Docere, Delectare, Movere

Docere, Delectare, Movere: Marc-Antoine Charpentier and Jesuit Spirituality
Author(s): C. Jane Gosine and Erik Oland

Source: Early Music, Vol. 32, No. 4 (Nov., 2004), pp. 511-514+516-539
Published by: Oxford University Press
Stable URL: http://www.jstor.org/stable/3519393
Accessed: 06-09-2016 18:11 UTC
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C. Jane Gosine and Erik Oland
Docere, delectare, movere: Marc-Antoine Charpentier

and Jesuit spirituality
HROUGHOUT his life Marc-Antoine Charpentier
(1643-1704) seems to have been deeply affected
with which he was associated during his composing

career. Of the 134 extant cahiers, 30 are written
by Jesuit teachings, particularly their emphasis on exclusively on Jesuit paper.4 Many of the works in the
sensual stimulation and rhetoric.' He had ideal cre-
cahiers identify singers from the Op~ra as soloists

who were known to have been hired by the Jesuits to
dentials as a Jesuit composer, and by the late 168os
sing at liturgical celebrations such as Vespers, thus
had become maitre de musique at the principal Jesuit
strengthening the association between these compochurch of St Louis in Paris, a position described by
sitions and the church of St Louis (see below).5 Some
Brossard as 'the most brilliant of appointments'. At
works, through their choice of text, can also be linked
St Louis Charpentier benefited from the Jesuits' libdirectly to the Jesuits.6
eral, even worldly, approach to the arts and religious
education; indeed, he thrived under this regime. His The music copied by Charpentier onto Jesuit paper
includes examples of a wide range of genres and

approach to composition, whether through his own
choice or under the influence of his employers,

styles: litanies (probably written for use by the congr&embodies the Jesuits' view of the arts, and is gations mariales),7 Magnificats, psalms, motets,
antiphons, sequences, hymns, lepons et rdpons de
relatively free from the artistic constraints imposed
on musicians by Louis XIV and Jean-Baptiste Lully.tinkbres, Masses, Te Deum and Domine salvum settings, and instrumental pieces (such as overtures
Certainly, a substantial proportion of his music was
for use at the consecration of a bishop).8 As well
written to be performed in Jesuit circles.
as including examples of a wide range of genres,
Our knowledge of the provenance of Charpentier's
music is based almost exclusively on the autograph
Charpentier left settings for a range of scorings, from
solo voices and continuo (with a preference for men's
manuscripts of music known as the Milanges autovoices) to works for soloists, double choir and double
graphes.3 The manuscripts, organized into two series
orchestra. Stylistic analysis (particularly regarding
of facsimiles or gatherings (referred to by Charpentier
the scoring and melodic writing) indicates that

as cahiers) which were compiled chronologically and
Charpentier's large-scale works were written for two
concurrently, are the principal means by which works
can be linked to the various musical establishments
different choirs-the first comprised the regular
Jane Gosine is a member of the faculty of the School of Music at Memorial University of Newfoundland,
Canada. Her principal interests include the sacred music of 17th-century France and 16th- and 17thcentury England, as well as performance practice. She has worked as a consultant with early music
groups in Europe and North America.

Erik Oland is a Jesuit priest. Before joining the Society of Jesus he led an active career as a baritone, and
made many recordings, including a highly acclaimed CD of Rameau's cantatas. Fr Oland has recently
completed a degree in church history at the Weston Jesuit School of Theology, Cambridge, MA.
EARLY MUSIC NOVEMBER 2004 511
choir (men and boys) accompanied by continuo

(and sometimes other instruments);9 the second
instructions regarding instrumentation, revealing his
included additional singers, such as those from the
motet In honorem Sancti Xaverij Canticum, H355,12 for
Opera, often accompanied by large instrumental
example, he specifies not only the instrumentation

(including strings and recorders) for each section
of the motet,13 but also includes tempo indications
forces. The vocal writing in the latter tends to be more
complex, with more frequent solo sections. Since the

soloists also sang in the chorus sections, there is not a
interest in instrumental colour." In the dramatic
(lent, animrn) and dynamic markings (doux, fort,
significant difference in style between these sections.'0
sourd/sourdines, a demie voix)14 used both for purely
On the works scored for large instrumental forces,
musical purposes, such as on the melismatic setting
Charpentier leaves some of his most detailed
of the word volantem ('flying'; see illus.1), and as a
_ _ _ _ _ _ _ ; _ _ _ _ __",._L,_-'- . '',
~I''4 lV
I
. - - '. ... . .. . . , , ' , '. , t , ' " .
-4;/!~~"" ' ,.- , t -
?-, " ' ,.! i~ . Fs ?: . " ?, ? -?
1 In honorem Sancti Xaverij Canticum, H355, 'Vidi angelum volantem p
the middle of the sky) (cahier 58, vol.ix, f.44r) (Marc-Antoine Charp
Minkoff edition, vol.ix (Paris, 1997), p.81)
512 EARLY MUSIC NOVEMBER 2004
means of a more pictorial expression of the text, such
paintings, glittering ornaments of gold and silver,
as at the word mortui ('the dead'), where he indicates
hundreds of flickering candles,20 the lingering sweet
the term 'sourd' and 'a demie voix' in contrast to the
scent of incense, vestments made from the finest
following word resurgunt ('rise again'), which is cloth, and music performed by the best musicians in
marked 'fort' (see illus.2).
Paris2' were all used to engage the mind of the
worshipper through an assault on the senses.22
L'lglise St Louis
According to an anonymous contemporary
In Paris during the late 17th century the Jesuit writer 'nothing is more sumptuous, nor more magchurch of St Louis (illus.3) was at the centre of a nificent than this altar' (illus.6).23 The writer is
flourishing culture of affective spirituality. In the struck by the vast amounts of gold and silver that
wave of spiritual renewal that was centred on finding bedeck the altar, dazzling the beholder. The monand living the devout life, the Jesuits exerted a pow- strance was shaped in the form of a great golden
erful presence, especially within dlite court circles. sun, laden with expensive diamonds and pearls.
They were an important force in transmitting the Machines were used to lower the Blessed Sacrament
ideals and teachings of the Counter-Reformation into the hands of the celebrant.24
within France: rhetoric, theatrical excitement and
The idea of visual piety was at the heart of the
visual piety all formed part of the language ofJesuits' approach to spirituality. Images were used to
devotion. The church of St Louis was central to the
influence and order the beliefs and emotions of the
activities of the Jesuit province of France and theworshippers. Artwork of the highest quality adorned
spiritual home of the congrigations mariales (Marianthe altars and walls of the church, including
sodalities) led by Jean Crasset (1618-92).'5 Situatedtwo paintings commissioned by Cardinal Richelieu
in the affluent Marais district, its congregation wasfor the high altar: La prdsentation au temple and
drawn primarily from members of the nobility who
L'apothdose de Saint Louis by Simon Vouet.
resided in the sumptuous mansions that sur-
In Vouet's depiction of La presentation au
rounded the rue St Antoine on which the church of
temple (illus.7) the beholder's eyes are immediately
St Louis was built.'6
drawn to the image of the infant Jesus in the middle
For the Jesuits to communicate most effectivelyof the picture through the hands and eyes of the
with the faithful and to move their congregation, theycharacters portrayed in the painting. Their bodies
had to provide what appeared tantamount to enter-lean tenderly towards the infant, while their faces
tainment. Within their church-centred society, 17th- radiate a sense of adoration, inspiring the worshipcentury Jesuits practised enculturation: they adopted per to experience the same feelings as the characters
the secular artistic practices of the culture as a meansdepicted. The sensuous quality of this painting
of evangelizing, exploiting the ideals of devout human-parallels that found in Charpentier's music. It is art
ism. Richard Viladesau has argued that the Jesuitsserving the needs of Ignatian spirituality: art as a
understood 'the realm of aesthetic experience ... as atool that guides the worshipper to imagine, experilocus of explicitly religious (and theological) experi-ence and respond to the scene (as in St Ignatius's
ence, expression, and discourse ... as well as ... aSpiritual exercises).

locus of secular human experience.'"7 Certainly, Simplicity was not a feature of the maison professe
St Ignatius had recognized the value of combining theof the Jesuits: the intention there was to attract and
idea of 'sensual stimulation' with self-reflection and
educate through aesthetic enticement. Against this
devotion-of using all a person's senses and experi-
background of religious grandeur, opulence and
ences to encounter God.'8
triumphalism, it is easy to understand why the Jesuits
Within the church of St Louis (illus.4) the Jesuits
welcomed opera singers into their church as soloists.
stimulated the senses as a means towards deeper The use ofwell-known singers appealed to members
devotion: Corinthian architecture, imposing marble
of the congregation at St Louis who were familiar
sculptures and bronze bas-reliefs (including those
with the religious and civic celebrations at court and
by Jacques Sarazin-see illus.5),'9 exquisitely beautiful the extravagant theatrical productions staged at the
"r
cU;J E~i n3iY.ttW'I~ mcs~i s.w);ll~rll~*r~?S\wwI ~* SI.

