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This is something of an anomaly since this appears to be the same paper as that in the remainder of Cahier It appears as though Charpentier left blank space on folios 30 v —31 v on which to copy the remaining noels H. He then copied the music at a later date. There is also a gap at the bottom of folios 31 v and page 33, as well as two blank pages pp. The layout of the score, the neatness, and the detailed instructions for performers perhaps for the benefit of a copyist suggest that these copies were made for a purpose slightly different from those for other cahiers in the series.

Whereas many other works appear to be fair copies for the composer himself to use or on occasions rough drafts, this might have been written for someone else. The works in Cahier 75 would therefore have had to be written for religious celebrations outside of the regular services there. She mentions documents from the period that refer to the use of singers from the Sainte-Chapelle at these services.

Cahier 75 has its number erased, and it looks as though it could have been a continuation of Cahier 66 see 3. All these cahiers use the earliest forms of the clefs G-1 and C While she postulates that the cahier is out of order by two cahiers and therefore a few months , evidence of clef formation, and annotations suggests that in fact it is probably out of order by approximately 50 cahiers, and that the cahier as it now exists therefore dates from over a decade later than previously believed.

Ranum has identified occasions in the year for which the music in Cahier IX could have been composed since this is where the cahier would fall if the cahiers were arranged in chronological order. In other cahiers, Charpentier includes references to instrumental parts being added or alternative voices being used, but he does not rewrite the composition. The evidence suggests that the entire composition was reworked or perhaps entirely recomposed for the Jesuits.

Examples of the handwriting in Cahiers 1—30 in both series with some notable exceptions which have already been discussed share the same characteristics in the style of clef formation, yet bear no relationship to the writing in Cahiers VI—XI. The clef formation in Cahiers VI—IX is the same, for example, as that in Cahiers 61 and LXI, but shares none of the characteristics found in the cahiers that should be contemporaneous with it—in other words, those with numerals early in either series. Rather, the evidence strongly suggests that these Cahiers were copied at a much later date.

This version is crossed out, with words indicating that the prelude is copied with the rest of the Te Deum. There may have been an earlier version of the Te Deum, hence its position in Cahier X, and this was revised at a later date by the addition of the prelude that is now in Cahier XXIV. It is this revised version that now appears in Cahier X.

Il faut le coppier encore dans toutes les parties apres les pauses du benedictus. They include the mass setting for four choirs H. The handwriting in this cahier is not as neat as that in many of the others, and on page 48 Charpentier has scribbled along the edge of the page, as if to correct the flow of the ink since there are a lot of smudges. It appears as though this cahier was written as a rough draft rather than a fair copy. The writing of the text on pages 47—8 is in the hand of another scribe, and is the same on page 62 and pages 64—5 as well as the titles on pages 57 and 69, and the final remarks on pages 70 and 88 of Cahier XVII.

It uses the G-2 rather than clef G-1 that is found elsewhere in the cahier there are no C clefs on the page. The writing is not as neat as elsewhere in the Meslanges, there are more mistakes, and often in the chorus sections only one of the parts includes the text, as on folios pages 77—8 and 80—3. On folio 53 v , there is reference to music for Le Malade imaginaire in Cahier Throughout the cahier the clefs are those associated with music written in the s clefs G-1 and C At the bottom of folio 40 r , the style of clef formation changes to G-1 and C-2 for the remainder of the cahier.

It comprises a mixture of papers. The title to this overture was altered using what appears to be the same ink as that used to copy out the Caprice. At the bottom of the page, he has written a fanfare for trumpets in a later hand, using clef G The psalm setting itself is in Cahiers 22—3. At the bottom of folio 53 v , Charpentier has written the type of cue commonly found at the end of a cahier: This, however, is not the last page in the cahier: The inclusion of the verbal cue on folio 53 v suggests that Cahier XXIV was originally organized with the folios in an order that was different from that now found.

