Jacques-François Mathas marks some manuscripts of Marc-Antoine Charpentier with his personal paraphe: New evidence about the transfer of Marc-Antoine Charpentier's Mélanges to his nephews, Jacques Édouard and Jacques-François Mathas, 1709 and about how one individual used, or did not use, his paraphe (http://ranumspanat.com/motets_melez_paraphes.htm). For more on this little volume, readers are referred to Shirley Thompson’s article in New Perspectives on Marc-Antoine Charpentier, ed. Shirley Thompson (Ashgate, 2010), pp. 287-314.
Discovered at the Lilly Library: manuscript “XLI,” an autograph theoretical work by Marc-Antoine Charpentier (late 1698) (http://ranumspanat.com/xli_masterpg.htm), and five related pages: Prologue, the discovery (http://ranumspanat.com/xli_prologue.htm); Part I, the volume at the Lilly Library (http://ranumspanat.com/xli_part1.htm); Part II, Marc-Antoine Charpentier the theorist (http://ranumspanat.com/xli_part2.htm); Part III Charpentier as a drafter of composition manuals (http://ranumspanat.com/xli_part3.htm); Part IV, proof and conclusion (http://ranumspanat.com/xli_proof.htm)
The Mémoire of 1726 that inventoried Charpentier’s manuscripts (http://ranumspanat.com/html%20pages/memoire_1726.html). Note: an annotated version of this manuscript is available in New Perspectives on Marc-Antoine Charpentier, ed. Shirley Thompson (Ashgate, 2010), pp.315-339. I refer you to that edition, and suggest that you use this online version for word searches.
Thoughts provoked by several questions that Jean Duron has raised about Marc-Antoine Charpentier’s notebooks, that is, the Mélanges. Did he compose these pieces, or did he copy other peoples' music into these notebooks? (http://ranumspanat.com/html%20pages/meslanges_intro.html)
Montaigne’s’ choice of paper: Does it shed light on Charpentier’s practices? (http://ranumspanat.com/html%20pages/choice_paper.html)
The watermarks of the papers used by Marc-Antoine Charpentier (http://ranumspanat.com/html%20pages/watermarks_presenting.html), which has three parts: the watermarks in the “French” and “problematic” notebooks (http://ranumspanat.com/html%20pages/watermarks_francois.html); the watermarks in the “Roman” notebooks (http://ranumspanat.com/html%20pages/watermarks_romains.html); and my sketches of the watermarks (http://ranumspanat.com/html%20pages/watermarks_intro.html).
The gros cahier: what do its contents suggest? (http://ranumspanat.com/html%20pages/gros_cahier.html) As I state in red at the beginning of that Musing, Shirley Thompson has shown that I reasoned incorrectly in my “Cahiers 8, 9 and 10 as they probably were during Charpentier’s lifetime” (http://ranumspanat.com/cahiers8-10.htm)! So please trust her excellent article on Motets meslêz de simphonie in New Perspectives on Marc-Antoine Charpentier, ed. Shirley Thompson (Ashgate, 2010), pp. 287-314.
The wedding contract as a creative process: the format of a typical notarial contract, and some parallels that can be drawn with the format of Charpentier’s autograph manuscripts (http://ranumspanat.com/contract_creation.htm)
A Musing on the handwriting in the Biblia Sacra in which a “Charpentier” twice wrote his name (http://ranumspanat.com/charpentier_signatures.htm
Laurent Guillo’s PAP forms and the paper on which they appear: a table that brings together PAP’s, watermarks and dates, and which more or less replaces the earlier Concordance of Patricia Ranum’s watermakrs and Laurent Guillo’s printed staves. (http://ranumspanat.com/PAPs_papers_dates.htm)
Jesuit papers in Charpentier’s Mélanges: it is now possible to date some of his revisions and repairs (http://ranumspanat.com/jesuit_papers.htm)
Some intriguing patterns: Laurent Guillo’s PAP’s and Patricia Ranum’s watermarks do not coincide: they are interlaced (http://ranumspanat.com/interlaced_patterns.htm)
Some “red flags” in the flow of papers, 1673-1683 (http://ranumspanat.com/red_flags.htm)
Some doubts about the presence of paper G/16 in cahier 22 (http://ranumspanat.com/paper_G26_cahier22.htm)
Troubling “time-slippages” in Thierry Favier’s continuum of Charpentier’s handwriting (http://ranumspanat.com/favier_chart.htm)
Size as an element in Thierry Favier’s continuum of Charpentier’s handwriting (http://ranumspanat.com/favier_size.htm)
A roundtable on the Charpentier chronology (my planned answer to some puzzles that Catherine Cessac asked us to attempt to solve at the Charpentier conference in Versailles, 2004 (http://ranumspanat.com/roundtable.htm )
Musing on Laurent Guillo’s recent article, “Les papiers à musique imprimés, in Revue de Musicologie, 87 (2001), and on how his findings are related to the papers used by Charpentier (http://ranumspanat.com/html%20pages/guillo.html)
On what did I base my conjectures about the papers used by Charpentier, post-1687? (http://ranumspanat.com/html%20pages/conjecture_paper.html)
The treble clefs used by Charpentier: what can they teach us? Thoughts raised by C. Jane Gosine’s findings on clefs and handwriting (http://ranumspanat.com/html%20pages/threeclefs_meslanges.html)
What “order” did Charpentier observe for his compositions? Are his manuscripts really “out of order”? (http://ranumspanat.com/order_melanges.htm)