Marc-Antoine Charpentier
Britannica Concise Encyclopedia:
Top
Marc-Antoine Charpentier
(born 1634, Paris, Francedied Feb. 24, 1704, Paris) French composer. He was a student of Giacomo Carissimi in Rome in the 1660s. Back in Paris, he succeeded Jean-Baptiste Lully as music director with Molire's acting troupe (later the Comdie-Franaise). He became music director at the principal Jesuit church in Paris, and for his last six years he held the prestigious post of matre de chapelle at the Sainte-Chapelle. Enormously prolific, he was the most important French composer of his generation. He wrote 11 masses, 84 psalm settings, and 207 motets, including some 35 dramatic motets or Latin oratorios, a genre he introduced into France. His works include the oratorio Judicium Salomonis (1702), the mass Assumpta est Maria, and the operas Mde (1693) and David et Jonathas (1688).
For more information on Marc-Antoine Charpentier, visit Britannica.com.
Related Videos:
Top
Marc-Antoine Charpentier
Oxford Grove Music Encyclopedia:
Top
Marc-Anto ine Charpentier
(b Paris, ?1645-50 ; d Paris, 24 Feb 1704). French composer. He studied in Rome, probably with Carissimi, whose oratorios he introduced into France. On his return to Paris he was employed as composer and singer by the Duchess of Guise and also collaborated with Molière in the theatre. In the early 1680s he entered the service of the grand dauphin, for which Louis XIV granted him a pension in 1683, and he was for a time music teacher to Philippe, Duke of Chartres (later Duke of Orleans and Regent of France). Perhaps also in the 1680s Charpentier became attached to the Jesuit church of St Louis in Paris, and from 1698 until his death he held the important post of maître de musique of the Saint-Chapelle, for which he wrote some of his most impressive works.
Charpentier's church music was based initially on mid-century Italian models, but soon incorporated French modes of expression - the ‘official’ grandeur of the grand motet; the declamatory manner of the court air and Lullian récit; the ‘popular’ simplicity of noëls; and an often elaborately ornamented melodic line. Charpentier was the only Frenchman of his time to write oratorios of any quality. His theatre compositions are even more indebted to French models, and he was an important composer of airs sérieux and airs à boire.
works:Sacred vocal music
- 11 masses
- 10 Magnificats
- Tenebrae lessons and responsories
- 84 psalm settings
- over 200 motets (incl. dramatic motets and oratorios)
- 9 Litany of Loreto settings
- 4 Te Deum settings
- c30 airs, 8 cantatas
- Les arts florissants (1686)
- David et Jonathas (1688)
- Médée (1693)
- 11 pastorals and divertissements
- music for Le malade imaginaire (1685) and other plays
- sacred ovs.
- preludes
- symphonies
- suites, dances, sonata
Gale Encyclopedia of Biography:
Top
Marc Antoine Charpentier
The works of the French composer Marc Antoine Charpentier (1634-1704) are generally considered to be the epitome of the formal, learned style cultivated in French music in the late 17th century.
Marc Antoine Charpentier was born in Paris. He came from a family of painters and went to Italy to study painting when a very young man. During a stay in Rome he came under the spell of the famous Italian composer of oratorios Giacomo Carissimi, with whom Charpentier is reputed to have studied. He then changed his allegiance from painting to music and spent several years in Italy perfecting his musical skills.
On Charpentier's return to Paris he collaborated with the playwright Molière on comedy-ballets after the latter's break with Jean Baptiste Lully; Charpentier was responsible for the music for La Mariage forcé (1672) and Le Malade imaginaire (1673). Following Molière's death in 1673, Charpentier passed through a series of appointments as music teacher and conductor to several aristocratic families. In 1679 he became music master to the Dauphin, only to lose this rich post allegedly because of Lully's opposition. Between 1686 and 1688 Charpentier served in a similar position in the establishment of Mademoiselle de Guise. After 1684 he was also involved in the musical life of several Jesuit foundations in Paris. His tragédies spirituelles, written to be performed during Lent, brought him considerable fame. In 1698 Charpentier became director of music at Ste-Chapelle, Paris, and in this post he served until his death on Feb. 24, 1704.