'""
LE~lw X~: I MSI: rwC lurz,~l; m
rb L I I
;CLJ~CJIIIII)I? ~YCL~ ncr~f~~..~J 41~1~ ;nlr~ 4~
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In
~'
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ct
)?
~(~t?
honorem
completes.
:r
Sancti
Milanges
Xaverij
Canticum,
autographes,
Minkoff
H355
editio
3 Church of St. Louis (Marot) (Permission granted by Bibliotheque Nationale de France, Ddpartement des Estampes
(see http://www.charpentier.culture.fr/))
Opera. Such appearances, however, were not without their critics. Le Cerf de la Vidville, for example,
made some disparaging remarks on the subject:
the opera singers-lazy, idle, debauched, accustomed only to
singing roles that they can study at leisure-are usually less
sure of their part than any other musicians. They do not
know Latin: the language of the Church is very unfamiliar to
them. Their pronunciation is pitiful. They cut, they distort,
they mutilate the words in a ludicrous manner, and it is

impossible to stop oneself from laughing at the incredible
nonsense and the ridiculous gibberish that they produce.25
Le Cerf continues his vitriolic attack by commenting on the behaviour of the singers, noting
their outrageous attire, their constant turning
around, laughing and sniffing tobacco during the
descriptive art was idolatrous; that an image of a

holy person could easily become an end in itself.
I must decry the ignorance and injustice of those who
condemn good pious practices because of abuses to which
they are subjected by the very few. The practice of frequent
communion is discouraged because some receive [Eucharist]

without dignity. All concerted music would be banned from
the church because, they say, it encourages distraction rather
than devotion. They do not like pictures much, nor the votive
lamps that are lit in front of them, simply because they may
have seen an old woman whose devotion is more focused on
the image than on that which it represents. Simply because
some abuse has crept into devotion to the Virgin, it has

become a crime and they want to abolish the custom.29
Crasset does not so much offer an apology for the
use of art and music as he lashes out at the faux
service.26 The only opera singer spared criticism is

Monsieur Jean Dun-one of the singers identified
divots who reflect negatively, and in his view falsely,
by Charpentier as a soloist on a number of works
ularly the Spiritual exercises of the Jesuits' founder,
composed for the Jesuits.27
St Ignatius Loyola (1491-1556), the ministry at St
Le Cerf was not alone in his criticisms of the
on the true devotee.30 Based on the teachings, partic-
Louis was intended to engage the whole person
Jesuits. The tradition of Baroque theatricality andthrough

its
the imagination and the senses. It was
therefore natural that the Jesuits did not hesitate to
complement of art, architecture, music and preaching
gave the church of St Louis a notoriety that was

follow the leading artistic trends of the day.
alternately appreciated and scorned. Jean Crasset28s
The Spiritual exercises, at the heart of Jesuit teachwas well aware of these critics, many of whom were
ings, comprise a series of meditations, many of
Jansenist sympathizers. In his writings he revisitswhich
the
are based on Gospel scenes that focus
on Jesus's birth, ministry, Passion, death and

age-old debate of the iconoclasts who charged that
4 Funeral oration for Prince Louis de Cond6 (Le Grand Condd) by Bourdaloue in the church of St. Louis (26 April,
1687) (? Photothbque des Musdes de la Ville de Paris; clichd: Toumazet)
leads to instructions on prayer that call one to engage
memory, intellect and will as a means towards

discursive meditation. In one of the most radical
statements of his text, Ignatius also directs the guide
of the Spiritual exercises to encourage the exercitant

into a direct, personal relationship with God-a rela-
tionship that is often evoked through Charpentier'
approach to composition.32 This sensuous engagement in prayer parallels a Baroque desire to engage
the affect by the use of art and music in spiritua
practice. Sensuous detail, however, was not the

ultimate goal; rather, the desired outcome wa
contemplation leading to spiritual love.33
.~"-~
\I
~ ... n
~rtS1 ~i:i:~tI:i 5 1N t.ntli X.11(:;tk~ f; 1)1V~ Ir~lflf:)Vlf.;B Il,?L~ltitrir
tS`li\T~~ld; Vb-S'f`Ifin'Xt lat:(~fRV fjt;L.1P;1::~I.1()
a,
i i-5 Jacques Sarazin, Relief du monument du coeur de

Louis XIII, 'La Prudence' (Paris, Mus&e du Louvre)
i:
resurrection. Even a cursory glance at Charpentier's

works for the Jesuits (particularly the narrative
works) reveals a similar focus on Gospel themes

used as a means of contemplation. Works such as
Dialogus inter angelos et pastores Judeae in nativi-
tatem Domini, H420, Dialogus inter Christum et
f
i
Homines, H417, Meditations pour le Carame,

H380-89, Le reniement de St Pierre, H424, and
Dialogus inter Christum et peccatores, H425, are the
musical equivalents of these meditations in which
Charpentier's affective treatment of the text vividly
brings to life the words being set.
i~i~s
In the Spiritual exercises the exercitant is called to

enter imaginatively into the Gospel scene in order to
""~" `"` ' : ~ i'~:"~~"''

??
??;-~~.;:.:l;:.;:~i~;,~*-j
.i..~
.........~,,~..
encounter God and become a follower of Jesus by
visualizing, experiencing and responding to the
major events of Jesus's life.31 Ignatius's desire to
by
engage the imagination and the affect of the exercitant
Estampes).
High
altar
of
the
Bibliothbque
(see
church
National
http://www
7 Simon Vouet, La presentation au temple (? Photo RMN/@ Jean-Gilles Berizzi)
Rhetoric and music
influential early Jesuits, Jerome Nadal (1507-80),
proclaimed that 'whereas in the "primitive church

The second half of the 17th century was marked by
the flourishing culture of Baroque classicism: thean artless style was required to make clear that th
retrieval of many aspects of the Graeco-Roman past

power of the Gospel was not due to human persuasion
in art, architecture, oratory and rhetoric. Thenow it was appropriate to extol with every huma
church of St Louis bore witness to this with its
art what was established on divine foundation'.35
Ultimately the Jesuit mission joined the humanist

imposing fagade and dome, its Corinthian columns,
the sculptures of Sarazin, and its strong emphasis
on
objective
and responded to the world as it manithe oratory of preachers such as Bourdaloue.
fested itself daily, as well as to the intellectual world
The culture of sacred eloquence was based on the
of scholastic speculation. The Jesuits embraced a
three primary principles of the Ciceronian artmodel

of
of preaching that John O'Malley describes as
'accommodation'-the cultivation of 'the orator's
rhetoric, as found in Cicero's De oratore: to teach
(docere), to delight (delectare) and to move (rnovere).
ability to be in touch with the feelings and needs of
Two words, 'enthusiasm' and 'vigilance', help ushis
to audience and to adapt himself and his speech
understand the kind of style that the Jesuits were
accordingly'.36 There was a physical link uniting the
developing between the two disparate schools

of of the orator with his personal commitment.37
speech
scholasticism and humanism; between medievalism

At the root of the training of the Jesuit orator was
and the classical revival that had begun in the
thedesire to form a charismatic, yet clear-thinking,
Renaissance. In fact, Jesuits did not view the two
preacher capable of using eloquent interpretations of
as necessarily antagonistic.34 One of the most
sacred texts that would delight, move, and teach
his hearers. Affective engagement was an important
function of spiritual growth if oratory were to help in
the formation of a religious and devout society.

