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CHARPENTIER, Marc-Antoine - Komponisten

   Titels gefunden: 6
 

Komponist: CHARPENTIER, Marc-Antoine ((1650-1704))
Sein Leben:
[in French] (English text available below.)
Elève de Carissimi à Rome, il revient composer en France et obtient une large audience dans les milieux italianisants. Il compose de nombreuses pièces pour des auteurs dramatiques, notamment Corneille et Molière, qui le prend comme musicien après une brouille avec Lully.

1670: Andromède, musique de scène
1670: Le Reniement de Saint Pierre, histoire sacrée
1673: Le Malade imaginaire, prologue et 3 intermède pour la comédie-ballet de Molière
1680: maître de musique de la Duchesse de Guise
1680: Les Leçons de ténèbres H. 96 à 110
1683: Le Massacre des innocents, histoire sacrée
1684: Maître de chapelle à l'Eglise Saint-Louis
1688: David et Jonathas

Il continue à composer des divertissements, des airs de cour, des cantates et des pièces instrumentales. Mais c'est à son oeuvre religieuse qu'il doit d'être considéré comme l'un des plus grand maître de la musique française du 17ème siècle. Il compose tout au long de sa vie un nombre très important de Messes, Antiennes, Hymnes et Motets.

1692: Te Deum, pour solistes, choeurs et orchestre en ré Majeur H. 146 où Charpentier apparaît comme un précurseur de Händel.
1693: Médée

En 1698 et jusqu'à sa mort il devient maître de chapelle à la Sainte-Chapelle

1702: Le Jugement de Salomon

Son oeuvre

Marc-Antoine Charpentier est avant tout un grand novateur.
Novateur dans l'art de la modulation et de la dissonance, il fixe les formes de l'oratorio moderne (Les Histoire sacrées) et introduit la cantate en France (Orphée descendant aux enfers). Il abandonne la monodie pour la polyphonie accompagnée et innove aussi dans l'instrumentation en rompant avec les "familles" de sonorités.
Pédagogue enfin, Charpentier a fixé dans son traité des Règles de la composition l'essentiel de ce qu'un compositeur doit savoir des règles de l'harmonie.

Bibliographie

H. Wiley Hitchcock, Catalogue raisonné des oeuvres de M.-A. Charpentier, Paris, 1982
C. Kintzler, Poétique de l'opéra français de Corneille &agarve; Rousseau, Paris, 1991
Voir aussi le Dictionnaires de la musique, Larousse

Source

Dictionnaire biographique des musiciens, Laffont
Dictionnaire de la musique, Honegger, Bordas
(contribution by Remco Huizing <valentini
freemail.nl>)


Quelques corrections de la part de la "biographe" de Charpentier:
Naissance: 1643: il avait "18 ans ou environ" en Dec. 1661-Jan. 1662, selon l'inventaire après décès de son père.
"Maître de Musique" chez les Jésuites... He wrote for them from the early 1670s until he left them for the Sainte-Chapelle in June 1698. He did not become their full-time composer until circa late 1687.
For a book on Charpentier, see Cathérine Cessac, Marc-Antoine Charpentier (Paris: Fayard, 1988), in French; tr. into English, same title (Portland, OR: Amadeus Press, 1995.
and see http://ourworld.compuserve.com/homepages/PRanum for: "My Research" which has a detailed listing of all the things I have written about Charpentier since the publication of Cessac's book.
(contributed by Patricia M. Ranum <PRanum
compuserve.com>)


Te Deum in D major (H.146) and Missa "Assumpta est Maria" (H.11)
St. James's Singers, St. James's Baroque Players; Ivor Bolton
A Teldec recording

