Ensemble Danguy's ‘La Belle Vielleuse’ is the opening concert of the London International Festival of Early Music (LIFEM), taking place in the church of St. Michael & All Angels Blackheath, London on 12 November 2025. Could you please tell us how you feel about it?

We are very excited to be in London this month – it’s our first time performing at LIFEM/in London as an ensemble (although most of us have performed in London on other occasions and with other groups). The UK has a vibrant community of both Early Music and hurdy gurdy enthusiasts, and we look forward to a hopefully enthusiastic audience!

‍You grew up in Canada but are now based in Switzerland and so is the Ensemble. What has you brought over to Switzerland?

I came to Switzerland in 2004, planning to pursue one year of graduate studies at the Schola Cantorum Basiliensis – over 20 years later, it seems that I never managed to leave, and am still proud to call Basel home today.  All of the members of Ensemble Danguy met while studying at the Schola Cantorum, the only school of its kind, with dedicated programmes not only for the performance of Baroque music, but of Medieval and Renaissance music as well. ‍

When did the LIFEM contact you and how was the selection process?

Erik Bosgraaf telephoned me one day out of the blue, to ask whether we might be interested in playing the opening concert at LIFEM this year – a very nice change to the usual contact via email or website.

What does a platform such as the LIFEM bring you, especially here in the UK?

It’s always such a pleasure to play in the UK, and we are very much looking forward to playing at LIFEM, and to connecting with other musicians and audience members at the festival! Each festival has their own atmosphere cultivated by their organisers and audience alike and sharing this is always a special experience.

The Ensemble Danguy revives rare 18th-century French hurdy gurdy repertoire. How did this come about and what background have the other musicians in the Ensemble?

The vielle (hurdy gurdy) enjoyed a golden age in mid-18th century France, with hundreds of compositions published for the instrument over the course of just a few decades. After the French revolution, the vielle found a new place in the musical traditions of the countryside, playing mostly for dancing etc. – where it can still be found today in many regions of central France. When one thinks of the hurdy gurdy today, it is often in the context of this traditional dance music, and instruments which were inspired by the baroque vielle, but then developed to be louder and more robust. As a young hurdy gurdy player, studying Early Music performance back in Montréal, I fell completely in love with the sound of the 18th century instrument – the repertoire was one which I was already passionate about, and the instrument awoke something special in my heart. Ensemble Danguy came about as a way to present this repertoire, and to honour the most celebrated 18th century vielle player, known to us as “l’illustre Danguy”. The other musicians in the Ensemble are world-renowned specialists on their own instruments.

‍How do you relate to the Swiss Early Music traditions?

Switzerland has a vibrant musical and cultural scene, with a strong focus on Early Music – Basel is very much at the centre of this, due to it being home to the Schola Cantorum Basiliensis. Many young people from around the world study here, and stay on, choosing to have their careers here and to contribute to Swiss cultural life. Additionally, as a country boasting several official languages, there is a generally warm reception to music from different countries/in different languages. Ensemble Danguy’s focus on French baroque music, as well as earlier repertoires from various European traditions thus has found a welcoming home in Basel.‍

The Ensemble has already three recordings over the past ten years. What are your future plans?

Our next CD recording will take place in 2026, stay tuned! We have more programmes which we plan to record over the coming years – of French baroque music, but also of earlier repertoires, in keeping with Ensemble Danguy’s mandate of showcasing the varied historical repertories for hurdy gurdy, from the Middle Ages to the 18th century.

‍Any advice from you to young musicians, for their future?‍

Find your own, unique voice and follow it! So many young musicians feel pressure to perform all the things – repertoires, instruments, etc. – but focusing on what you love to do, and what you do best, will allow you to find your own, personal path.  Additionally, I would encourage you to look for the camaraderie, mutual support and joy in music-making, which shaped the earlier years of the Early Music revival. Today’s world is so focused on social media and self-promotion, that it is often too easy to forget why we are here in the first place – the love of music!

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More information about the concert on 12 November: https://lifem.org/event/ensemble-danguy/

More about Tobie Miller and the Ensemble Danguy: www.tobiemiller.net and www.ensembledanguy.com

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