While generally acclaimed for his sacred music, Charpentier's masterpiece is acknowledged to be his most successful opera, Médée, based on the drama by Pierre Corneille and mounted in Paris in 1693. Although Médée was lauded as the best dramatic work to be produced in France after Lully's death, Charpentier was not to enjoy a similar success with any of his other operas.
In general, Charpentier was acknowledged to be a learned but talented composer. He was considered by La Cerf de Vièville (1709) to be the superior of any Italian musician, but his music was nonetheless described as very "dry and stilted." Charpentier's formal, learned style found its best expression in church music. He was particularly acclaimed for his solution to problems involved with musical realizations of Latin prosody. His talent was unsuitable for the exigencies of the music theater, despite his attempts to prove otherwise. Since it would seem he incurred the hostility of the all-powerful Lully, Charpentier did not secure a court appointment and hence passed his life in the service of the aristocracy and the Church.
Further Reading
Most of Charpentier's music remains in manuscript. His contributions to French music are discussed in Manfred F. Bukofzer, Music in the Baroque Era: From Monteverdi to Bach (1947). See also Donald J. Grout, A History of Western Music (1960).
Oxford Companion to French Literature:
Top
Marc-Antoine Charpentier
Charpentier, Marc-Antoine (c.1645-1704), French composer, principally of sacred music, but also of pastorales, chamber operas, and two tragédies lyriques, one, Médée (1693), to a libretto by Thomas Corneille. He replaced Lully as Molière musical collaborator in 1672-3, and after Molière's death still worked with his company until 1686, writing intermèdes, prologues, and general incidental music for plays.
[Kerry Murphy]
AMG AllMusic Guide to Classical Music :
Top
Marc-Antoine Charpentier
- Genres: Chamber Music, Choral Music, Miscellaneous Music, Opera
Biography
Long completely forgotten and then hailed, in the twentieth century, as a Baroque genius, Charpentier was born in Paris, in 1643. In the mid-1660s, he traveled to Rome, where he spent three years studying with Carissimi and mastering the Italian style. Upon his return to Paris, Charpentier accepted employment and patronage from the powerful and pious Marie de Lorraine, known as Mademoiselle de Guise, last scion of the illustrious Guise family. In 1627, already known for his religious music, Charpentier agreed to provide incidental music for Molière's comedies. With astounding facility, the church composer wrote witty, charming, and delightful music in perfect consonance with Molière's comedic genius, as exemplified by the extraordinary score for Le Malade imaginaire. Nevertheless, church music remained Charpentier's primary vocation, and he steadily wrote masses, motets, hymns, and various other liturgical pieces. After Mademoiselle de Guise died in 1688, Charpentier found employment at the college Louis le Grand, where his accomplishments included the Latin oratorio David et Jonathas, a dramatic masterpiece. His next post was at the Jesuit Church of St. Louis, where he composed music for various aspects of the Catholic liturgy. In 1693, Charpentier's Medea, a tragédie en musique, had its premiere at the Academie Royale. If the composer thought this extraordinary work would secure him a royal appointment, he was mistaken, for the audience seemed deaf to the music. In 1698, Charpentier became music master for children at the Sainte-Chapelle, remaining there until his death. Two and a half centuries after Charpentier's death, millions heard the opening bars of his stunningly brilliant Te Deum (H. 146), selected as Eurovision's official theme. A master of harmonic and melodic invention, Charpentier satisfies the three prerequisites for beauty formulated by St. Thomas Aquinas: consonantia (harmony), integritas (perfection), and claritas (brilliance). This quintessentially Catholic composer ingeniously resolved the perceived conflict between faith and pure beauty by creating music in which devotion and beauty cannot be separated. Indeed, musicologist Catherine Cessac captured the essence of Charpentier's music when she wrote that the "grandeur and originality of Charpentier's music is due to a combination of exceptional musical talent and deep faith, each complementing the other." ~ Zoran Minderovic, RoviWikipedia on Answers.com:
Top
Marc-Antoine Charpentier
Marc-Antoine Charpentier, pronounced: [maʁk ɑ̃.twan ʃaʁ.pɑ̃.tje], (1643 – 24 February 1704) was a French composer of the Baroque era.