No works better exemplify the character and style of the music of Marc-Antoine Charpentier (1643-1704) than the settings on this recording, both probably dating from his last years, when he was "maître de musique" at La Sainte-Chapelle in Paris.
Although frequently performed and recorded, the "Te Deum" in D major (H.146), one of the four extant settings by Charpentier of this text, has never before been available in an edition which rigorously follows the composer's intentions. However, such an edition, commissioned by Faber Ltd., has now been prepared by the present author, and forms the basis of this recording. This setting, with its "royal" additions of trumpets and timpani, was clearly following a trend established by Lully's version of 1677 and Lalande's of 1684 (and must have been closely contemporary with Purcell's of 1694). Such works were almost always designed to adorn celebrations of royal victories, births marriages and other occasions for thanksgiving. Charpentier's D major setting is notable not only for its famous opening "rondeau", but also for the use of trumpets and timpani at significant moments in depicting the text. Most impressive are the passages heralding the dramatic utterances of "Judex crederis" by the bass, the whole seque
Charpentier employs a vocal "petit choeur" of eight singers, two each of "dessus" (soprano), "hautecontre" (high tenor), "taille" (tenor) and "basse" (bass), with a "grand choeur" in the same four parts. He also specifies a wide range of instrumental colour in the "obbligati" that adorn most movements for these solo voices, singly or in ensemble: sometimes there is a pair of solo violins, flutes or oboes; at other points pairs of violins and flutes, or flutes and oboes. The full orchestra, on the other hand, is only used to accompany the "grand choeur", and for the purely instrumental passages, designated "simphonie" (a term indicating both the nature of the music and the use of the whole band of wind and strings). In Charpentier's large-scale works, the orchestra was normally only in four parts. This was not, however, the four-part scoring of the Italians (two violins, viola, cello) but rather the French usage of a single violin line, two viola parts, and a bass line. The violins ("dessus") were usually divi
Few mass settings were composed for the French court under the "ancien régime", since the royal preference in worship was for the solemn low mass where the service was said, while the musicians simultaneously performed "grands motets" (mostly to psalm texts). However, Charpentier worked not at the court, but rather on its fringes and thus had at least the occasional opportunity to set the text of the mass. Eleven of his settings survive, of which the last and most developed is "Assumpta est Maria: Missa sex vocibus cum simphonia." (H.11).
Though the title specifies six voices ("SSHautecontreTBB"), most ensembles call for only three of them at any one time. For example, in the "Credo", from "Et ex Patre natum"", "SSH-C" soli alternate with "H-CTB" soli. Thus, three groups of soloists, drawn from the "petit choeur", sing in alternation not only with each other but also with the "grand choeur". Unlike the "Te Deum", the writing for the "grand choeur" in this mass is almost always in the five-part texture used in the French royal chapel ("SH-CTBarB); this scoring may suggest that this work was destined for a more than usually important celebration of the Feast of the Assumption, perhaps when royalty where present. But there are no instrumental "obbligati" with the vocal "petit choeur" as in the "Te Deum", their accompaniment in this mass (as the extant parts show) being limited to organ, bass violin and bass viol (and probably also a theorbo). On the other hand, the "grand choeur", as in the "Te Deum", is accompanied by wind and four-part strings.
It is in the larger movements, "Gloria" and "Credo", where the dramatic contrasts of the text demand it, that the alternation between "petit choeur" and "grand choeur" is most impressively exploited. The "Gloria" is mostly for the "grand choeur à 5", although twice the "dessus" (sopranos) divide to give six parts in all. One of the two interventions of the "petit choeur" is "Domine Deus", the three persons of the Trinity being represented successively by "basse-taille", "taille" and "haute-contre". The "Credo" has much more music for the "petit choeur", with the full ensemble used only four times: at the opening, for "Qui propter" as far as "Crucifixus", for "Et in Spiritum Sanctum", and for the concluding "Et vitam venturi saeculi. Amen".
The possible royal connections with this mass are underlined by the addition in Charpentier's manuscript score of the "Domine, salvum fac regem" (O Lord, save the king), traditionally sung at the end of the king's mass, and bringing the whole work to a noble conclusion.
© 1996 Lionel Sawkins
(contributed by Robert Priewasser <priewasser
chello.at>)

Sounds of Splendour -Music for Trumpet and Organ from Norwich Cathedral

Sounds of Splendour -Music for Trumpet and Organ from Norwich Cathedral
ID: BC3009
CDs: 1
Type: CD
Subkolektion: Organ

The magnificence of a cathedral organ, combined with the brilliance of the trumpet, stimulates the imagination of all music lovers. Australian trumpeter, John Coulton, along with English organist David Dunnett, give superb performances of this recital repertoire. The range of the program offered here gives an insight into the versatility of this musical combination: joyful and glorious music from the Baroque, beautiful and soulful melodies found in Faure and Gounod, and powerful forces of transparent colour found in the work by Petr Eben.