Spiritual excellence and example on the part of the
orator was seen as the accompaniment and the

crown of the oratorical talent. A preacher needed to
be aware that arousing the affect of the listener had as
its purpose a deeper connection with the spiritual

meaning of the message.
In his Harmonie universelle Marin Mersenne
(1588-1648) argues that the composer, like the ora-
tor, must address an intended audience.38 These

'harmonic orators', as Mersenne terms them, should
compose and perform music according to the ex-
pectations and needs of a specific audience,

noting that:
One must consider the text in its entirety and the design and
intention of what it contains ... so that being sung it has at
least as much power over listeners as if it were recited by an
excellent orator.39
li~i____ al1=
~ r.u~rela (~itsfmc~rrr Jz(, anrr j'C1Z f c~ e qu~iF~tn:
Mersenne discusses in detail the ability of music

to reflect and convey the passions to the listener in a
manner similar to that of the orator. He writes, for
example, that 'The harmony and the movement

should correspond so closely to the words, and to
8 Portrait of Bourdaloue (engraving by Ph. Simonneau)
discourse, that the listener will judge it as a

(? Photothbque des Musdes de la Ville de Paris;the
cliche:
Toumazet)
single entity.'4?
sense of sight, and that consequently perceptions received by
Lecerf shares a similar view, emphasizing the need
the ears or by reflexion can be most easily retained if they are
for a composer to convey the overall meaning of the
also conveyed to our minds by the mediation of the eyes.46
text, rather than focusing too heavily on the details.41
He qualifies this statement, however, by noting
Exclamation, interrogation, repetition and con-
instances when it is necessary to stress important
trast are key elements of rhetorical delivery; musical
individual words.
structure, melodic shape, changes in texture, tonality,
The great Jesuit preachers of the period such asharmonic and rhythmic pace are the composer's rich
Louis Bourdaloue (illus.8) understood perfectly the arsenal of devices used to mirror in music the orator's
need to speak directly to their intended audience- rhetorical delivery of the text.47 Charpentier's musical
the congregation of St Louis-and to stimulate style follows the same guiding principles as those folthe emotional engagement of those present.42lowed by orators. For example, Bretteville, in his book
Bourdaloue preached in a culture of piety that wason eloquence, instructs that orators should:
extravagant and energetic-where the lines between
stress words of quantity such as grand [grand], haut [high],

[sublime], profond [deep], innombrable [countless],
entertainment and religious practice were notsublime
always clearly drawn.43
dternal [eternal], and so forth, [and words] of universality,
Although there is no concrete evidence to supportsuch as tout le monde [everyone], partout [everywhere], toujours
Charpentier's familiarity with the writings of[always],
jamais [never], and so forth. But words that denote
rhetoricians and music theorists of the period, it something low or something weak should be pronounced
with a lowered voice, sometimes accompanied by disdain,
seems likely that he would have known the works
such as petit [little], bas [low], vil [vile], faible [weak],
of those writers who emphasized the close linkslanguissant [languishing], vain [vain] and so forth.48
between rhetoric and musical composition and
performance.44 While in Rome he would have Charpentier places the same type of emphasis,
witnessed at first hand the power of rhetoric in thethrough the use of a variety of musical techniques,
churches and chapels he visited.45 Like the oratory of
on these sorts of words.49 Rhetorical-musical devices
Bourdaloue, Charpentier's music embraced the prin-related to melodic writing are perhaps the most
ciples of rhetoric and spoke directly to those presentcommon means by which he achieves this.
in the church. He knew that in order for the music
Directional word painting (both literal and
to serve its devotional and didactic function as a
metaphoric), such as anabasis and catabasis, form a
large part of his standard musical language, often

vessel through which the listener might come to
closer communion with God, his music must stircombined with changes in texture, repetition or
the emotions of the listener. In his sacred music he
contrast-the latter two being particularly imporrealized the intimate relationship between text and tant in rhetorical delivery. He uses a disjunct
music in which nuances of accentuation, inflexion,melodic line effectively for a variety of purposes,
such as to express texts related to sentiments ofjoy,
syntax and meaning are reflected through the use of
praise or hope, and to conjure up images of war

a plethora of rhetorical-musical devices used not
only to conjure up visual images through the music,(where triadic lines and upward leaps are favoured);
but also to communicate the meaning of the text to express texts related to feelings of longing,
pleading, or sadness (in which affective intervals,
through rhetorical delivery. This is entirely in keeping
both with Jesuit spirituality, based on St Ignatius'sincluding augmented and diminished intervals
philosophy of emphasizing the value of creatingpredominate, often in conjunction with dissonant
mental images to stimulate not just the senses butharmonies and falling melodic lines); and, in a genalso the memory, and with the mnemonic tradi- eral rhetorical context, rather than narrower pictortion of classical rhetoric. Cicero, for example, in Deial sense, to set exclamatory words, such as ecce,
oratore, wrote that:
or words deserving particular emphasis, such as

Dominus.
He also frequently uses melismas as a
the
the most complete pictures are formed in our minds of

means of emphasizing the types of words mentioned
things that have been conveyed to them and imprinted on
them by the senses, but that the keenest of all our senses is theby Bretteville.
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'Peccator
shall
be
~y
unde
videbi
angry,
(Marc-Antoine
Almost all Charpentier's use of melodic repetition

is associated with a rhetorical function, particularly
Charpentier's compositional style, like that of his

contemporaries, was clearly guided by the principles
where individual words or short phrases (rather
of rhetoric. To illustrate the degree to which his
than entire phrases) are repeated. He uses to great
music reflects a Jesuit spirituality, we will examine

three works in detail: O Amor, o bonitas, o charitas,
effect devices such as synonymia, anaphora, repetitio,
polyptoton, palillogia, paronomasia and climax.5?

Here the link between his music and the three basic
H253, Le reniement de St Pierre, H424, and Mementote

peccatores, H425.
principles of rhetoric (docere, delectare, movere) is
particularly striking: repetition serves a didactic O Amor, O bonitas, O charitas, H253
purpose (the listener's attention and memory isThe refrain elevation motet, O Amor, 0 bonitas, H253
stimulated by the repetition), and a musical purpose(illus.12), 53 combines both the idea of self-reflection
(it satisfies and moves the listener).
and repentance with an affirmation oflove-themes
Charpentier uses dynamics to give greater pictor-central to Jesuit teaching.54 The opening bars take
ial expression to the textual setting, emphasizing thethe form of a strident, rhetorical gesture (particu-
important role played by the delivery (the perfor- larly in the lower voices), followed by a passage that
mance)-not just the composition. Sentiments ofemphasizes the sense of supplication through a slow
profound devotion and solemnity; references torhythmic pace, descending melodic lines, with a
darkness and night, whether literal or metaphorical;predominance of semitones, and dissonant suspenand references to peace, sleep, rest or death tend tosions. In his Harmonie universelle Mersenne notes
include indications that the music should be per- that the semitone was appropriate for expressing
formed in a softer manner (doux, echo, sourd or sour-sadness.55 The abundance of semitones (as well as
dines). By contrast, references to words such as 'risediminished intervals) and descending melodic lines
again', 'light' or 'day', as well as emotions such as joy,might at first seem to be in conflict with the meanpraise or hope, suggest to Charpentier the use of ing of the opening words ('O love, o goodness,
louder dynamics (fort). Such dynamic indications o charity'), but Charpentier is evoking the mood of
are frequently combined with other musical devices,the contrite sinner, yearning for forgiveness and
such as tempo, metre, rhythm, melodic shape, har-salvation from the Lord. The purpose of this music
mony and tonality to convey the meaning of the text.(written for use at the elevation of the Blessed
In one of Charpentier's settings of Psalm 111,Sacrament) is to stimulate the senses of the worshipBeatus vir, H208, dynamic markings (sourd) areper so that he or she may share the feelings of the
combined with a tremolo-like string figure and dis-contrite sinner in the prayer and thus come closer to
sonant harmonies (much of which are heard over acommunion with God.
threnodic bass), to portray the text 'He shall gnash

At the reference to original sin, darkness, the
with his teeth, and consume away; the desire of theshadow of death and the bitterness of the tormented
ungodly shall perish' (illus.9). In another setting ofsouls, there is a change in metre (from 2 to C), with
the same psalm (H199), Charpentier evokes a similara move to a recitative-like passage. Charpentier's
effect by specifying that the organ should play 'avecmusical setting draws the listener's attention to the
tremblant' during the same psalm verse (illus.lo). important words of the prayer: the dissonances and
The effect produced by the tremblant was similar toangular melodic line on 'peccaverunt', the descendthat of vibrato.5'
ing line leading to 'mortis', the biting dissonances
In one of the Rcpons de tin~bres, H128, Charpentierand quickening rhythmic pace at 'in amari tu dine',
combines the use of repeated, slurred string parts and the exclamatio (the rising minor 6th) on 'clamand the indication of'sourdines' to represent the textabant' reinforce the meaning of the text.56
'velum templi scissum est: et omnis terra tremuit'
('and the veil of the temple was rent in twain, and all Le reniement de St Pierre, H424
the earth did shake'). The slurred tremolo begins at Although it is impossible to ascertain Charpentier's
the words 'and the earth did shake' (illus.11).5"
exact intentions in composing Le reniement de