Exceptionally prolific and versatile, he produced compositions of the highest quality in several genres. His mastery in writing sacred vocal music, above all, was recognized and hailed by his contemporaries.
He was unrelated to Gustave Charpentier, the late-nineteenth and early-twentieth French opera composer.
|
Contents
|
Life
Charpentier was born in or near Paris, the son of a master scribe who had very good connections to influential families in the Parlement of Paris.[2] Marc-Antoine received a very good education, perhaps with the help of the Jesuits, and registered for law school in Paris when he was eighteen.[3] He withdrew after one semester. He spent "two or three years" in Rome, probably between 1667 and 1669,[4] and studied with Giacomo Carissimi. He is also known to have been in contact with poet-musician Charles Coypeau d'Assoucy, who was composing for the French Embassy in Rome. A legend claims that Charpentier initially traveled to Rome to study painting before he was discovered by Carissimi. This story is undocumented and possibly untrue. (At any rate, although his 28 volumes of autograph manuscripts reveal considerable skill at tracing the arabesques used by professional scribes, they contain not a single drawing, not even a rudimentary sketch.) Regardless, he acquired a solid knowledge of contemporary Italian musical practice and brought it back to France.
Immediately on his return to France, Charpentier probably began working as house composer to Marie de Lorraine, duchesse de Guise, who was known familiarly as "Mlle de Guise." She gave him an "apartment" in the recently renovated Hôtel de Guise — strong evidence that Charpentier was not a paid domestic who slept in a small room in the vast residence, but was instead a courtier who occupied one of the new apartments in the stable wing.[5]
For the next seventeen years, Charpentier composed a considerable quantity of vocal works for her,[6] among them Psalm settings, hymns, motets, a Magnificat setting, a mass and a Dies Irae for the funeral of her nephew Louis Joseph, Duke of Guise,[7] and a succession of Italianate oratorios set to non-liturgical Latin texts. (Charpentier preferred the Latin canticum to the Italian term, oratorio). Throughout the 1670s, the bulk of these works were for trios.[8] The usual trio was two women and a singing bass, plus two treble instruments and continuo; but when performance in the chapel of a male monastic community required male voices, he would write for a counter-tenor, a tenor and a bass, plus the same instruments.
Then, circa 1680, Mlle de Guise increased the size of the ensemble, until it included 13 performers and a singing teacher.[9] (Étienne Loulié, the senior instrumentalist, probably was entrusted with coaching the newer instrumentalists.) Despite what is often asserted, during his seventeen years in the service of Mlle de Guise, Charpentier was not the "director" of the Guise ensemble. The director was a gentleman of Mlle de Guise's court, an amateur musician, Italianophile, and Latinist named Philippe Goibaut, familiarly called Monsieur Du Bois. Owing to Mlle de Guise's love for Italian music (a passion she shared with Du Bois), and her frequent entertaining of Italians passing through Paris,[10] there was little reason for Charpentier to conceal the Italianisms he had learned in Rome.
During his years of service to Mlle de Guise, he also composed for "Mme de Guise", Louis XIV's first cousin. [11] It was in large part owing to Mme de Guise's protection that the Guise musicians were allowed to perform Charpentier's chamber operas in defiance of the monopoly held by Jean Baptiste Lully. Most of the operas and pastorales in French, which date from 1684–1687, appear to have been commissioned by Mme de Guise for performance at court entertainments during the winter season; but Mlle de Guise doubtlessly included them in the entertainments she sponsored several times a week in her palatial Parisian residence.
