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)
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?
The Mémoire of 1726 that inventoried Charpentier’s manuscripts. An annotated version of this manuscript is available in New Perspectives on Marc-Antoine Charpentier, ed. Shirley Thompson (Ashgate, 2010), pp.315-339. For this reason, the Mémoire will not be re-formatted and re-published on our site.
The gros cahier: what do its contents suggest? (http://ranumspanat.com/html%20pages/gros_cahier.html). 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)! Therefore, 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.
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). The above files are superceded by Catherine Cessac's Chronologie raisonnée des manuscrits autographes de Charpentier. Essai de bibliographie matérielle available in the Bulletin Charpentier (2009) published as a PDF by the Centre de Musique Baroque de Versailles, number 3 (2010-2013), 43 p. - XIX p. (tableau) - 4-8-62 planches.
A Musing on the handwriting in the Biblia Sacra in which a “Charpentier” twice wrote his name. This Musing does not merit re-formatting because the hand clearly is not Charpentier's and I consider the matter to be closed.
I see little profit in reproducing the following pages, which are in the main superceded by Catherine Cessac's Chronologie raisonnée des manuscrits autographes de Charpentier. Essai de bibliographie matérielle available in the Bulletin Charpentier (2009) published as a PDF by the Centre de Musique Baroque de Versailles, number 3 (2010-2013), 43 p. - XIX p. (tableau) - 4-8-62 planches. Should one of them be essential to someone's research, contact me and I will endeavor send you a version of the file:
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)
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)