There are, however, plausible explanations for these shifts in style. It is not simply a haphazard mixture of styles; rather, it appears that Charpentier copied music at a later date in spaces that were left in the cahier, and in the case of folios 52 r —53 v he added folios. A scribe has crossed out the number of the cahier and the folio number which started at The scribe mistakenly was giving a cue to the following volume 20 rather than the following cahier.

The same writing can be found on folio 9 r of Cahier XXIX with the original minuet; there is a reference to the later minuet on folio 13 r. The later part of the cahier from folio 13 v , which uses G-2, can be dated as February because of the music for La Pierre philosophale H.

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The style of G-2 used in this cahier is somewhat tentative and represents an early example of the change in clef formation. This same transition occurs in Cahiers 31—2, reaffirming the view that the two series were compiled simultaneously. It includes the completion of La Pierre philosophale H.

On the same folio, there is a reference to a prelude in Cahier XI. There is, however, no such prelude in the current Cahier XI nor in Cahier Cahier XI is, in terms of the date it was copied, one of the cahiers out of order in the series; material was probably lost from this cahier at the time that revisions were made and the cahier was recompiled.

These slips in the style of clef formation can be explained only by noting that these cahiers are transitional in terms of handwriting style: The scribe who altered the cue was clearly pointing to the next volume in the series, rather than the next cahier. This cue was probably altered when the library purchased the manuscripts and bound them. As in other instances in the Meslanges, cahiers or folios from cahiers may have been removed from the main body of the collection, and at a later date changes and additions included on the scores. Such indications arise where the taille singing the bas-dessus part down an octave would be singing below the continuo, thus altering the harmonies.

Similar examples are found elsewhere when lower voices sing parts originally written for dessus or bas-dessus. Ranum has hypothesized that the works contained in the series with roman numerals were written as commissions for use outside of the Guise household see par. On folio 25 v , Charpentier uses clef C-3—the clef associated with his last period of copying. The systems are clearly marked by the use of brackets, a feature found only in the later works.

Beginning at folio 17 r of Cahier LXI, Charpentier uses the latest form of C clef C-3 , and this is then used consistently throughout the remaining cahiers in this series. The number of the cahier has been pasted onto the page, suggesting that perhaps another number was originally given to this cahier. It also shows a greater use of capitalization that is another feature associated with the last period see especially Cahiers 74—5.

Evidence, such as the clef formation, strongly suggests that the music contained in Cahier [b] represents the original works, with the revised versions in Cahier LXIII.

As in the previous cahiers, the systems are often bracketed together. The style of clef formation is the same, and they also include greater details concerning instrumentation and dynamics. It is unclear what Charpentier intended to include as the final motet. No reference is made elsewhere to another work.

On folio 6 v the scribe lists two works under Cahier I: Also, the continuo part is clearly distinguished from the orchestral basses de violon: The same names appear in many of the cahiers that precede LII, as well as in, for example, Cahiers 47 and [49]. Similarly, many of the works composed for the Guise household specify the use of viols and harpsichord.

Of particular interest is the inclusion of the names of two singers, Mlle Guyot and M.

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Anthoine, who were singers in the Guise household who began performing late in The clef formation G-2 and C-2 confirms a date of the s. The style of writing is not found elsewhere and was clearly not copied by Charpentier. The remaining pages in the cahier fol. It is striking that the only reference to Charpentier in the piece occurs on the first page, in the hand of another scribe. The mass setting H. While Hitchcock regards the works in Cahier [b] as revisions and variants of earlier works, it seems more plausible that these works were the original versions, and that the revisions were copied into Cahier LXIII.

These works use clefs G-2 and C-3 and probably date from the s. On pages 50—1, Charpentier changes to G If Cahier [c] indeed included these works, it dates from a later period than Cahier [d]. The handwriting, the paper, and the reference to later additions, suggest that Cahier [c] dates from the late s.