Albinoni: Organ Concerto in F major / anon.: Gloria in Excelsis Deo /Trad. Arr. Jean Thilde /Charpentier, M-A: Te Deum, H146: Prélude /Eben: Okna (Windows) /Fauré: Requiem: Pie Jesu /Franck, M: Suite de Danses /Gounod: Ave Maria /Hovhaness: Prayer of Saint Gregory, Op. 62b /Martini, G B: Toccata /Purcell: Sonata for Trumpet and Strings Z850 / Torelli: Sinfonia con tromba
15.00 eur Buy

Musique Pour Mazarin! Qui a le coeur a tout - Le Jardin Secret

Musique Pour Mazarin! Qui a le coeur a tout - Le Jardin Secret
ID: COR16060
CDs: 1
Type: CD
Subkolektion: Chamber Ensemble

Continuing its work with young artists, CORO has the pleasure of announcing Musique Pour Mazarin! the debut recording by le Jardin Secret, winners of both the first prize and audience prize at the Early Music Network Young Artists Competition 2007.

This talented young ensemble consisting of soprano, harpsichord, theorbo, viola da gamba and baroque cello, present a delightfully varied programme featuring a diverse mixture of French and Italian music that would have been heard at the court of the flamboyant Cardinal Jules Mazarin.

The juxtaposition of French and Italian works on this disc shows clearly the rich selection of music heard at Mazarin’s court in the late 1600s. They demonstrating the stark contrast between the French and Italian styles of the period with the added ingredient of political and cultural rivalry and intrigue - the Italian born Cardinal importing Italian culture into a resistant French context - contributes a little "piquancy" to the mix!

On this disc, which includes chansons by Charpentier, extracts of operas by Lully and Cavalli and the delightful, if at times brutal, ‘Mazarinades’, le Jardin Secret bring alive the emotive energy of the music, opening the door to the aesthetic world of this Baroque period in all its beguiling beauty.
18.00 eur Buy

Music for the Virgin Mary - Concerto delle Donne

Music for the Virgin Mary - Concerto delle Donne
ID: SIGCD073
CDs: 1
Type: CD
Kolektion: Choral CollectionSubkolektion: Choir

Recorded in the beatiful church of Notre Dame, Rozay-en-Brie, by Concerto Delle Donne, this CD celebrates 300 years of Marc-Antoine Charpentier, whose works ranged from simple settings of hymns composed for unaccompanied solo voice to works of great complexity and virtuosity for soloists, double choir and double orchestra. Here, the focus is on the sacred works that Charpentier composed for two and three solo women's voices. The three principal sopranos of of Concerto delle Donne all feature as soloists. Other composers included on this disc are Jean-Baptiste Lully, Nicholas-Antoine Lebčgue & Guillame-Gabriel Nivers.

Reciting the Divine Office was central to the life of a contemplative nun, and at many convents musical instruction was a regular part of daily life. On major feast-days, it was customary to sing, rather than simply recite, the Offices of Matins and Vespers. Throughout the seventeenth century, there are references to nuns singing the Offices, as well as singing motets during the Mass and at the popular devotional service of Salut (or Benediction). This is witnessed, not only in descriptions from the period, but also in the extensive repertory of sacred music known to have been composed for women’s voices by seventeenth-century composers such as Charpentier, Clérambault, Couperin, Lully and Nivers.

There was a dichotomy in elevated seventeenth-century French society: on the one hand, there was the pomp and ceremony of Court, marked by frivolity and artificiality; on the other hand, there was incredible religious fervour found in the convents and other religious establishments, at which members of Court society spent many hours of each day in pious devotion. These noblewomen balanced the life of luxury and attention to social obligations at Court, with a life of prayer, devotion and service. The Guise princesses, for whom Charpentier worked during the 1670s and 1680s, epitomise the devout noblewoman, fulfilling both their worldly and their religious duties on a daily basis. They were particularly devoted to worship of the Virgin and the Infant Jesus which is reflected in the numerous pieces composed by Charpentier in honour of the Virgin Mary - some of which are recorded here.