.?"3 'il2 ,.-. "". i:: I .. ,&ur .: YtCi"~ ;,.i ~ .. .t
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10 Psalmus David Centesim[us] Undecimus, H199, 'Peccator videbit et irascetur dentibus suis fremet et
desiderium peccatorum peribit' (The wicked shall see, and shall be angry, he shall gnash with his teeth and pine
the desire of the wicked shall perish) (cahier 54, vol.viii, ff.42v-43) (Marc-Antoine Charpentier, (Euvres co
Meilanges autographes, Minkoff edition, vol.viii (Paris, 1997), pp.78-9)
'2)
- ~ /c wf)jJ~~fiiiJ
h+v
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_ _ _ _ _ _ _ _ _ _ i7 '?
~~~ut~ ~ ~ ~ * ."Ae~~1L ~~ CW1 Ir~~l C ~/;_~~; I C
11 Jeudy St Second repons apres la seconde legon du Pr noct[urne] du Jeudy Sa
the earth trembled) (cahier 59, vol.x, fol.15r) (Marc-Antoine Charpentier,

Minkoff edition, vol.x (Paris, 1997), p.29)
..c L L rn mk~yI ar~: ~ 1 PuC

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autographes,
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.:?
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ton
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vol.vi
bass
H253
(ca
(Paris,
St Pierre, H424 57 since it is not included within the
Milanges autographes, many attributes of the piece

suggest that it would have made an effective addition
to an extra-liturgical setting at St Louis: its short

duration, structure, tonality, repetition, word-painting
would all make it a fitting musical equivalent to the

preaching of the great orators.'" Musical and textual
structure and repetition are used to convey the

meaning of the text-a conflation based on the
Gospel narratives, which recounts part of the Passion
story that focuses on St Peter's denial, repentance

and spiritual conversion. While there is much repetition of text throughout the work, three places are
of particular significance in that they represent

Charpentier's deliberate pointing to the affective
movement of the work. First, Peter's profession that
he will not deny Jesus ('non te negabo'); second, the
words of denial themselves ('non sum'); and third,
A Carissimi-style chorus then takes up the motif
of 'non te negabimus' ('we will not deny you') and
tosses it around antiphonally. Here, Charpentier

evokes the image of the disciples repeatedly affirming
their allegiance to Christ. As the work progresses,

Peter becomes more fearful and follows Jesus at
a distance. At the close of the motet, following the
knowing and forgiving look of Jesus, he repents.
The work divides into 13 sections, which, with the
exception of the central arioso-like passage, alternate
between chorus and recitative in a regular fashion.

As table 1 shows, when the segments are laid out
like the verses of a psalm, it is possible to identify a
chiastic structure that highlights Charpentier's

understanding and interpretation of the message
of the text.
The only instance of arioso-like writing comes at

the centre of the chiastic structure, where Jesus
Peter's bitter tears ('flevit amare') from the final cho-
reprimands Peter for cutting off the ear of the
rus. Occurring in turn at the beginning, the middle

and the end of the work, the text repetition traces a
servant of the high priest ('Converte, Petre', ex.2).
the line, the symbolic three-fold repetitions of

'numquam ego [scandalizabor]' ('I will never [be
Traditionally this section of the Passion story is

more focused on Judas's betrayal and on the taking of Christ than on Jesus's response to Peter.
Charpentier adds to the dramatic tension here by
turning this central moment into an arioso where
Jesus's call for Peter to put back his sword ('converte') takes on a double meaning. He immediately
offended]'), each one rising sequentially (with the
stresses the word 'converte' through the use of repe-
pattern from denial to conversion.59 At the beginning
of Peter's first solo, a dialogue between him and
Jesus (ex.1), the disciple is full of pride, like a dcvot

superbe: the affirmative rising 4th at the opening of
highpoints falling on 'ego'), the key of G major

('sweetly joyous')6? reinforced by strong diatonic
harmony all serve to convey the sense of confidence
and pride. Jesus's expressive and affective interjection, however, contrasts markedly with the preceding
passage: a predominantly descending melodic line,

with repetitions of a falling minor, then a falling
diminished triadic figure, the rhetorical emphasis on
'dico tibi' ('I say to you') with the #4 chord, the

modulation to A minor ('tender and plaintive'),
and the poignant suspended dissonance on 'ter me
negabis' ('thou shalt deny me thrice') initiate a
tition, combined with shifting metrical accents.

Now, in a subtle theological shift 'converte' may
refer to Peter's spiritual conversion that is directly
related to his denial and, subsequently, his repentance. Charpentier emphasizes the apex of the chiasm not only by his use of arioso, but also through
his choice of key, metre and notation. According to
Charpentier's own R~gles de Composition,61 G major
is 'sweetly joyous'. This key characteristic might at
first seem odd at this point in the narrative (Peter
has just cut off the servant's ear); yet, when examined in the context of Peter's spiritual conversion, it
is a compelling choice. Also, this is the first instance
change in mood. This tender and loving delivery of

Jesus's prophetic words is abruptly interrupted by
Peter's now anguished insistence of devotion to his
Lord. After repetitions of 'ah', each on weak beats
in Le reniement de St Pierre in which Charpentier

uses the metre 43/2 combined with void notation.
and separated rhetorically by rests, Charpentier
void notation comes at the beginning of the final
includes three repetitions of 'non te negabo', concluding the section in D minor ('grave and devout').
Significantly, the only other instance of this type of

chorus of Le reniement de St Pierre as Peter remem-
bers the words of Jesus ('Then Jesus looked upon

Ex.1 Marc-Antoine Charpentier, Le reniement de St Pierre, H424, 'Et si omnes scandalizati' (Paris, Bibliotheque
Nationale de France, Ms. Vm1- 1269), PP.5-6 (Permission granted by the Bibliothdque Nationale de France)
_____[
~f?-----
--
Petrus
Et si o-mnes scan-da-li - za - ti fu-er-int in te, num-quam e - go, num-quam e-go, num-quam

Jesus
4 ---- I
e - go scan-da-li-za - - bor.
A-men, a-men, a-men, a-men, di - co ti - bi
14
Pe - tre, qui - a in hoc no - cte an - te quam gal-lus can-tet, ter me ne- ga -
10
ah, ah, ah Do - mi-ne. E-tri - am si o-per-tu - e- rit me mo-ri

7
13
k-
---T-
a.
I'
II"-
in
original
Table 1 Le reniement de St Pierre, H424, structure
Section Key Key characteristics* Structuret
Chorus Narrator: 'Cum caenasset Jesus' a 'tender and plaintive' A

Recitative Jesus: 'Omnes vos' a 'tender and plaintive' B
Chorus Narrator: 'Respondens autem Petrus' d 'grave and devout' C
Recitative Peter and Jesus: 'Et si omnes ... non te negabo' d 'grave and devout' D
Chorus Chorus: 'Similiter et omnes discipuli' C 'gay and martial' E
Recitative Narrator: 'Ecce Judas' G 'sweetly joyous' F
Arioso Jesus: 'Converte Petre' G 'sweetly joyous' G
Recitative Peter and Ostiaria: 'Ministri ergo' F/d 'furious an
and devout'
Chorus Narrator: 'Et introductus est Petrus' d 'grave and devout' E'
Recitative Peter and Ancilla: 'Et tu cum Jesus' d 'grave and devout' D'
Quartet Peter, Ostiaria, Ancilla, Cognatus, Malachi: D/d 'joyous and very martial/grave C'
'Nonne tu Galilaeus es?' and devout'
[Recitative] [Narrator]: 'Et continuo gallus cantavit' a 'tender and plaintive' B'
Chorus Chorus: 'Tunc, respexit Jesus ... flevit amare.' a 'tender and plaintive' A'
* The translations of Charpentier's key characteristics from the R~gles de composition are taken from Ranum, The harmonic orator,
pp.320-21. Ranum notes that 'To clarify Charpentier's meanings, translations of Furetibre's [Dictionnaire universel] definitions are
provided for each mode. These definitions are exactly contemporary with Charpentier's list.' (p.326).
t The letters refer to the chiastic structure-not musical repetition.
Peter. And Peter remembered the words of Jesus,
the poignant dissonances and then the power-
and he went out [and wept bitterly]'), reinforcing ful, heart-rending closing section-the musical
the idea of conversion and subtly yet strongly tying equivalent of Crasset's prayer at the close of his
together these two pivotal moments in the piece. In Entretiens doux et affectueux on the conversion and
