The
Ranums'
Panat Times
Volume 1, redone Dec. 2014
Specific Pieces
Over the years I have deduced events for which Charpentier wrote specific pieces. Sometimes, on the other hand, I could merely propose working hypotheses. And sometimes my working hypothesis was way off target. I like to think that my "aim" improved as I found actual facts on which I could base my reasoning.
New pages will be added in the coming months. Until then, here is a list of my "Musings" about the raison d'être of specific pieces
Specific Pieces
NEW: A Corpus Christi procession at Versailles, June 5, 1681, apparently to Charpentier's music (This is a factlet drawn from the Mercure Galant
Marc-Antoine Charpentier’s “Petite Pastorale” (H.479), October 5, 1676
St. Charles Borromeo, Mme de Guise and the Confrérie de la Charité (1680)
Charpentier and Le Brun: the Te Deum of 1687 , and the related Musings on the cost of the event and possible affective ties between the Charpentiers and the Le Bruns
Overture and Opening: Charpentier and “Overtures” (Les Amours de Diane et d'Endimion) (1681)
The dead queen in honored through Charpentier’s compositions (1683-1684) (H.331, H.408, H.409, H.189) , which provides a link to Jean Duron's differing understanding of just what constituted the queen's funérailles and to some gossiping Carmelites
A new date for cahier “II” (La Descente d’Orphée aux enfers (H.488), 1687. Reworked and updated, Feb. 1, 2015.
Charpentier’s Funeral Music, 1671-1676 (You may also wish to see A Factlet on grand deuil, posted Feb. 2015), and another Factlet with information about these funerals: Charpentier's funeral music of 1672-1674)
Chronologies of Charpentier’s works, 1670-1687
The following 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 Although outdated in many respects, they contain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
—The evidence upon which I based my chronologies
—Chronologies of Charpentier’s compositions as we see then in the “French” notebooks and the “Roman” notebooks (The chronologies in question were part of this site prior to the crash of 2014)
Several Musings that I do not plan to reproduce in this reworked site
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)
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 identify himself with Medea? (http://ranumspanat.com/html%20pages/Thomas_html.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)