One further work, H. Charpentier also wrote a mass for the Port Royal, H. Various pieces of evidence, including the handwriting, suggest that Cahier [d] dates from a period close to that of Cahier LI. In addition, some of the pages within cahiers were, for various reasons, recopied at a later date. In the majority of cases, the most convincing explanation is that these cahiers represent re-workings of earlier works to fit a new style of composition, with new scorings—often intended for a new group of performers. Certainly, in terms of an understanding of performance practice and stylistic development, it is the chronology of copying that becomes as significant as the date of composition.

Her principal research interest is the sacred music of Marc-Antoine Charpentier and his French contemporaries. Although most of the manuscript collection is numbered using foliation, there are many instances of pagination. Often Charpentier changes from foliation to pagination to mark the end of a cahier or to accommodate additions. Some of the changes in numbering have been made by another scribe. Content of Ranum website has been substantially revised since the publication of this article.

Ranum also has extensive information concerning chronology on her website. The present author included a discussion of chronology in C.

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Almost all of the manuscript partbooks for music by Charpentier are located F-Pn: Vm 1 H. There is one partbook in C-Qhd: Ms Charpentier T11 C.

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The partbooks for H. Of the seven sets, two contain unica H. The following Cahiers are missing: See Ranum, Vers une chronologie , 11— It is unclear why the first page of the Meslanges was copied by someone other than the composer. It would seem unlikely that Charpentier was planning to engage a scribe to copy his music so early in his career. In addition to questions raised in Cahier 5, it also raises questions about the dating of Cahiers VI—XI, which were also copied at a later date than their position in the Meslanges would suggest.

For a more detailed discussion of Cahier 5, see C. To further complicate matters, folio 1 r—v is duplicated in the Minkoff facsimile as modern pages 3—4. This is the second piece for St. Augustin in the Guise notebooks: Du Bois, a Jansenist. Nor can this lost motet possibly be H. Indeed, it is difficult to see how this lost motet could ever have been at the end of Cahier 9! Judith continues into Cahier 11 specifically, to the recto of fol. This makes it virtually impossible for the missing motet to have once been located just after Judith.

In short, I think we have to conclude that this piece for August 28 was located before , rather than after Judith: He mistakenly identifies this cahier, however, as belonging in Volume 5, whereas it is actually in Volume 3. It is unclear why he only mentions folios 58—60 since, with the exception of folios 61 r —64 v that also have a different watermark, Cahiers 19 and 20 use this paper throughout. For a list of the watermarks in the Meslanges, see Ranum, Vers une chronologie , The numeral 21 has been crossed out in Cahier 21, but because the music of H.

In a later hand again possibly that of another scribe , there is a note on folio v stating that the elevation motet H. Before the elevation motet H. The references to instruments, on the other hand, appear to have been added later such as folios 70 r —71 r. Folios r — v of Cahier 31 are written in an early style of handwriting.

Cahier 32 is in Volume 4, while Cahiers 33—7 are in Volume Volume 5 contains music from a much later period Cahiers 63—6. It is interesting to question why Charpentier included these verbal cues at the end of so many cahiers. Clearly, where a cahier ends in the middle of a work, the cue is there to aid the performer in locating the correct continuation of the work. Where the cue refers to another work in a later cahier, it suggests that Charpentier or perhaps a later scribe wanted to suggest a chronological sequence within theMeslanges. These are usually found as outer or central folios of earlier cahiers.

Those cahiers marked with an asterisk use Jesuit paper. The work is also scored for the typical Guise ensemble of six voices, treble viols, and continuo. Charpentier uses brackets to indicate many of the systems as he does on folios 32—3 of Cahier Folios 54—65 are written in a slightly different style of handwriting in which capital letters are used more frequently than has been found in the manuscripts up until now. See also Ranum, website. There is nothing to confirm that the works were written in Most of the works in these notebooks either correspond to Jesuit celebrations held in early or require an ensemble of the type described as being hired by the Reverend Fathers.