By late 1687, Mlle de Guise was dying. At that time, Charpentier entered the employ of the Jesuits. (The names of the Guise musicians appear as marginalia in Charpentier's manuscripts, 1684 until late 1687, but the composer is not named in the princess's will of March 1688, nor in the papers of her estate, which is strong evidence that she had already rewarded her loyal servant and approved of his departure.)
During his seventeen-odd years at the Hôtel de Guise, Charpentier had written almost as many pages of music for outside commissions as he had for Mlle de Guise. (He routinely copied these outside commissions in notebooks with roman numerals.) For example, after Molière's falling out with Jean-Baptiste Lully in 1672, Charpentier had begun writing incidental music for the spoken theater of Molière. It probably was owing to pressure on Molière exerted by Mlle de Guise and by young Mme de Guise that the playwright took the commission for incidental music for Le Malade imaginaire away from Dassoucy and gave it to Charpentier. After Molière's death in 1673, Charpentier continued to write for the playwright's successors, Thomas Corneille and Jean Donneau de Visé. Play after play, he would compose pieces that demanded more musicians than the number authorized by Lully's monopoly over theatrical music. By 1685, the troop ceased flouting these restrictions. Their capitulation ended Charpentier's career as a composer for the spoken theater.[13]
In 1679, Charpentier had been singled out to compose for Louis XIV's son, the Dauphin.[14] Writing primarily for the prince's private chapel, he composed devotional pieces for a small ensemble composed of royal musicians: the two Pièche sisters singing with a bass named Frizon, and instruments played by the two Pièche brothers. In short, an ensemble that, with Mlle de Guise's permission, could perform works he had earlier composed for the Guises. By early 1683, when he was awarded a royal pension, Charpentier was being commissioned to write for court events such as the annual Corpus Christi procession. In April of that year, he became so ill that he had to withdraw from the competition for the sub-mastership of the royal chapel. Speculations that he withdrew because he knew he would not win seem disproved by his autograph notebooks: he wrote nothing at all from April through mid-August of that year, strong evidence that he was too ill to work.
From late 1687 to early 1698, Charpentier served as maître de musique to the Jesuits, working first for their collège of Louis-le-Grand (for which he wrote David et Jonathas) and then for the church of Saint-Louis adjacent to the order's professed house on the rue Saint-Antoine.[15] Once he moved to Saint-Louis, Charpentier virtually ceased writing oratorios and instead primarily wrote musical settings of psalms and other liturgical texts such as the Litanies of Loreto. During his years at Saint-Louis, his works tended to be for large ensembles that included paid singers from the Royal Opera. In addition, during these years Charpentier succeeded Étienne Loulié as music teacher to Philippe, Duke of Chartres.[16]
Charpentier was appointed maître de musique at the Sainte-Chapelle in Paris in 1698, a royal post he held until his death in 1704.[17] One of his most famous compositions during his tenure was the Mass Assumpta Est Maria (H.11). That this work survived suggests that it was written for another entity, an entity that was entitled to call upon the musicians of the Chapel and reward them for their efforts. Indeed, virtually none of Charpentier's compositions from 1690–1704 have survived, because when the maître de musique died, the royal administration routinely confiscated everything he had written for the Chapel. Charpentier died at Sainte-Chapelle, Paris, and was buried in the little walled-in cemetery just behind the choir of the Chapel (the cemetery no longer exists).