keeping with St Ignatius's emphasis on engaging the tears of Peter:
different senses to communicate effectively, here
O the goodness of Jesus
the visual and the auditory,62 Charpentier seems to
O the malice of my heart
choose void notation for its visual impact, as well as O my eyes cry in earnest; cry without ceasing; cry without
end,
for musical purposes.
The closing section of the final chorus, 'flevit

amare' ('wept bitterly') recalls an Ignatian 'application of the senses' with its simple message of repen-
tance. Set against an Ignatian backdrop, the listener

is invited to engage in inward reflection of his or her
That my tears will never dry up.
Alas, St Peter, who sinned only once, cried each day of his
life;
I sin every day and never shed a tear.
O Jesus my Saviour
I thank you from the depth of my soul for having glanced at
own tears. However, Charpentier does not give the
me with a look of mercy when I looked away from you, only to
final words to Peter in the form of a personal
sin more boldly.63
lament; rather, the entire chorus, representing the
or Bourdaloue's words at the end of the exhortation
worshipping community, participates in Peter's on Le reniement:

repentance and tears. Charpentier writes a final
chorus of incredible beauty, drawing out all the No, Lord, whatever happens and whatever the cost, I shall
significant words for rhetorical treatment: the melis-
mas on the words 'Petrus' and 'Jesus', the hemiola

on 'verbi Jesu' (as Peter remembers 'the words of
never renounce you. What do I say? Is it enough to renounce
you no more? I must henceforth declare openly my faith in

you. This is necessary to atone for so many scandals, and, in
order to honour your law, I must profess my faith publicly,
Jesus'), followed by complete silence for three beats, practise it strictly, and fulfil it rigorously in all aspects.64
Ex.2 Marc-Antoine Charpentier, Le reniement de St Pierre, H424, 'Converte, Petre' (Paris, Bibliothbque Nationale de
France, Ms. Vm' 1269), pp.11-12 (Permission granted by the Bibliothbque Nationale de France)
Jesus
'Con - ver - te, Pe - tre, con - ver - te, con - ver - te ga - di - um
tu - um in lo - cum su um. Ca - - cem quem de - dit mi - hi

I4
Pa - ter, non vis, non vis ut bi barnm ii - lum, ca - li- cemquem
de - dit mi - hi Pa - ter, non vis, non vis ut bi - bam__ i - lum?
#4
Most
of
a
heart
your
Peter's
'no
Jesus
in
t
as
a
d
that
and
the
clo
outsi
amare')-fi
ment
The
wit
m
spiritual
m
inclu
repet
Mementot
tores
sense
The
text
o
sinne
Charpentie
by
the
to
ren
ur
begins
wit
the
f
protected
exerc
forgotten
the
c
an
act
I
of
don
thiness
an
'Wha
ends
with
seem
Ex.3 Marc-Antoine Charpentier, Dialogus inter Christumn et peccatores, H425, 'Mementote peccatores' (Paris,
Bibliothbque Nationale de France, Ms. Vm' 1269, p.69) (Permission granted by the Bibliotheque Nationale de France)
Me-men-to - te pec - ca - to - res me-men - to - te pec - ca-to - res,
~?tz_- - -i--a--- 411 _ffi ?----~

6
me-m
6
6
b
4
6
5
43
Non - ne vos cre-a - vi,. non - ne ser - va - vi, non - ne nu - tri - vi, non - ne vos fo- vi si-cut
a - qui-la pro - vo- cans ad vo - lan - -- - - dum
the lilting
rhythm of the sinners' convey
lament (as
Contrasting images Here
are
beautifully
they address their own

hard, thankless
and stonyto t
through the music: the reference,
for
example,
hearts), the
melodic
shape, the imitative
writing is
and ca
image of 'an eagle teaching
its
young
to fly'
the repetitions reinforce
this sense
of sadness and on
tured through the repetition
of the
melismas
'volandum' and 'volitans'.
longing. The listener is left in doubt as to whom the
As Christ addresses the sinners directly again, sense of love and affection (and sorrow) is directed:
the melismas fall each time on 'Deo' ('God') and

Charpentier returns to a more declamatory style of
'Patri' ('Father'). One can also hear clearly the
writing where rhythm becomes the foremost means
of expressing the meaning of the text.69 When theinfluence of the descending tetrachord (repeated
on various degrees of the scale)-so evocative of

sinners enter (ex.4), they sing of their hardness of
lamenting and yearning for love.72
heart with imitative writing that emphasizes a feeling of yearning-they have offended their beloved The theme here bears the hallmarks of Jesuit thinkLord. Charpentier's choice of E minor ('effeminate,ing: the sinners themselves reflect on their actions;
amorous and plaintive'), and described by Patricia they examine (and address) their own hearts (following the spiritual journey outlined by St Ignatius).
Ranum as 'predominantly languid and sensual',
seems so appropriate here7? It is not just the tonal- When the sinners enter into a dialogue with
ity, but also the metre, rhythm and melodic shapeChrist, repenting their sins, there is a move to a
that conveys the mood here. Ren6 Bary, in La rhd-more urgent recitative-like style. Charpentier draws
torique franyoise (Paris, 1659) notes that 'sadness ison a range of rhetorical devices-melodic, harmonic and rhythmic-to intensify the sinners' act of
expressed by a weak dragging and plaintive voice'.7
Ex.4 Marc-Antoine Charpentier, Dialogus inter Christum et peccatores, H425, 'Ah cor durum' (Paris, Bibliothbque
Nationale, Ms. Vm' 1269, p.70) (Permission granted by the Bibliothdque Nationale de France)
Ah
cor
in
Ah cor du - rum, cor du - - rum

*
t.......
gra-
..
tum,
cor
sax
um
ah
cor
haec - ci- ne red - dis. De - - - - ,
haec - ci -ne red - dis_ De o,
repentan
ideology, Ignatian spirituality and Italianate
of
harmonic and melodic dissonance becomes more
imag
characteristics.
Perhaps it was not just his musical
style, with its expressive dissonances, false relations

and more intense, reaching a climax at the words
and chromaticisms, that offended some contempo-
'Alas, the stupidity of my heart! Alas, the fatal blindrary listeners outside of Jesuit circles; perhaps it was
ness of my soul' (ex.5).
also the very ideals that it embodied-ideals that were

With the return to a lilting, melismatic lamentperceived by some as a threat to French rationalism
like triple metre passage, and accompanied by beauand classicism. The Jesuits, who were often considered
tiful 9-8 suspensions, it is the composer who assures
more 'ultramontane' than 'Gallican' in ways that
the contrite sinner of the love of God. Though in

went well beyond their choice of breviary, inspired
miniature, this motet shares some of the sentiments
Charpentier to write some of his most sensual and
expressed in Le reniement de St Pierre as St Peter
expressive
music.73 Yet, in spite of criticisms levelled
remembers the words of Jesus after the cock crows:
against him, the music remains unmistakably French.
Charpentier marks the feelings of remorse, repen-
tance and forgiving love by a similar move The

to Acompositional style is inextricably linked with the
principles of French aesthetics, rhetoric and vocal

minor and ?3/2 metre.
declamation. The language may be Latin, but the
Though profoundly influenced by French practices,
the ornamentation and the rhythms are
both religious and musical, the music Charpentier phrasing,
composed for the Jesuits resonates with post-Tridentine
unequivocally French.74
Ex.5 Marc-Antoine Charpentier, Dialogus inter Christum et peccatores, H425, 'Heu stupiditas cordis mei' (Paris,
Bibliothbque Nationale de France, Ms. Vm 1269, P.74) (Permission granted by the Bibliothdque Nationale de France)
HeuI stu - pi - di-tas cor-dis me - i, heu! men-tis me - ae cae - ci-tas in-
89
b3
9
4
-fes - ta
I . ....3
4 3
The author acknowledges

with gratitude
around Marc-Antoine Charpentier,
revisions to a work, at other times
the assistance of Catherine
Cessac in possibly to replace lost or damaged
p.522) has argued that when Charpentier
locating illustrations
for
the
article.
material). For more information on
went to Italy
in the mid-166os
he already
Facsimiles taken from
had a firm grasp ofMarc-Antoine
Latin and musical
the Meslanges autographes, see C.
composition. Titon duautographes,

Tillet
Charpentier, Md1anges
Cessac, Marc-Antoine Charpentier
are reproduced with
the
kind
(Paris, 1988), trans. E. T. Glasow
(Description
du Parnasse
Frangois (Paris,permission
1727), p.144) commented that 'In his
(Portland, 1995); L. Guillo, 'Les papiers
of Sylvie Minkoff.
1 Patricia Ranum (Portraits around

Marc-Antoine Charpentier (Baltimore,
2004), P.53) has noted that