It therefore appears possible that, during his tenure at Saint-Louis, Charpentier reworked earlier Jesuit commissions. This may be the same piece as that listed originally under Cahier IX, but which became separated from the cahier during the process of revision or after the purchase of the manuscripts by the library. Although Charpentier joins the flat of the key signature to the G clef, the loop at the bottom of the clef is still to the left of the clef, rather than the right as in G There is therefore no anomaly here in the style of handwriting.

See earlier references par. Originally, both were paginated, but these numbers were altered to accommodate the numbering of the folios within the volume, rather than the cahiers. The fact that instances of this paper occur in Cahier XXV and Cahier 25 is another indication that the two series were compiled concurrently. According to Guillo, most non-printed manuscript paper from seventeenth-century France was drawn using a rastrum: Cahier LVI is missing. The sequence of cahiers at the beginning of the series is therefore clearly defined. This is a similar error or misinterpretation to that made by the scribe when referring to Cahier Both share the same scoring.

The music that was copied earlier in the volume dates from a later period than that of Cahier [c]. It is also found on folios 54—65 of Cahier It is also on the final folio of Cahier Cahiers 67—9 and 71—3 are missing. More recently, Ranum has written: Cahier and and Volume Numbering.

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Watermarks Found in Both Series. Added Leaves in the Meslanges Autographes. Formations of Clefs in the Meslanges Autographes. Changes of Clef in Cahier Handwriting in Cahier 1. Clefs in Cahier 2. Additions to Cahiers 3 and 4.

Cahier 5 Compared to Cahiers 4, 6, and Added Outer Folios in Cahier Cahier 33 Compared to Cahiers 32 and Types of Annotations in the Meslanges Autographes. Items appearing in JSCM may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the Editor-in-Chief of JSCM.

Any authorized redistribution of an item published in JSCM must include the following information in a form appropriate to the medium in which it is to appear:. This item appeared in the Journal of Seventeenth Century Music http: Libraries may archive issues of JSCM in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Journal of Seventeenth-Century Music. Giusto da Urbino, missionario in Abissinia, e le esplorazioni africane , Bologne.

Sherloc, traduit par Mr. Crummey et Getatchew Haile , Massaja , , vol. Conti Rossini , , p. Attamen doctor quidam mihi dixit extare, et promisit mihi quod circa tempus Paschae revertens de insulis laci Zanae mihi eum allaturus sit. Librum autem Zara Jacobi fortuito inveni, nesciebam enim eum. Sed unus ex filiis militum revertens de expeditione in Dambyam mihi proposuit si vellem emere Psalterium Davidis, ut ipse dixit, et emi hunc librum postquam cognovissem quid esset. Videram quidem duobus ab hinc annis aliud quoddam opus simile huic.

Hoc autem exemplar perfectum est, et pulcherrimo stylo conscriptum, centum et quattuor paginis non parvi voluminis contentum. Quod autem vides paucis chartulis et non limato stylo me hunc librum transcripsisse eum ad te mittendi voluntas in causa fuit. Nam magnum volumen non facile transmittitur, et si atramento aethiopico eum scripsissem de humiditate timendum erat in itinere.

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Hinc cum ex proconsule Plauden parum atramenti europei accepissem ad eum scribendum usus sum, licet ad ornatum scriptionis aethiopicae minime sit proprium. Accipe eum ut est et memento mei quia pauper sum ego et in laboribus a juventute mea. Tu autem benidictionibus repletus es. Vive et beatus esto ad multos annos. Je le remercie pour cette traduction toute en finesse et cette lecture attentive du texte.

En effet, quelques lignes plus bas, le P. Pour moi je ne cherche ni nom, ni gloire: Tarducci , , p. Simon , , p. S chneider , , p. Il doit payer 20 thalers pour racheter ses effets personnels aux soldats. Massaja , , p. Tisserant , , p. P iovanelli , S imon , Neugebauer , , ou encore M. Un Dieu est une Providence.