In 1727, Charpentier's heirs sold his autograph manuscripts (28 folio volumes) to the Royal Library, today the Bibliothèque nationale de France. Commonly known as the Mélanges, or Meslanges, and now available as facsimiles published by Minkoff-France, these manuscripts were divided by Charpentier himself into two series of notebooks — one bearing Arabic numbers and the other roman numbers, and each notebook numbered chronologically. These manuscripts (and their watermarks) have permitted scholars not only to date his compositions but also to determine the events for which many of these works were written.[18]
Music, style and influence
His compositions include oratorios, masses, operas, and numerous smaller pieces that are difficult to categorize. Many of his smaller works for one or two voices and instruments resemble the Italian cantata of the time, and share most features except for the name: Charpentier calls them air sérieux or air à boire if they are in French, but cantata if they are in Italian.
Not only did Charpentier compose during that “transitory period” so important to the “evolution of musical language, where the modality of the ancients and the emerging tonal harmony coexisted and mutually enriched one another” (Catherine Cessac, Marc-Antoine Charpentier, 2004 edition, p. 464), but he also was a respected theoretician. In the early 1680s he was analyzing the harmony in a polychoral mass by the Roman composer Francesco Beretta (Bibliothèque nationale de France, Ms. Réserve VM1 260, fol. 55-56). Circa 1691 he wrote a manual to be used for the musical training of Philippe d’Orléans, duke of Chartres; and circa 1693 he expanded this manual. The two versions survive as copies in the hand of Étienne Loulié, Charpentier’s colleague, who called them Règles de Composition par Monsieur Charpentier and Augmentations tirées de l’original de Mr le duc de Chartres (Bibliothèque nationale de France, ms. n.a. fr. 6355, fols. 1-16). On a blank page of the Augmentations, Loulié in addition listed some of the points that Charpentier made in a treatise that Loulié called Règles de l’accompagnement de Mr Charpentier. Three theoretical works long known to scholars but that did not reveal much about Charpentier's evolution as a theoretician. Then, in November 2009, a fourth treatise, this time in Charpentier’s own hand, was identified in the collection of the Lilly Library at Indiana University, Bloomington, U.S.A. Written during the final months of 1698 and numbered “XLI,” this treatise appears to have been the forty-first in a series hitherto not imagined by Charpentier scholars, a series of theoretical treatises that spans almost two decades, from the early 1680s to 1698.[19]
Modern significance
The prelude to his Te Deum, H. 146, a rondeau, is well known as the signature tune for the European Broadcasting Union, heard in the opening credits of the Vienna New Year's Concert, the Eurovision Song Contest and other Eurovision events. This theme was also the intro to "The Olympiad" films of Bud Greenspan.
Charpentier's works
Charpentier's compositions were catalogued by Hugh Wiley Hitchcock in his Les œuvres de Marc-Antoine Charpentier: Catalogue Raisonné, (Paris: Picard, 1982); references to works are often accompanied by their H (for Hitchcock) number.
Operas
- Les amours d'Acis et Galatée, Lost, 1678?
- Les arts florissants, H. 487, 1685–86
- La descente d'Orphée aux enfers, H. 488; 1686–87
- Le jugement de Pâris, (1690)
- Philomèle, lost, 1690
- Médée, H. 491; 1693
Biblical tragedies
- Celse Martyr, Music lost; P. Bretonneau's libretto published in 1687.
- David et Jonathas, H. 490, 1688. (Libretto by P. Bretonneau.)
Pastorales
- Petite pastorale eglogue de bergers, H. 479; October 1676
- Actéon, H. 481; 1684
- Il faut rire et chanter: Dispute de Bergers, H. 484; 1685
- La fête de Ruel, H. 485; 1685
- La couronne de fleurs, H. 486; 1685
- Le retour de printemps, Lost.
- Cupido perfido dentr'al mio cor
Pastoraletta
- Amor vince ogni cosa, H. 492
Incidental Theater Music
- Les fâcheux, 1672. Music lost (if indeed Charpentier did more than simply conduct the play a few times, as the records of the Comédie Française suggest), comedy by Molière.
- La comtesse d'Escarbagnas, H. 494; 1672 (comedy by Molière.)
