Panat in postcardThe Ranums'

Panat Times

Volume 1, redone Dec. 2014


Volume 1


Orest's Pages

Patricia's Musings



Musical Rhetoric

Transcribed Sources


Charpentier's Patrons and Friends

Charpentier’s Guise and Orléans patrons: some Musings that might shed light on them as persons

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

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

Judith, Femme forte and Marian figure: A look at how the Vulgate text was redacted into a libretto for a Guise “devotion”

St Charles Borromeo, Mme de Guise and the Confrérie de la Charité

Charpentier’s Funeral Music, 1671-1676 (and two related Factlets: Charpentier's funeral music of 1672-1674 and A Factlet on grand deuil )

1675: A Guise child dies, and the Infant Jesus becomes one of Charpentier’s principal subjects

Marc-Antoine Charpentier’s “Petite Pastorale” (H.479), October 5, 1676

The “regular” life of two devout princesses and how it shaped Charpentier’s music

The deaths of Mademoiselle de Guise (1688) and Madame de Guise (1696)

A funeral oration for Mme de Guise

Mlle de Guise and her rank as a princesse fille

The “Guise Music”: some thumbnail sketches of the members of Mlle de Guise’s ensemble, and a related Factlet: "The Great Guise Music," a name I coined for the Guise ensemble of the 1680s

1675: Madame de Toscane comes to reside at Montmartre, and Charpentier begins writing oratorios 

Mlle de Guise chooses a painting for her gallery

The Hôtel de Guise, as renovated in 1666-1667

Letters written during Mlle de Guise’s trip to Champagne, 1680

A description of the benediction of Mlle de Guise's sister, the abbesse of Montmartre, 1657

The decoration of Mlle de Guise’s country house at Bercy

The “Battle of the Churchbenches” at Guise, 1680

Mlle de Guise’s correspondence with Florence

Some Guise notarial documents

Concerning the historical evidence that shapes “my views” of Charpentier as a faithful servant and eloquent musical voice of the Guises

Did Mme de Guise commission Charpentier's Epithalamio (H.473)?

Guise activities,1670-1687, that appears to have shaped Charpentier's production; and the Evidence about some of those activities, 1670-1680

Charpentier's non-Guise or non-Orléans patrons or associates

1672: Charpentier's collaboration with Molière, a re-reading of the evidence

1679: M. de Riants Commissions an Opera

Charles Le Brun, who commissioned music by Charpentier (Le Brun may have had village ties to Charpentier's family)

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

The Frankfurt portrait of Henri Du Mont: was it based on his tomb?

A 10-part biography of Jacques Dalibert, the Paris-born “bon François” of Rome, secretary and impresario of Queen Christina of Sweden

Antoine Ferrand, a musical member of Charpentier’s circle?

The death inventory of François Chapperon, Charpentier’s predecessor at the Sainte-Chapelle,  which is accompanied by a Musing on Charpentier at the Sainte-Chapelle, and another on Chapperon's taste

The Jesuits: Music and devotion in Jesuit churches/schools, in the Nouvelles Ecclésiastiques, 1676-1694