| Marc Antoine Charpentier |
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| 1643 births | |
| 1704 deaths | |
| baroque composers | |
| opera composers | |
| french composers | |
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LIFE He 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 himself received a very good education (perhaps with the help of the Jesuits) and registered for law school in Paris, when he was eighteen. Patricia Ranum (ref.) has made it possible to now say for certain that it is known that he was a "young man" when he studied in Rome , probably, according to Ranum, between 1667 and 1669 . While in Rome he studied with Giacomo Carissimi ; an old legend of his going to Rome to study painting, prior to his musical talent being discovered by Carissimi, is undocumented. Certainly he acquired a solid knowledge of contemporary Italian practice, which he brought back to France. Most likely he worked for Marie de Lorraine, duchesse de Guise on his return to France, as her house composer, until her death in 1688 . During this time he composed a considerable quantity of dramatic secular vocal works, as well as psalm settings, Hymn s, a Magnificat setting, a Mass , and motets (which he called stories and canticum). Beginning around 1672 , he worked with Molière after Molière's falling out with Jean-Baptiste Lully . During the 1680s Charpentier served as maître de musique at the Jesuits' Paris church of St. Louis. In addition, Charpentier served as the music teacher to Philippe, Duke of Chartres. Charpentier was appointed ''maître de musique à la Sainte Chapelle'' in 1698, a post he held until his death in 1704. One of his most famous compositions during his tenure was the Mass "Assumpta Est Maria" (H 11). MUSIC, STYLE AND INFLUENCE His compositions include Oratorio s, Mass es, Opera s, 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. MISCELLANEOUS The Prelude to his Te Deum , H. 146, a Rondeau , is very well-known as the signature tune for the European Broadcasting Union , heard in the opening credits of the Vienna New Year's Concert and the Eurovision Song Contest . CHARPENTIER'S WORKS Charpentier's compositions were catalogued by Hugh Wiley Hitchcock . They are often referred to by ''H'' (for Hitchcock) number. Operas
Biblical tragedies
Pastorales
Pastoraletta
Incidental Theater Music
Comédies-Ballet
Ballets
Divertissements
Musical Idylls
Interludes (Intermèdes)
Sonatas
Sacred Music
MEDIA BIBLIOGRAPHY Biography
Music History and Theory
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