- Le médecin malgré lui, four airs survive, date uncertain. (comedy by Molière)
- L'Inconnu, music lost; 1675 ("galant play" by Donneau de Visé and Thomas Corneille)
- Circé, H. 496; 1675. (tragedy with machines by Thomas Corneille; divertissements by Donneau de Visé)
- Ouverture du prologue de l'Inconnu, H. 499; a reworking of the prologue d'Acis et Galathée, an opera written for M. de Riants in 1679
- Andromède, H. 504; 1682 (tragedy with machines by Pierre Corneille)
- Vénus et Adonis, H. 507; 1685 (a play with machines, by Donneau de Visé)
Comédies-Ballet
- Le mariage forcé (comedy by Molière,1672)
- Le malade imaginaire (comedy with machines by Molière, 1673)
- Le sicilien (for the comedy by Molière reworked in 1679)
Ballets
- Polyeucte, H. 498 (music for a performance of Pierre Corneille's play at the Collège d'Harcourt, 1679)
Divertissements
- Les plaisirs de Versailles, H. 480; 1682
- Idylle sur le retour de la santé du roi, H. 489; 1687
Interludes (Intermèdes)
- Le triomphe des dames (1676)
- La pierre philosophale (1681)
- Endymion (1681)
- Dialogues d'Angélique et de Médor (1685)
Sonatas
- Sonate à huit (H.548)
Sacred Music
 |
|
| Problems listening to this file? See media help. | |
- Messe (H. 1)
- Messe Pour Mr. Mauroy (H. 6)
- Extremum Dei judicium (H. 401)
- Messe de minuit pour noël (H. 9, c. 1690)
- Missa assumpta est Maria (H. 11, 1698–1702)
- Litanies de la vierge (H. 83, 1683–1685)
- Te Deum (H. 146, c. 1690)
- Dixit Dominus (H. 204)
- In nativitatem Domini canticum (H. 416)
- Méditations pour le Carême (H.380-389)
- Noëls (3) (H. 531 c. 1680)
- Noëls pour les instruments (H. 534, c. 1690)
- Precatio pro filio regis (Offertory) (H. 166)
- Panis quem ego dabo (Elevation) (H. 275)
Bibliography
Biography
- Cessac, Catherine. Marc-Antoine Charpentier. Translated from the French ed. (Paris 1988) by E. Thomas Glasow. Portland (Oregon): Amadeus Press, 1995.
- Cessac, Catherine, ed., Marc-Antoine Charpentier, un musicien retrouvé (Sprimont: Mardaga, 2005), a collection of pioneering works originally disseminated in the Bulletin Charpentier, 1989–2003. The bulk of the articles deal with his life and works: his family and its origins, Italy and Italianism at the Hôtel de Guise, his work for the Jesuits, the sale of his manuscripts, plus background information about specific works.
- Cessac, Catherine, ed., Les Manuscrits autographes de Marc-Antoine Charpentier (Wavre: Mardaga, n.d.), papers presented at the conference held at Versailles, 2004. The articles in this volume focus primarily on what scholars can deduce from the 28 autograph volumes that contain his compositions.
- Ranum, Patricia M. "A Sweet Servitude: A musician's life at the court of Mlle de Guise," Early Music, 15 (1987), pp. 347–60.
- Ranum, Patricia M. "Lully Plays Deaf: Rereading the Evidence on his Privilege," in John Hajdu Heyer, ed., Lully Studies (Cambridge, UK: Cambridge University Press, 2000), pp. 15–31, which focuses on Charpentier's powerful contacts.
- Ranum, Patricia M. (2004). Portraits Around Marc-Antoine Charpentier. Baltimore: Dux Femina Facti. ISBN 978-0-9660997-3-7. http://ranumspanat.com/charpentier_intro.html.
Music History and Theory
- Anthony, James R. French Baroque Music: From Beaujoyeulx to Rameau. Revised and expanded edition. Portland (Oregon): Amadeus Press, 1997.
