Musique d’ensembles – Les Trios – Catalogue d’oeuvres PDF

An engraving musique d’ensembles – Les Trios – Catalogue d’oeuvres PDF the 1682 Almanach Royal thought to be Charpentier. 24 February 1704 was a French composer of the Baroque era.


Ce catalogue de titres d’uvres pour trios proposent essentiellement des morceaux pour bois, cordes et claviers. Toutefois, quelques pièces avec voix ou utilisant des cuivres ou des percussions sont répertoriées. Cet ouvrage comporte quatre entrées principales : – uvres à instrumentation variable (uvres de toutes les époques qui peuvent être jouées par diverses formations à instrumentation variable, libre, ou ouverte) ; – trios avec basse continue (démarre par des uvres pour instrumentation variable et basse continue, viennent ensuite des uvres dont linstrumentation est précisée ; toutes ont été écrites entre le début du XVIIe et le milieu du XVIIIe siècle) ; – trios sans clavier (répertoire allant du XVIIIe siècle à nos jours) ; – trios avec clavier (uvres également composées à partir du XVIIIe siècle). L’index des instruments et celui des compositeurs terminent ce volume. Elaborée par des musiciens enseignants, la collection «  »Musique d’ensembles » » offre à tout musicien, qu’il soit professionnel ou amateur, une sélection de titres d’uvres à jouer en petites formations instrumentales et vocales.

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. 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. Immediately on his return to France, Charpentier probably began working as house composer to Marie de Lorraine, duchesse de Guise, who was known familiarly as « Mlle de Guise. Despite what is often asserted, during his seventeen years in the service of Mlle de Guise, Charpentier was not the « director » of the Guise ensemble. The director was a gentleman of Mlle de Guise’s court, an amateur musician, Italophile, and Latinist named Philippe Goibaut, familiarly called Monsieur Du Bois. During his years of service to Mlle de Guise, Charpentier also composed for « Mme de Guise », Louis XIV’s first cousin.

A recently discovered portrait, inscribed by the artist as representing Charpentier, but dating circa 1750, about 40 years after his death. By late 1687, Mlle de Guise was dying. Around that time, Charpentier entered the employ of the Jesuits. Indeed, he is not named in the princess’s will of March 1688, nor in the papers of her estate, which is strong evidence that she had already rewarded her loyal servant and approved of his departure. During his seventeen-odd years at the Hôtel de Guise, Charpentier had written almost as many pages of music for outside commissions as he had for Mlle de Guise. He routinely copied these outside commissions in notebooks with Roman numerals. In 1679, Charpentier had been singled out to compose for Louis XIV’s son, the Dauphin.