Charpentier's sister ]tiennette made a
bequest to the Jesuits 'in recognition of
the fine instruction I received from
childhood and ever since'. Ranum
comments that this reference to
'instruction' may simply mean

catechism or it may indicate that
Etiennette received education beyond
that of simple catechism. She further
youth, Charpentier spent a number of

years in Rome to perfect his music
under Carissimi.' Ranum (Portraits
around Marc-Antoine Charpentier, p.521)

has conjectured that the words 'to
oeuvres de Marc-Antoine Charpentier:
Charpentier was already well versed in

the art of composition.
postscriptum a un catalogue', Revue de

musicologie, lxx (1984), PP.37-50;
2 S. Brossard, Catalogue des livres de

musique (Paris, 1724), PP.275-6.
Charpentier held the position at
St Louis until his move to the Sainte
Charpentier family probably received

instruction from the Jesuits. The
historian Joseph Bergin recently
discovered in some archival material
of 1687: see P. Ranum, 'Marc-Antoine
(An. MM 1059, f.llr) that Charpentier

was admitted to the Law Faculty in
Paris, before pursuing a career in
music. According to this source,
Charpentier was enrolled in the Faculty
of Law in 1662. Ranum hypothesizes
that this is further evidence that 'the
Jesuits made it possible for Charpentier
to study simultaneously letters at their
Collkge de Clermont and composition

with their music master': see P. Ranum,
'Marc-Antoine Charpentier studied
law!', http://ranumspanat.com
(accessed 13/o5/o4). Ranum (Portraits
musicologie, lxxxvii (2001), pp.3o7-69;

H. W. Hitchcock, Les ceuvres de MarcAntoine Charpentier: catalogue raisonni
(Paris, 1982); H. W. Hitchcock, 'Les
perfect his music' suggest that
Chapelle in 1698. Based on evidence

from the Milanges autographes, Ranum
has suggested that Charpentier was
suggests that other members of the
a musiques imprimis', Revue de
employed by the Jesuits in the summer
H. W. Hitchcock, 'Marc-Antoine
Charpentier: m~moire and index',

Recherches sur la musique classique
frangaise, xxiii (1985), PP.5-44;
P. Ranum, 'Meslanges, m61anges,
cabinet, recueil, ouvrages: l'entrde des
manuscripts de Marc-Antoine
Charpentier a la Bibliothbque du Roi',

Bulletin Marc-Antoine Charpentier, ix
Charpentier compositeur pour les
(1993), PP.1-9; P. Ranum, Vers une
Jdsuites (1687-1698): quelques

considerations programmatiques',
Bulletin Marc-Antoine Charpentier,
chronologie des cEuvres de Marc-
xviii (2001), P.3.
3 Paris, Bibliotheque Nationale de

France, R6s. Vm1 259; edited as (Euvres
completes de Marc-Antoine Charpentier:
Mdlanges autographes, i-xxvi (Paris,
1990-).
Antoine Charpentier (Baltimore, 1994);

P. Ranum, 'Charpentier's treble clefs'
http://ourworld.compuserve.com/
homepages/Pranum/threeclefs.html;
P. Ranum, 'Some musings on Laurent
Guillo's recent article, "Les papiers it
musique imprimis", Revue de
musicologie, lxxxv (2001), and on how
his findings are related to the papers

4 There are many other cahiers that used by Charpentier',
include sheets of Jesuit paper added at
a later date than the main body of thehomepages/Pranum/guillo.html;
cahier (sometimes to accommodate Ranum, 'Marc-Antoine Charpentier
PYRAMID?!
compositeur pour les Jbsuites', pp.2-11;

I. Loyola, Spiritual exercises, trans.
A. Vatier (Antwerp, 1672), p.36.) Jean
S. Thompson, The autograph
Crasset (La veritable devotion envers
manuscripts ofMarc-Antoine
la s. vierge (Paris, 1679), p.165)
Charpentier: clues to performance (PhD
diss., U. of Hull, 1997); S. Thompson,provides a definition of divotion as
'Reflections on four Charpentier
it relates to the spiritual growth and
chronologies', Journal ofseventeenth-active commitment of the members of
century music
the congregation. It is, he writes, 'une
(www.sscm.jscm.org/jscm/v7/nol/
disposition de l'ame qui la rend

Thompson.html). Patricia Ranum also
prompte et diligente A tout ce qui
has extensive information concerningregarde le service de Dieu, et qui
prend naissance de la considbration
chronology on her web-pages,
de sa bontb, de ses bienfaits, de
'Musings on Marc-Antoine
Charpentier and the Guise',
son amour et de ses promesses.
\ r
Saiten- und
Stimmpfeifenfabrik
Junger GmbH
Postfach 6- P. O. Box 6
SudetenstraBe 41-43
D-91088 Bubenreuth / Erlangen
Crasset's understanding of devotion is
linked to the idea of action or service,
homepages/Pranum/Page3.html;
often with reference to the service due
C. J. Lowe (Gosine), The psalm settings
of Marc-Antoine Charpentier (PhD to the Virgin and her Son, Jesus Christ.
diss., Cambridge U., 1990), pp.1-24. This was especially true for a member
of the congrigation, which required a
5 There are 24 works by Charpentier
that are written on Jesuit paper and promise 'd'etre du nombre de vos
include the names of singers from theserviteurs' (Crasset, p.341). According
Opbra. These include works intended to Crasset, the model for religious
service was Our Lady, the ancilla
for use during celebrations of the Mass,
Christi. It was the duty of each
Tenebrae and, most frequently, Vespers.
congriganiste to seek to emulate Mary's
6 For example, the antiphon cycle for'yes' through divotion and service.
use at Second Vespers for the Common
Charpentier probably composed some
of a Confessor not a Bishop (H33-5) sets
of his litanies and motets to the Virgin
texts taken from the Breviarium
for use by the congregations mariales.

romanum, rather than the Breviarium
8 Almost half the pieces written on
parisiense used elsewhere in Paris, and is
Jesuit paper are either motets or
written on Jesuit paper. The cycle also
psalm-settings, particularly for use
includes the names of three soloists,
during Vespers. In cahier 54, for
ROGBERT A. BROWN
BUILDER AND RESTORER OF FORTEPIANOS
Mr Bluquet, Mr Tomasso and Mr
Favalli-the latter two were well-known
Italian castratos. For more information,

see J. Gosine, 'Charpentier and the
example, Charpentier includes settings

of Psalms 4, lo9, 111, 110io, a Magnificat,
two settings of the Regina coeli and a
Domine salvum. All the psalm-settings

and the Magnificat are scored for the
studies, xv (1993), PP.297-314.
same forces (soloists, chorus and
continuo). With the exception of
7 Jean Crasset, a contemporary of
Charpentier at the church of St Louis, Psalm 4, all the psalms are used during
Sunday Vespers-the most important
led the congrigations mariales. These
and popular liturgical celebration at
were formed to allow laymen to
develop a deep personal spirituality in St Louis. Psalm 4 was used at
order to be able to live out Christian
Compline (as well as Matins). Two of
devotion within society, rather than
these works (the setting of Psalms 111
outside it. Ignatius Loyola and Frangois and 110 (H199 and H200oo)) include the
de Sales (1567-1622) had been at the
names of opera singers on the score.
These names, however, appear to have
vanguard of a two-fold spiritual
movement in which, on the one hand, been added at a later date, along with
references to additional preludes. The
pious devotion was set within the
instrumental preludes are located in
active, urban life (rather than being
solely the preserve of the monasteries) cahier 63. This suggests that the works
Jesuits', Journal ofl7th-century French
A ntew fortepiano,
based on the design
of the originalAnton Io Hlterpiano
of 1782, t7o1 hoosedl in tBhe Btgenlodiseies

Landesmuseum in Eisenstadt, Austria.
Compass: FF- f 2 * Registers: Moderato,

Damnpfehifter * LExterior ease: Solid lalnut
ROBERT A. BROWN
Alte Landstraf3e 10 and, on the other, the idea that the

A-5110 Oberndorf
Tell.: +43-(0)6272-7893
Fax: +43-(0)6272-73039
traitte cette affaire luy-mesme
may at first have been composed for the

regular choir, but that the opera singers
were included at a later performance,
along with added treble instruments.
rbciptoquement avec son crbateur.'
contents of the Jesuit cahiers and how
individual could aspire to direct

contact with God. ('Que le crbateur
E-mail: robert.brown@sbg.at immediatement avec sa crbature, et elle
Patricia Ranum has examined the
they related to the Jesuit liturgical
calendar: see P. Ranum, 'Marc-Antoine

Charpentier compositeur pour les
J~suites, 1687-1698: quelques

considerations programmatiques',
Bulletin Marc-Antoine Charpentier, xviii
instrumental colour, or it may be

related to more practical
considerations, such as providing a
specific copyist with information
on how to write out parts.
(2001), pp.1-11.