- Hitchcock, H.W. Les Œuvres de Marc-Antoine Charpentier: Catalogue Raisonné. Paris: Picard, 1982.
- Thomas, Downing A. Aesthetics of Opera in the Ancien Régime, 1647–1785. Cambridge (UK): Cambridge University Press, 2002.
- Tunley, David. The Eighteenth-Century French Cantata. 2nd edition. Oxford (UK): Clarendon Press Oxford University Press, 1997.
References
- ^ For this representation, see François Filiatrault, "Un menuet de Charpentier sur un almanach royal," and Patricia M. Ranum, "Un portrait présumé de Marc-Antoine Charpentier," both in Catherine Cessac, ed., Marc-Antoine Charpentier, un musicien retrouvé (Sprimont: Mardaga, 2005), pp. 8-23
- ^ For the birth year, see http://ranumspanat.com/html%20pages/birthdate.html; and for his family, see Patricia M. Ranum, Portraits around Marc-Antoine Charpentier (Baltimore, 2004) pp. 517–23
- ^ Ranum, Patricia M. "Marc-Antoine Charpentier enters law school, October 1662"
- ^ Patricia M. Ranum, Portraits around Marc-Antoine Charpentier, pp. 525–33; and Jean Lionnet, "Charpentier à Rome, in Catherine Cessac, ed., Marc-Antoine Charpentier, un musicien retrouvé (Sprimont: Mardaga, 2005), pp. 74-84
- ^ Patricia M. Ranum, Portraits around Marc-Antoine Charpentier, pp. 533ff; Patricia M. Ranum, "Le mécénat musical de Mademoiselle de Guise (1670-1688), in Yvonne Bellenger, ed., Le Mécénat et l'influence des Guises (Paris: Champion, 1997), pp. 613-38; Patricia M. Ranum, "Mademoiselle de Guise, ou les défis de la quenouille," XVIIe Siècle (1984), pp. 221-32
- ^ Patricia M. Ranum, Portraits around Marc-Antoine Charpentier, pp. 377-78, 426-54, 536-80
- ^ Patricia M. Ranum, Portraits around Marc-Antoine Charpentier, pp. 401-403
- ^ Patricia M. Ranum, Portraits around Marc-Antoine Charpentier, pp. 190-201, 552ff. See also Patricia M. Ranum, "Charting Charpentier's 'Worlds' through his Mélanges," in Shirley Thompson, ed., New Perspectives on Marc-Antoine Charpentier (Farnham: Ashgate, 2010), pp. 1-29, especially pp. 13-22, 26-27
- ^ Patricia M. Ranum, "A Sweet Servitude: A Musician's life at the Court of Mlle de Guise," Early Music, 15 (1987), pp. 346-60 ; and Patricia M. Ranum, Portraits around Marc-Antoine Charpentier, pp. 190-201
- ^ Patricia M. Ranum, "Un 'foyer d'italianisme' chez les Guises: Quelques réflexions sur les oratorios de Charpentier," in Catherine Cessac, ed., Marc-Antoine Charpentier, un musicien retrouvé (Sprimont: Mardaga, 2005), pp. 85-109
- ^ Patricia M. Ranum, Portraits around Marc-Antoine Charpentier, pp. 419-25, 574-80; Patricia M. Ranum, "Lully Plays Deaf: Rereading the evidence on his privilege," in John Hajdu Heyer, ed., Lully Studies (Cambridge: Cambridge University Press, 2000), pp. 15-31
- ^ For the discovery of this portrait, see http://ranumspanat.com/portrait_charpentier.htm
- ^ Patricia M. Ranum, Portraits around Marc-Antoine Charpentier, pp. 141-49, 170-76, 177-88, 546-48; John S. Powell, "Les conditions de représentation au théâtre Guénégud et à la Comédie-Française d'après les Mélanges," in Catherine Cessac, ed., Les manuscrits autographes de Marc-Antoine Charpentier (Wavre: Mardaga, 2007), pp. 271-86
- ^ Patricia M. Ranum, Portraits around Marc-Antoine Charpentier, pp. 300-317
