18th Century France
"The first documented appearance of the vielle at the French court is in JeanBaptiste Lully's Ballet de l'impatience, presented at the Louvre on February 19, 1661. The "Third Entree of Part IV begins with an instrumental introduction for the entrance of blind beggars. This is followed by an instrumental section labeled "ten blind men impatient of losing time for earning a living." A recit follows, which in mock solemnity compares the unfortunate situation of the blind men with love that can be as blind as they are. The blind men then play an air on the vielle." (Greene 2016)
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A famous musician at the time and popular in the French court named Terrasson fell in love with the Hurdy-Gurdy. His enthusiasm and masterful performances inspired the women of the court. This instrument empowered them because they were allowed to play it while sitting down, without showing rigorous movements which was viewed as improper for ladies of courtly rank.
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Queen Marie Leszcynska - wife of Louis XV
Queen Marie of the royal family at Versailles was the most prominent player of the Hurdy-Gurdy in centuries. She broke the barrier between lower class performer and royal observer by actually playing with the entertainers after they were finished with their paid performance. "It was not uncommon for the queen to play simple duets with these musicians. Another amateur in this circle was the Duchess de Bourgogne." (Greene 2016)
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The act of nobility playing the instrument openly in the court allowed the instrument to be appreciated by all social classes, it brought a commonality to the people.
The French Revolution
When the French revolution happened many things were destroyed and forgotten. The Hurdy-Gurdy was nearly destroyed in the region because the revolutionaries viewed it as evil because it was used by the nobility, regardless of the fact that it was known as a beggars instrument in most places outside of France.
