Charpentier’s Guise and Orléans patrons

In Les Motets melêz de simphonie (1709), dedicated to Marc-Antoine Charpentier’s pupil, Philippe Duc d’Orléans (formerly Duc de Chartres), Jacques-François Mathas mark some manuscripts of Marc-Antoine Charpentier with their personal paraphe (http://ranumspanat.com/motets_melez_paraphes.htm)

St. Cecilia and Conversions: Marc-Antoine Charpentier’s oratorios in honor of St. Cecilia as an expression of the Guises’ mission to convert Protestants, 1676-1686. This Musing also demonstrates that Philippe Goibaut des Bois (“M. Du Bois de l’Hôtel de Guise”) wrote the four Cecilia libretto, and also the Prologue to H.416 (http://ranumspanat.com/caecilia_conversions.htm)

Judith, Femme forte and Marian figure: A look at how the Vulgate text was redacted into a libretto for a Guise “devotion” (http://ranumspanat.com/judith_libretto.htm)

St Charles Borromeo, Mme de Guise and the Confrérie de la Charité (http://ranumspanat.com/plague_borromeo.htm)

Charpentier’s Funeral Music, 1671-1676 (http://ranumspanat.com/html%20pages/guise_funerals.html)

1675: A Guise child dies, and the Infant Jesus becomes one of Charpentier’s principal subjects (http://ranumspanat.com/html%20pages/1675_jesus.html)

Marc-Antoine Charpentier’s “Petite Pastorale” (H.479), October 5, 1676 (http://ranumspanat.com/html%20pages/pastorale.html)

The “regular” life of two devout princesses and how it shaped Charpentier’s music (http://ranumspanat.com/html%20pages/guise_regular_life.html)

1675: Madame de Toscane comes to Paris and Charpentier begins writing oratorios
(http://ranumspanat.com/html%20pages/toscane_toparis.html)

The deaths of Mademoiselle de Guise (1688) and Madame de Guise (1696) (http://ranumspanat.com/html%20pages/deaths_deaths.html)

A funeral oration for Mme de Guise (http://ranumspanat.com/html%20pages/funeral_oration.html)

Mlle de Guise and her rank as a princesse fille (http://ranumspanat.com/guise_princesse_fille.htm)

The “Guise Music”: some thumbscale sketches of the members of Mlle de Guise’s ensemble (http://ranumspanat.com/html%20pages/guise_music.html), with pages on “Margot,” “Magdelon” and “Isabelle” (http://ranumspanat.com/html%20pages/music_BandT.html); Jacquet and Brion (http://ranumspanat.com/html%20pages/jacquet_brion.html); Talon, Grandmaison and Guyot (http://ranumspanat.com/html%20pages/talon_grandmaison_guyot.html); Colin and De Baussen (http://ranumspanat.com/html%20pages/baussen_colin.html); Loulié and Beaupuis (http://ranumspanat.com/html%20pages/beaupuis_loulie.html); Joly, Carlier, Anthoine and Montailly (http://ranumspanat.com/html%20pages/carlier_joly.html)

Mlle de Guise chooses a painting for her gallery (http://ranumspanat.com/html%20pages/gallery.html)

The Hôtel de Guise, as renovated in 1666-1667 (http://ranumspanat.com/feindre_hotel.htm)

Letters written during Mlle de Guise’s trip to Champagne, 1680 (http://ranumspanat.com/1680_champagne.htm)

A description of the benediction of Mlle de Guise's sister, the abbesse of Montmartre, 1657 (http://ranumspanat.com/benediction_montmartre.htm)

The decoration of Mlle de Guise’s country house at Bercy (http://ranumspanat.com/menagerie.htm)

The “Battle of the Churchbenches” at Guise, 1680 (http://ranumspanat.com/benches_guise.htm)

Mlle de Guise’s correspondence with Florence (http://ranumspanat.com/gondi_guise.htm)

Some Guise notarial documents (http://ranumspanat.com/guise_fugitive_acts.htm)

Concerning the historical evidence that shapes “my views” of Charpentier as a faithful servant and eloquent musical voice of the Guises (http://ranumspanat.com/html%20pages/master_servant.html)

Charpentier's non-Guise or non Orléans patrons

1672: Charpentier's collaboration with Molière, a re-reading of the evidence (http://ranumspanat.com/html%20pages/moliere_1672.html)

1679: M. de Riants Commissions an Opera (http://ranumspanat.com/riants_opera.htm)

Charles Le Brun, who commissioned music by Charpentier (Le Brun may have had village ties to Charpentier's family) (http://ranumspanat.com/html%20pages/lebrun_tedeum.html)

Some related Musings about seventeenth-century culture and possible Charpentier friends

The Frankfurt portrait of Henri Du Mont: was it based on his tomb? (http://ranumspanat.com/Dumont_tomb.htm)

A 10-part biography of Jacques Dalibert, the Paris-born “bon François” of Rome, secretary and impresario of Queen Christina of Sweden (http://ranumspanat.com/dalibert_intro.htm)

Antoine Ferrand, a musical member of Charpentier’s circle? (http://ranumspanat.com/ferrand_antoine.htm)

The death inventory of François Chapperon, Charpentier’s predecessor at the Sainte-Chapelle (http://ranumspanat.com/html%20pages/chapperon_inventory.html)

