Panat in postcardThe Ranums'

Panat Times

Volume 1, redone Dec. 2014


Volume 1


Orest's Pages

Patricia's Musings



Musical Rhetoric

Transcribed Sources


Charpentier Pages in Volume 1:

His Manuscripts

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 ( 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) (, and five related pages: Prologue, the discovery (; Part I, the volume at the Lilly Library (; Part II, Marc-Antoine Charpentier the theorist (; Part III Charpentier as a drafter of composition manuals (; Part IV, proof and conclusion (

The Mémoire of 1726 that inventoried Charpentier’s manuscripts ( 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? (

Montaigne’s’ choice of paper: Does it shed light on Charpentier’s practices? (

The watermarks of the papers used by Marc-Antoine Charpentier (, which has three parts: the watermarks in the “French” and “problematic” notebooks (; the watermarks in the “Roman” notebooks (; and my sketches of the watermarks (

The gros cahier: what do its contents suggest? ( 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” (! 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 (

A Musing on the handwriting in the Biblia Sacra in which a “Charpentier” twice wrote his name (

 Musings rendered more or less obsolete by Catherine Cessac’s Chronologie raisonnée of Charpentier’s autograph manuscripts

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. (

Jesuit papers in Charpentier’s Mélanges: it is now possible to date some of his revisions and repairs (

Some intriguing patterns: Laurent Guillo’s PAP’s and Patricia Ranum’s watermarks do not coincide: they are interlaced (

Some “red flags” in the flow of papers, 1673-1683 (

Some doubts about the presence of paper G/16 in cahier 22 (

Troubling “time-slippages” in Thierry Favier’s continuum of Charpentier’s handwriting (

Size as an element in Thierry Favier’s continuum of Charpentier’s handwriting (

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 ( )

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 (

On what did I base my conjectures about the papers used by Charpentier, post-1687? (

The treble clefs used by Charpentier: what can they teach us? Thoughts raised by C. Jane Gosine’s findings on clefs and handwriting (

What “order” did Charpentier observe for his compositions? Are his manuscripts really “out of order”? (

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