.com

Subject: Re: [HG-new] Re: Cases

Date: Fri, 13 Jan 2012 19:27:17 -0800

[Felicia Dale]

Hi, Mike,

and thanks for posting! Also, thank you for still making cases even though you'd probably rather remain in retirement. :) If you have a pdf or other form of information for your cases I'd like to see it, please. You can send it to my regular mail account if you prefer: fel...@pintndale.com

Thanks,

Felicia. 

[Felicia Dale]

Thanks, Norm. I'm glad you and your gurdy escaped major damage and I appreciate the input.

Felicia.