Venues

Carmelites of the rue du Bouloy (or Bouloir): The queen’s funeral,1683 (http://ranumspanat.com/queen_funeral.htm)

Carmelites of the rue de Bouloy: The nuns’ gossip (http://ranumspanat.com/carmelite_gossip.htm)

My comments on Jean Duron’s depiction of the queen’s funérailles (http://ranumspanat.com/html%20pages/duron_funeral.html)

Notre Dame de la Mercy: The complete version of my article “‘Il y a aujourd’huy musique à la Mercy,’ Mademoiselle de Guise and the Mercédaires of the rue du Chaume,” (http://ranumspanat.com/mercy_article.htm)

Notre Dame de la Mercy: My reconstruction of the Mercy church (http://ranumspanat.com/mercy_church.htm)

Notre Dame de la Mercy: Office for Notre Dame de la Mercy, approved March 18, 1679 (http://ranumspanat.com/html%20pages/mercy_office.html)

Notre Dame de la Mercy: My notes on the Ceremoniale of the Order of the Mercy and Redemption of Captives (http://ranumspanat.com/mercy_ceremony.htm)

Sainte-Chapelle: Charpentier and Chaperon (Chapperon), masters at the Sainte-Chapelle (information gleaned from Chapperon’s death inventory)  http://ranumspanat.com/html%20pages/charpentier_stechapelle.html)

The Theatines of Ste-Anne-la-Royale: Charpentier, Lorenzani and the Theatines (http://ranumspanat.com/html%20pages/theatines_charpentier.html)

Specific Pieces

Was Charpentier’s Messe à 8 voix (H.3) written for the canonization of Francesco Borgia, January 1672? (http://ranumspanat.com/html%20pages/mass_for_8voices.html)

Were Magdelaine and Marguerite Pièche nicknamed “Magdelon” and “Margot”? (H.157 and H.95 of cahier 6, 1673) (http://ranumspanat.com/Marg_Magd_cah6.htm)

Marc-Antoine Charpentier’s “Petite Pastorale” (H.479), October 5, 1676 (http://ranumspanat.com/html%20pages/pastorale.html)

Judith, Femme forte and Marian figure: A look at how the Vulgate text was redacted into a libretto for a Guise “devotion,” 1675 (http://ranumspanat.com/judith_libretto.htm)

St. Cecilia and Conversions: Marc-Antoine Charpentier’s oratorios in honor of St. Cecilia as expression of the Guises’ mission to convert Protestants, 1676-1686 (http://ranumspanat.com/caecilia_conversions.htm)

St. Charles Borromeo, Mme de Guise and the Confrérie de la Charité (1680) (http://ranumspanat.com/plague_borromeo.htm)

Charpentier and Le Brun: the Te Deum of 1687 (http://ranumspanat.com/html%20pages/lebrun_tedeum.html)

New evidence about the transfer of Marc-Antoine Charpentier's Mélanges to his nephews — and especially his Motets melez de simphonies (1709) — (http://ranumspanat.com/motets_melez_paraphes.htm)

Overture and Opening: Charpentier and “Overtures” (Les Amours de Diane et d'Endimion) (1681) (http://ranumspanat.com/overture.htm)

A working hypothesis: Charpentier’s Epithalamio (H.473) of 1685 was a wedding gift to the House of Bavaria (http://ranumspanat.com/html%20pages/epithalamio.html)

The dead queen in honored through Charpentier’s compositions (1683-1684) (H.331, H.408, H.409, H.189) (http://ranumspanat.com/queen_funeral.htm)

My answer to dating the works in the “Roman” notebooks for 1671-1672... and some musing about who commissioned these works. (Note: this is an early musing and some of the hypotheses have probably been disproved by later research on handwriting and paper! But I keep the page because someone may have cited it.) (http://ranumspanat.com/html%20pages/dating_cahiers.html)

Charpentier’s Funeral Music, 1671-1676 (http://ranumspanat.com/html%20pages/guise_funerals.html)

Some comments on Gaëtan Naulleau’s "François Couperin a-t-il menti deux fois? Le témoignage de Marc-Antoine Charpentier et l'énigme de la Sonate (H.548)” (http://ranumspanat.com/Naulleau.htm)

On Charpentier’s Médée: did he indentify himself with Medea? (http://ranumspanat.com/html%20pages/Thomas_html.htm)

A new date for cahier “II” (La Descente d’Orphée aux enfers (H.488), early 1687)(http://ranumspanat.com/descente_cahierII.htm)

At the end of the autograph score of Charpentier’s “Les Arts Florissants” comes a “continuation” (suite) in Latin (H.340), to honor the Virgin. (Note: this is an early musing and some of the hypotheses have probably been disproved by later research on handwriting and paper! But I keep the page because someone may have cited it.) (http://ranumspanat.com/html%20pages/canticum.html)

Chronologies of Charpentier’s works, 1670-1687

These files date from the early 1990s and represent my attempt to correlate my archival research and the flow of pieces in the two series of autograph notebooks. Although outdated in many respects, they contain information that has not been exploited by scholars:
Activities around Charpentier that may help us understand the raison d’être of his compositions (http://ranumspanat.com/html%20pages/activities.html)

Chronologies of Charpentier’s compositions as we see then in the “French” notebooks and the “Roman” notebooks (http://ranumspanat.com/html%20pages/charpentier_chronologies.html)