The religious practices of convents within Paris differed widely depending on the Order, and this affected the type of music used within the establishment. In keeping with Counter-Reformation ideology, emphasis was placed on devotion to the Blessed Sacrament and the penitential rites, as well as the veneration of saints. Devotion to the Blessed Sacrament was seen in the popular evening service of Salut at which the Host was venerated, and hymns, litanies and motets were sung. Motets were also sung during the services held by the confraternities of the Virgin.
18.00 eur Buy

M.A. CHARPENTIER - Miserere and other sacred works - Ensemble L' Apotheose - Ensemble Vocale Ricercare

M.A. CHARPENTIER - Miserere and other sacred works - Ensemble L' Apotheose - Ensemble Vocale Ricercare
ID: STR37048
CDs: 1
Type: CD

18.00 eur Temporarily out of stock

Ceremony of Trumpets - Miroslav Kejmar and the Prague Trumpeters - Telemann - Stolzel - Schein…

Ceremony of Trumpets - Miroslav Kejmar and the Prague Trumpeters - Telemann - Stolzel - Schein…
ID: UP0006
CDs: 1
Type: CD
Kolektion: BaroqueSubkolektion: Trumpet

(1 - 6) - Kejmar, Miroslav, trumpet
Zvolanek, Marek, trumpet
Sedivy, Zdenek, trumpet
Sedivy, Jiri, trumpet
Pecha, Antonin, trumpet
Kejmar, Jan, trumpet
Kejmar Jr., Miroslav, timpani
(7) - Kejmar, Miroslav, trumpet
Zvolanek, Marek, trumpet
Sedivy, Zdenek, trumpet
Sedivy, Jiri, trumpet

(8 -10 ) Kejmar, Miroslav, trumpet
Zvolanek, Marek, trumpet
Sedivy, Jiri, trumpet
Pecha, Antonin, trumpet
Kejmar, Jan, trumpet
Halir, Jaroslav, trumpet
Barta, Ales, organ
Kejmar Jr., Miroslav, timpani
Czech Philharmonic Chamber Orchestra
Prantl, Pavel, Conductor
(11)
Kejmar, Miroslav, trumpet
Zvolanek, Marek, trumpet
Sedivy, Zdenek, trumpet
Sedivy, Jiri, trumpet

(12- 18) Kejmar, Miroslav, trumpet
Zvolanek, Marek, trumpet
Pecha, Antonin, trumpet
Kejmar, Jan, trumpet
Barta, Ales, organ
Czech Philharmonic Chamber Orchestra
Prantl, Pavel, Conductor

(19)
Kejmar, Miroslav, trumpet
Zvolanek, Marek, trumpet
Pecha, Antonin, trumpet
Halir, Jaroslav, trumpet
Barta, Ales, organ
Kejmar Jr., Miroslav, timpani
Czech Philharmonic Chamber Orchestra
Prantl, Pavel, Conductor
(20-21) Kejmar, Miroslav, trumpet
Zvolanek, Marek, trumpet
Sedivy, Zdenek, trumpet
Sedivy, Jiri, trumpet
´(22-24)
Kejmar, Miroslav, trumpet
Zvolanek, Marek, trumpet
Pecha, Antonin, trumpet
Kejmar, Jan, trumpet
Barta, Ales, organ

(25-27) Kejmar, Miroslav, trumpet
Zvolanek, Marek, trumpet
Sedivy, Zdenek, trumpet
Sedivy, Jiri, trumpet
Pecha, Antonin, trumpet
Kejmar, Jan, trumpet
Kinkal, Arnold, trumpet
Kejmar Jr., Miroslav, timpani
(28) Kejmar, Miroslav, trumpet
Zvolanek, Marek, trumpet
Sedivy, Zdenek, trumpet
Sedivy, Jiri, trumpet
(29 - 31) Kejmar, Miroslav, trumpet
Zvolanek, Marek, trumpet
Sedivy, Jiri, trumpet
Kejmar, Jan, trumpet
Kejmar Jr., Miroslav, timpani
(32-34)
Kejmar, Miroslav, trumpet
Zvolanek, Marek, trumpet
Sedivy, Jiri, trumpet
Pecha, Antonin, trumpet
Kejmar, Jan, trumpet
Halir, Jaroslav, trumpet
Barta, Ales, organ
Kejmar Jr., Miroslav, timpani
Czech Philharmonic Chamber Orchestra
Prantl, Pavel, Conductor
(35) Kejmar, Miroslav, trumpet
Kejmar, Jan, trumpet
Barta, Ales, organ
15.00 eur Buy

Czech Christmas Carols (Štědrý večer nastal): Boni Pueri, ensemble - Musica Bohemica

Czech Christmas Carols (Štědrý večer nastal):  Boni Pueri, ensemble -  Musica Bohemica
ID: UP0168
CDs: 1
Type: CD
Kolektion: Christmas MusicSubkolektion: Carols

15.00 eur Temporarily out of stock

 
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