12 In honorem Sancti Xaverij

Canticum, H355, (cahier 58, ix,
9 In these works for the regular choir
ff.44r-51r) (Marc-Antoine Charpentier,
the soloists usually comprise men's

voices only (haute-contre, taille and
basse) or they include just short solo
euvres compl~tes. Melanges

autographes, vol. ix (Paris, 1997),
sections for treble voices.
1o There are examples of works scored

for male voices accompanied either by
the continuo alone, or by continuo and
obbligato instruments; high voices
(including castratos) accompanied
either by the continuo alone, or by
continuo and obbligato instruments; a
combination of treble and men's voices
accompanied either by the continuo

alone, or by continuo and obbligato
instruments; soloists, chorus and
continuo; soloists, chorus, two treble
instruments and continuo; soloists,
pp.81-95).
13 Some of these indications were
added in a different ink, possibly as a
later reminder for a copyist.
Jesuites de la rue Saint-Antoine, pour

entendre le sermon de l'Evesque de
Valence. Le Roy, la Reine, Monsieur le
Cardinal et la pluspart des grands de la
Cour y assistirent', Journal d'un voyage
& Paris en 1657-58 (reprinted 1862),
p.42. It is something of a paradox that
in addition to being at the centre of
Parisian nobility, the church of St
Louis was not exclusive; rather it was
open at all times to the very poorest
members of society, and Bourdaloue
and Jean Crasset, both eloquent
preachers, were able to reach out
to the wider public. The innate clarity
14 The terms 'sourd' and 'sourdines'

are ambiguous in Charpentier's music.
This example, as in many other cases,
of Bourdaloue's sermons made them
seems to confirm that the term refers
accessible to all. A passage from the

contemporary Notice de Labourderie
(1690s) posits the presence of the lower
to a dynamic marking rather than the
classes at Bourdaloue's sermons: 'C'est
use of mutes-even though the
done 1l [at St Louis] ce fameux

predicateur de Paris, disaient les
'sourd' is used. In one instance in
paysans, nous avons compris tout ce
particular, at the word 'mortui', there qu'il a dit!' (Notice de Labourderie
(1690), quoted in A. Richardt,
is no time for the application of
recorders drop out where the term
mutes-the musical texture is
Bourdaloue: l'orateur des rois (Tournai,
continuous. This use of a string texture

1995), p.91). The Jesuits' ability to
touch and affect so many layers of
appears to be chosen to create a
obbligato instruments, double chorus, particular colour. In Beatus vir, H208, society may have been seen as a threat
double orchestra and continuo; and
Charpentier indicates that the strings by the ruling parties-perhaps one of
purely instrumental works (including should play 'sourd', then 'tres sourd' many contributing factors that led to
their suppression and expulsion from
which strongly suggests changes in
preludes and overtures). The works
scored for double chorus and double
dynamic level, rather than the use of France in the 1760s. Charpentier's
orchestra, which are written on Jesuit mutes. Similarly, in Laetatus sum, H161,Messe de minuit, H9, and the
instrumental settings of Noels, H531 and
Charpentier writes 'plus sourd'.
paper, are in cahiers that appear to
534, in which the composer draws
have been copied at a later date than Elsewhere, it is possible that the
extensively (and overtly) on popular
instruction to play with 'sourds' or
their position in the series of
'sourdines' indicated the use of mutes.
music for inspiration, may have been
manuscripts would suggest. Cahiers
another way of appealing to all
vi-viII, x, xI, 33, 39 and 40 all include For more detailed information on
echelons of society, rather than just the
Charpentier's use of the mute, see
works for double chorus, and are
chorus, obbligato instruments,

orchestra and continuo; soloists,
S. Thompson, 'A mute question:

written exclusively on Jesuit paper.
Charpentier and the sourdines',
These cahiers were copied at a later
Bulletin de la Socidtd Marc-Antoine
date than the surrounding material,
Charpentier, xvii (2000), pp.7-18.
almost certainly to accommodate
revisions in scoring. Some of the works15 See n.7 above.
in these cahiers refer directly to
additions to earlier (now lost) versions,16 Contemporary accounts mention
such as the Messe a 8 voix, et 8 violons frequent visits to St Louis by the king
and queen and prominent members of
etflutes, H3.
court who came to hear the Jesuit
11 The detailed information regarding

instrumentation in many of the Jesuit
works may be of use when attempting
to reconstruct the sound of other
preachers and enjoy the excellent

quality of the music. For example, the
Mercure galant (August 1692) reports
that 'Il y avoit une affluence
extraordinaire de gens de qualit6 ... La
Musique qui estoit de Mr Charpentier,
most elevated.
17 R. Viladesau, Theological aesthetics

(New York, 1999), p.15.
18 Loyola, Spiritual exercises, trans.
Vatier, pp.29-3o.
19 Germain Brice, Description de la
ville de Paris et de tout ce qu'elle contient
de plus remarquable (Paris, 1713)
describes the depiction of the cardinal
virtues in marble, noting that 'Jacques
Sarazin, excellent sculpteur, a donn6
tous les desseins de ce riche
monument, dont la depense a 6td

grande, comme il est ais6 de se
works by Charpentier (where far less

precise details are given). The
discrepancy between the amount of
information given on different works
may suggest either developments in
brothers from Holland noted that
Charpentier's approach to
'l'apres din&e nous fusmes A l'eglise des voyait plus de quatre mille cierges
charma toute l'Assemblke'
(pp.219-220). Writing in 1657, two
l'imaginer.' (p.42).
20 In the Journal d'un voyage h Paris
en 1657-58, the writers note that 'on
allumis, outre les chandelles dont
26 Lecerf, Comparaison, pp.184-5.
'autel, fait en forme de ciel et rempli de

figures d'anges, estoit esclaird ... les
27 Lecerf, Comparaison, p.184.
4glises des J~suites sont, en tous pays,
'Hormis "Dun", en qui j'ai plusieurs
fois remarqud un air different de celui
remarquables pour le luxe et la

recherch6 de l'ornamentation: tout y
parle aux yeux, jusqu'au point
quelquefois de choquer l'esprit.' (p.42).
de ses camarades, une aparence de

Chritien, je n'en connois pas un que je
voulusse justifier d'8tre un Acteur
21 In Les curiositez de Paris (Paris, 1716;
biensdance.'
R/1883, p.124), the writer notes that 'La
Tribune, oh sont les Orgues que l'on

estime beaucoup, est ordinairement
remplie des plus fameux Musiciens des
Paris, qui s'y font entendre avec plaisir
les Dimanches et jours de Fates
particulibres.' J. L. Lecerf de la Vi~ville,
in Comparaison de la musique italienne

et de la musiquefranpoise, Troisikme
partie (Geneva, 1704-6; R/1972), p.189,
comments that 'en une Eglise ois l'on
entend autant de beaux Sermons
detestable a l'Eglise par nos r~gles de
Jesuits.
23 Les curiositez de Paris (Paris, 1716;

R/1883, P.122). After a detailed
description of the altar and tabernacle
(pp.122-3), the writer finishes by
noting that 'toutes ces &clatantes
richesses sont accompagdes d'un si

grand luminaire, arrange avec tant de
genie qu'il n'est pas possible de
concevoir, en ce genre, rien de plus
charmant, ni de plus admirable'
(p.123).
24 G. Brice, Description de la ville de
Paris et de tout ce qu'elle contient de plus
remarquable (Paris, 1713), PP.39-4o.

The description of the use of
machinery is reminiscent of
descriptions of the deus ex machina so
popular in operatic performances
of the day.
25 Lecerf, Comparaison, p.183.
(Cambridge, MA, 1993), p.254.

35 O'Malley, The first Jesuits, p.255.
36 O'Malley, The first Jesuits, p.255. As
is discussed later, this belief in the need
for the orator to respond directly to a
specific audience echoes Mersenne's

advice to the harmonic orator.
37 'Les orateurs sont impr~gnis du

28 Crasset was a contemporary of
principe que le plaisir esth~tique n'est
Charpentier's at St Louis. While there
autre qu'un plaisir cognitif.' C.
is no evidence that the two worked
Mouchel 'Les rhatoriques postdirectly together, they were serving the tridentines (1570-1660): la fabrique
community of St Louis during the
d'une socidtd chritienne', Histoire
same period.
de la rhitorique dans l'Europe
moderne, ed. M. Fumaroli
29 J. Crasset, La veritable devotion
(Paris, 1999), p.453.
envers la s. vierge (Paris, 1679), p.116.
30 'Je suis, dis-je, extremement

satisfait de voir &crire et prescher
contre ces faux d~vots, qui ont une

