Marc-Antoine Charpentier (1643 – 1704) was a French
composer of the Baroque era. Exceptionally prolific and
versatile, Charpentier produced compositions of the
highest quality in several genres. His mastery in
writing sacred vocal music, above all, was recognized
and hailed by his contemporaries. He is not known to be
related to Gustave Charpentier, the late-nineteenth and
early-twentieth century French opera composer.
Charpentier was born in or near Paris, the son of a
master scribe...(+)
Marc-Antoine Charpentier (1643 – 1704) was a French
composer of the Baroque era. Exceptionally prolific and
versatile, Charpentier produced compositions of the
highest quality in several genres. His mastery in
writing sacred vocal music, above all, was recognized
and hailed by his contemporaries. He is not known to be
related to Gustave Charpentier, the late-nineteenth and
early-twentieth century French opera composer.
Charpentier was born in or near Paris, the son of a
master scribe who had very good connections to
influential families in the Parlement of Paris.
Marc-Antoine received a very good education, perhaps
with the help of the Jesuits, and registered for law
school in Paris when he was eighteen. He withdrew after
one semester. He spent "two or three years" in Rome,
probably between 1667 and 1669, and studied with
Giacomo Carissimi. He is also known to have been in
contact with poet-musician Charles Coypeau d'Assoucy,
who was composing for the French Embassy in Rome. A
legend claims that Charpentier initially traveled to
Rome to study painting before he was discovered by
Carissimi. This story is undocumented and possibly
untrue; at any rate, although his 28 volumes of
autograph manuscripts reveal considerable skill at
tracing the arabesques used by professional scribes,
they contain not a single drawing, not even a
rudimentary sketch. Regardless, he acquired a solid
knowledge of contemporary Italian musical practice and
brought it back to France.
His compositions include oratorios, masses, operas, and
numerous smaller pieces that are difficult to
categorize. Many of his smaller works for one or two
voices and instruments resemble the Italian cantata of
the time, and share most features except for the name:
Charpentier calls them air sérieux or air à boire if
they are in French, but cantata if they are in
Italian.
Ave Regina Caelorum is one of four Marian antiphons,
with following versicles and prayers, traditionally
said or sung after each of the canonical hours of the
Liturgy of the Hours. The prayer is used especially
after Compline, the final canonical hour of prayer
before going to sleep. It is said from the Feast of the
Presentation (February 2) through Wednesday of Holy
Week. The origins of the prayer are unknown but it can
be found included in a twelfth-century manuscript.
Although this piece was originally written for Voice
(SS) and accompainment, I created this arrangement for
Flute, Oboe & Concert (Pedal) Harp.
PARTITION