Grace Notes

About The Composer: Marc-Antoine Charpentier (1643-1704)

DONNA REILLY

Marc-Antoine Charpentier was born in, or near, Paris, during the reign of Louis XIV. His father was a master scribe, well off, and with important connections to influential people. Charpentier had a good education, most likely by the Jesuits, and applied to law school in Paris at age 18. The Law was apparently not a good fit; he withdrew after one semester and traveled to Rome. He remained there for three or four years, studying music with Giacomo Carissimi, one of the most famous masters of early Italian Baroque music. As a result, Charpentier returned to France with an impressive knowledge of contemporary Italian music. 

Did Charpentier introduce Italian Baroque music to France? Not likely. At that time in the 17th century, Italian music was thought to be somewhat subversive by a royal court that didn’t tolerate open dissent. Although he’d returned to his native country knowing a great deal about Italian music practices, Charpentier’s style remained thoroughly French. Unfortunately, he was eclipsed during most of his career by Jean-Baptiste Lully, who was a favorite at court and secured all of the plum royal commissions.

For the next 17 years, Charpentier worked as house composer for Marie de Lorraine, the duchesse de Guise. He composed a large quantity of vocal works for her, often performing as haute-contre (countertenor) in some of them. The duchesse, who had lived in Florence as a young woman, loved Italian music, and Charpentier was easily able to oblige her by putting into practice what he’d learned in Rome. 

After Marie’s death in 1687, Charpentier went to work for the Jesuits as music master in several different capacities. Shortly after acquiring this new position, he composed the Te Deum we will hear performed by the Upper Valley Baroque orchestra, soloists, and chorus on October 26 and 27.

Charpentier died in 1704 at Sainte-Chapelle, where (after Lully’s death) he’d finally attained the position of musical director, one of the most prestigious jobs in Paris. He was buried in the little walled-in cemetery just behind the choir of the chapel. After his death, he faded away into relative obscurity, his work largely unknown until the second half of the 20th century. But he left the world a thoroughly-documented, voluminous collection of his many musical accomplishments, making it possible for Baroque musicians and audiences to enjoy them today.