- ^ Patricia M. Ranum, Portraits around Marc-Antoine Charpentier, pp. 227-40; Patricia M. Ranum, "Marc-Antoine Charpentier compositeur pour les Jésuites (1687-1698)," in Catherine Cessac, ed., Marc-Antoine Charpentier, un musicien retrouvé (Sprimont: Mardaga, 2005) pp. 231-46
- ^ Patricia M. Ranum, Portraits around Marc-Antoine Charpentier, pp.324-27
- ^ Patricia M. Ranum, Portraits around Marc-Antoine Charpentier, pp.241-50
- ^ Patricia M. Ranum, Vers une chronologie des Œuvres de Marc-Antoine Charpentier (Baltimore, 1994); Patricia M. Ranum, Portraits around Marc-Antoine Charpentier, pp. 81-88; Patricia M. Ranum, "Meslanges, Mélanges, Cabinet, Recueil, Ouvrages: L'entrée des manuscrits de Marc-Antoine Charpentier à la Bibliothèque du roi," in Catherine Cessac, ed., Marc-Antoine Charpentier, un musicien retrouvé (Sprimont: Mardaga, 2005), pp. 141-54. For the logic underlying the chronological ordering of these manuscripts, see Patricia M. Ranum, "Marc-Antoine Charpentier 'garde-nottes" ou les Mélanges comme travail de scribe," in Catherine Cessac, ed., Les manuscrits autographes de Marc-Antoine Charpentier (Wavre: Mardaga, 2007), pp. 15-36
- ^ For this manuscript, its discovery, its cultural context, and its content, see http://ranumspanat.com/mac_xli_intropg.htm
External links
 |
Wikimedia Commons has media related to: Marc-Antoine Charpentier |
- Free scores by Marc-Antoine Charpentier in the Choral Public Domain Library (ChoralWiki)
- Free scores by Marc-Antoine Charpentier in the Werner Icking Music Archive (WIMA)
- Free scores by Marc-Antoine Charpentier at the International Music Score Library Project
- Charpentier, musicien du Baroque, a site in memory of the 300th anniversary of the composer's death
- Te Deum's Prelude in houndbite.com
- John Powell, editions (accompanied by discussions) of some of Charpentier's works
- http://www.baroque-versailles.com/reperes/Hitchcock-Charpentier.html
- Free scores at the Mutopia Project
This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)
Post a question - any question - to the WikiAnswers community:
Copyrights:
Britannica Concise Encyclopedia
Britannica Concise Encyclopedia. © 1994-2012 Encyclopædia Britannica, Inc. All rights reserved. Read more
Oxford Grove Music Encyclopedia
The Concise Grove Dictionary of Music. Copyright © 1994 by Oxford University Press, Inc.. All rights reserved.
Read more
Gale Encyclopedia of Biography
Gale Encyclopedia of Biography. © 2006 by The Gale Group, Inc. All rights reserved.
Read more
Oxford Companion to French Literature
The New Oxford Companion to Literature in French. Copyright © 1995, 2005 by Oxford University Press. All rights reserved.
Read more
AMG AllMusic Guide to Classical Music
Copyright © 2012 All Media Guide, LLC. Content provided by All Music Guide ®, a trademark of All Media Guide, LLC. All rights reserved.
Read more
Mentioned in
Marc-Antoine Charpentier: Vêpres pour Saint Louis
(Classical Album)
Prélude pour le Te Deum à 8, for strings, H. 145a
(Classical Work)
Petr Dinev
(Classical Musician)
Ensemble la Fenice
(Classical Group)
Charpentier & Molière: Le Malade Imaginaire
(Classical Album)
» More