Hurdy-gurdy by Georges Louvet, Paris, 1753. 

The hurdy-gurdy can be traced back as far as the 10th century. Its characteristic feature is a disc-shaped wheel which produces sound by acting as a bow. It is built into the body of the instrument, touching the strings above it. The 18th-century instrument had two melody strings and four drone strings; the latter could be brought into play if required. The vibrating length of the melody strings is shortened by means of tangents. Whereas an even rotation of the wheel creates a continuous sound, jerky movements of the crank enable rhythmic accents to be produced. The speeding up or slowing down of the wheel's rotation allows for the introduction of dynamic nuances. On account of its drones the hurdy-gurdy is reminiscent of the bagpipe and the musette. The history of the use of the hurdy-gurdy was closely bound up with social changes: in the middle ages the minstrel used it to accompany his songs. Later is was reduced to being a beggar's instrument; in 1619 Michael Praetorius talks of a "Bawren vnd Bettler Leire" ("yokel's lyre"). The beginning of the 18th century saw a revival of interest in the hurdy-gurdy as well as in the musette, as part of the French aristocracy's craze for things pastoral. The instrument by Georges Louvet (left) is to be placed within this social context. The precious inlaid work of ivory in ebony, the tortoiseshell and ivory marquetry, as well as other features, mark this chromatic hurdy-gurdy out as an instrument of the upper classes.

Martin Elste

Hurdy-gurdy by Carel Bimer, Bohemia, 18th century. 

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Organ hurdy-gurdy by Cesar Pons. Grenoble, France, end of the 18th century. 

In 18th-century France hurdy-gurdies were also made containing a small organ mechanism: organ hurdy-gurdies. Here the crank not only drives the wheel but also operates a small pair of bellows. On [the instrument on the left] the bellows are worked by means of a foot strap. The keys (tangents) shorten the strings and also open the valves in the corresponding wooden pipes. In order to accommodate the feeder-bellows and reservoir, the organ hurdy-gurdy has a particularly bulky body. In the 18th century it was the instrument of the aristocracy, a fact testified to by its rich decoration.

King Ferdinand IV of Naples (1751-1825) had a special predilection for the organ hurdy-gurdy, which he is supposed to have played very well. Notable composers such as Ignaz Pleyel and Joseph Haydn were commissioned by him to compose for this instrument.

D. Droysen-Reber

Unique troubadour instrument combining a hurdy-gurdy and pipe organ. The large soundbox houses both the hurdy-gurdy wheel and organ bellows.

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