Europe: 19th to 21st century France

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19th century
pipe 1801 - 1900 Dolmetsch Collection
1911 Landes, Nouvelle-Aquitaine
music
A classical piece of music called 'La tempête' written in 1888 by Ernest Chausson contains a section 'alleggretto leggiero' which is said to be a flute and tambour duet. Hidden Treasures series, at 9.50 minutes:
The tabor reappears from time to time in the modern orchestra as the tambour or tambourin provencal. Bizet employed it in L’Arleé- sienne Suite no. 2 (1872), Copland in El Salén México (1933-36), Milhaud in his Suite frangaise (1944), and Sessions in his Symphony no. 3 (1957). 'The New Harvard dictionary of music', 1986
‘Observations on the social and political State of the European People in 1848 and 1849; being the second series of "The Notes of a Traveller." by Sam Laing
1871 re-drawing of 14th century manuscript ‘A History of domestic manners and sentiments in England during the Middle Ages’ by Thomas Wright
19th century putto statuette 19th century sculpture 19th century silver statuette late 19th century gilt bronze statuette
1807 newspaper report British Press - Thursday 15 October 1807 1813 newpaper report Star (London) - Monday 29 November 1813 before 1820 children's illustration 1820 Saint Cloud Festival, Paris 19th century painting
Morning Herald (London) 08 March 1827 - 1827 Bordeaux, Nouvelle-Aquitaine
1828 watercolour, Brittany
1830 Opera ‘Fra Diavolo’ CHORUS OF PEASANTS "...Come, young girls, come, come, we must be going. Pipe and tabor beckon us at pleasure's call." 1834 caricature, taborer mounted on a goose “SAVOY AND SAVOYARD … in sober reality, rarely, either in summer or winter, will rustic dance or song here be found to enliven morning or evening: rarely will the sound of pipe or tabor be found to greet the traveller's ear, or the voice of merriment be heard to issue from cabin or cottage to invite his stay.  During the winter months, the condition of this peasantry must be pitiable indeed….” Bolton Chronicle 24 January 1835
before 1837 postcard, nativity scene © National Museum of Popular Arts and Traditions
	1840 painting, Aquitaine, on the border with Spain	1843 church wood carving, Saumur Pays de la Loire
1846 Épinal, Grand Est © Musée de l'Image - Ville d'Épinal	19th century Paris	19th century
before 1847 Bourgogne-Franche-Comté
1841 nativity scene © Musée de l'Image, Epinal
1843 story: “… It was a holyday, and the peasants were celebrating it by a dance in the open air. A pipe and tabor  formed their whole orchestra, but these were quite enough to keep their feet in motion. Joy shone in every face…” ‘Paul de Kock’s Novels: Sister Anne’ in The North American review. 56. 1843
1849 nativity scene, Metz © Musée de l'Image - Ville d'Épinal / photo E. Erfani
19th century nativity
1840-1890 nativity
mid 19th century painting, nativity, Alsace
1857 Paris 1857 farandole on pentecost Monday, Occitanie; l'illustration-journal-universel-no-745-volume-xxix-june-6-1857 1865 newspaper report, Laruns, Pyrénées-AtlantiquesBerkshire Chronicle - Saturday 30 December 1865, England 1866‘My life and recollections’ Berkeley, George C., complete in 4 vols, vol.3 1867 newspaper article ‘The Empire and the Exhibition’: “…Prince Imperial was sick and suffering; and the grand Ceremonial Inauguration was not with pipe and tabor , trumpet and cannon, but shabby, hurried, and dispirited….” The Saturday Review, London. 4/20/1867 1869 fantasy painting playing for dancing pigs 1879-1882 toy theatre, printed at Metz 1883 opera poster 1885 stained glass window Passy, Paris 1890 from a design book by Ernest Guillot, page 132 1890 sketch for Paris City Hall: medieval scenes 1891 wedding procession 1898 story 'The Ball Programme'' “…a pipe and tabour were heard, and the breeze brought us the subdued sound of dancing….A thin, raw-boned man, leaning with his back against an oak-tree, was playing the pipe, whilst he struck a sharp -sounding tabour with his left hand, after the custom of Provence… and it was not without anger that he saw these inhabitants of the inner country thus breaking all the rules of fine dancing. Aggrieved during the quadrille at the leaping and stamping of the peasants, he blushed with indignation when, at the end of the air, they continued their paces for five long minutes, without appearing to have any idea even of the absence of the pipe and tabour….The player on the pipe, who had pretended to withdraw, having seen a few pieces of money shine, had just taken to his instruments again, beating and blowing afresh, whilst sighing at the thought of prostituting melody as he was doing….” ‘Stories for Ninon’ by  Zola, Emile, 1840-1902 1898 story “I send you Buisson, the tabour-player; pilot him," and the innumerable series of mishaps Buisson and I met with on account of his flute, in Parisian salons, theaters, and concerts….The little flat case contained his, galoubet, the simple rustic flute, which goes toottoot, while the drum goes boom-boom! The covered cylinder was the drum itself. What a drum, my friends! Tears came into my eyes when I saw it uncovered; an authentic tabour of the time of Louis XV., at once touching and comical in its enormity, grumbling like an old man at the least touch with the tip of a finger. It was made of fine walnut, ornamented with delicate carving, polished, thin, light, sonorous, and seeming to have become supple with the tempering of time. Serious as a pope, Buisson slung his tabour to his left arm, took the pipe between three fingers of his left hand (you have seen the pose and the instrument in some engraving of the eighteenth century, or on the bottom of one of old Moustier's plates), and operating with his right hand the little ivory-tipped drumstick, he touched the big drum, which, with its continuous sound like the burr-r-r of a harvest-fly… ‘Behind a mask; or, Numa Roumestan’by Daudet, Alphonse 1898 ballet, Paris 1937 etching, Paris
string drum early 20th century ttun ttun from a postcard 1855 Branle d'Ossau    2015 string drum
pandean pipes 1841 caricature, Paris

 

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