qu'en lieu de France: on n'entend
apparence de pidtd, et qui renoncent a
jamais Vepres, qu'une partie n'en soit
sa pratique.' Crasset, La veritable
chant&e par l'Opera. Le Jub6 est pare
de l'Opera en habit de Ville, qui
devotion, p.ni9.
ex&cute et qui represente un ou deux 31 'Begin by applying the sense of sight
Pseaumes, comme pour s'essayer, pour
and imagine that you are seeing the
se disposer aux personages
persons, what they are doing and other
que ces Messieurs jotieront une
things ... Next apply hearing, taste,
smell and touch ... But do not look for
heure apris'.
22 All the senses-sight (through the

visual arts and the candles), hearing
(through oratory and music), touch
(through the sculpture), taste (through
frequent Communion) and smell
(through incense)-were used by the
34 John W. O'Malley, The first Jesuits
38 Marin Mersenne, a leading 17thcentury French thinker, was educated

in rhetoric and music by the Jesuits.
For a more detailed account of
Mersenne's writings on rhetoric and

music, see D. A. Duncan. 'Persuading
the affections: Mersenne's advice to the
harmonic orator', French musical

thought, ed. G. Cowart (Ann Arbor,
1989), PP.149-75.
39 Translated in Duncan, 'Persuading

the affections', p.154.
the objects themselves. It is necessary

40 M. Mersenne, Harmonie
to take them metaphorically and
spiritually.' Loyola, Spiritual exercises, universelle, ii: 'ivre cinquiesme de la
composition de musique', f.323v.
trans. Vatier, p.29.
32 'The [director] should permit the
41 In his Comparaison de la musique
italienne et de la musiquefranpoise.
Creator to deal directly with the
Discours sur la musique d'Eglise, Lecerf
creature, and the creature directly with
his Creator.' Loyola, Spiritual exercises, comments that: 'I1 est constant que la
pltipart des Pseaumes, des Cantiques,

trans. p.36. In a number of
etc. ont une espece de dessein, une
Charpentier's works, such as
passion
qui domine, & a laquelle tous
Mementote peccatores and Le reniement
de St Pierre, the texts and the manner
in which the texts are set to music
les autres sentimens viennent aboutir:
Je croirois que le Compositeur doit

suivre principalement celle-la, & selon
emphasize this personal relationship
que les autres y ont plus ou moins
with God.
de raport, les faire plus ou moins
33 The final prayer of the Contemplatio sentir.... Il me semble que l'expression
is a self-offering to God in gratitude for
God's gifts and goodness. All that the
supplicant asks is: 'Take, Lord, all my
particuliere de chaque Verset, doit 4tre

ainsi lide & subordonn&e a l'expression
understanding and my will. You have

given all that I have and possess; I
return it to you to dispose of according
to your will. All I ask is that you give
me your love and your grace (those
are enough riches), I ask nothing
more.' Loyola, Spiritual exercises,
g~ndrale du Pseaume. N6anmoins,

quand le Verset est d'un chant
singulier, ou beaucoup plus vif que le
reste, quand le Prophete lui-mbme a
voulu faire une oposition de
mouvemens, ou quand il raporte les
sentimens & les discours de plusieurs
personnes, ce qui lui arrive
quelquefois: on doit sans doute
trans. Vatier, p.150o.
s'attacher a donner a ses Versets, une
liberty. Receive my memory, my
expression singuliere & remarquable, &

la genie du Musicien peut se diployer
& briller 1l par une variet6 ficonde. ...
Ce seroit une petitesse que de n'oser
passer 'Fluvius et Fulgur', sans y mettre
des roulemens, parce qu'il est vrai que
les roulemens sont propres i peindre le
Histoire de la rhitorique dans l'Europe

moderne (1450-1950) (Paris, 1999),
Tonnerre.' (pp.68-70).
the hearer remains indifferent.
42 In a letter dated 14 January 1670

Guy Patin wrote 'II y a un certain
44 In the Catalogue des livres de la

bibliotheque de la Maison Professe des
ci-devant soi-disans Jesuites (Paris,
1763), there are a number of musical
cours d'un Fleuve & la chutte du
j~suite, natif de Bourges, en Berry,
nommi Bourdaloue qui prache au
pp.741-2. In these lines Mme. de S~vign

is hoping for more than entertainment.
She understands the need for the touch
L'Eglise St Paul-St Louis: notice

historique et descriptive (Paris, 1901),
close connections between rhetoric and
p.144.
worked in Rome from 1633 until his

death in 1680, and would therefore
picture of the scene at St Louis where
Bourdaloue was preaching: 'J'avais

grande envie de me jeter dans le
Bourdaloue, mais l'impossibilite n'en a
6td le gofit. Les laquais y 6taient dks
mercredi, et la presse 6tait h mourir. Je
savais qu'il devait redire celle que

M. de Grignan et moi nous entendimes
l'ann~e passde au Jesuites, et c'6tait
pour cela que j'en avais envie, elle 4tait
parfaitement belle, et je ne m'en
souviens que comme d'un songe.'
(Mme. de S~vign&. Correspondance, i

(Paris, 1972), p.202. Letter dated
Vendredi saint, 27 March 1671). From
this passage we learn a number of
things: that the crowds were indeed
great, with servants holding places for
their masters two days prior to the
Good Friday afternoon Passion

sermon; that Mme. de Sdvignd was
presuming to hear the sermon
Bourdaloue had preached 'last year';
and that she had been enchanted by
the experience. On another occasion
she wrote 'Jamais il n'a si bien pr~ch
que cette ann&e ... J'en suis charm&e,
j'en suis enlev~e, et cependant je sens
que mon coeur n'en est pas plus
&chauff6 et que toutes ces lumitres
dont il a 6claird mon esprit ne sont
point capables d'op~rer mon salut.'
(Cited in V. Kapp, 'L'apogde de
l'atticisme frangais ou l'dloquence qui
se moque de la rh~torique (1675-1700oo)',
50 The degree to which Charpentier
would have been familiar with the
The best sermon remains powerless if above. French theorists did not use the
plus que pleine.' Quoted in G. Bazin, Mersenne and Kircher, examine the
Bourdaloue, Madame de Sdvign

(1626-96) presents an ambiguous
singing (Brooklyn, 1968).
writings of German theorists is not

of God in her life that will come only
known, but the Jesuit library did
from her own inner religious response.
include a treatise by Kircher; see n.44
J~suites de la rue Saint-Antoine avec treatises listed, including works by

tant d'1loquence et une si grande
Zarlino, Artusi, Mersenne and Kircher.
effluence du peuple que leur dglise est These works, particularly those by
43 One of the noted author-socialites

of the period and an ardent follower of
commentary upon the art of proper
music. Athanasius Kircher lived and
have been there during Charpentier's

visit to the city. The fact that
Charpentier is now known to have
been a law student at the time of his
same type of highly systematic
approach to musical-rhetorical figures
that was found in German treatises.
Within Charpentier's repertory there

is, however, a large degree of
consistency in his choice of rhetorical
figures.
51 In his Harmonie universelle ('Livre

sixiesme des orgues'), Marin Mersenne
describes the tremblant, noting that
'plusieurs reiettent ce tremblement
comme un bruit desagreable ...
(P.372).
52 H128 is located in cahier 59 (ff.14r-15r,
vol.lo). This is the same volume that

includes Beatus vir, H208, which uses a
similar technique. The indication

Italian sojourn indicates that he would
'sourdines' is also found in H129, another
have had enough knowledge of Latin to
be able to understand works like
of the Ripons de tinkbres, for the words

'tenebrae facta sunt ... ', and in H131 for
Musurgia universalis (1650): see

the words 'Ecce quomodo'.
P. Ranum, 'Marc-Antoine Charpentier
Charpentier's use of slurred tremolo is
studied law!', http://ranumspanat.com.found on a number of other occasions45 For an account of the type of music all of which are settings of dramatic texts
(such as in Midde, H491, at the reference
that Charpentier might have heard
to dragons and the gates of Hell).
while in Rome, see J. Lionnet,
'Charpentier & Rome', Bulletin Marc- 53 Marc-Antoine Charpentier, 'O

Antoine Charpentier, x (1994), pp.1-9. Amor[:] Elevation a 2 dessus et une
basse chant[ante].' (added after the
46 J. Chipps Smith, Sensuous worship
title: 'ou pour une haute C[ontre],
(Princeton, 2002), p.38.
haute T[aille] et basse chant[ante] en le
transposant un ton plus haut'), Paris,
47 The use of rhetoric and music in
Bibliothbque Nationale de France,
relation to 17th- and 18th-century
settings of French texts is discussed in Ms. Ris. Vm' 259, vol.6, ff.34v-36r
P. Ranum, The harmonic orator
(Mdlanges autographes, cahier 39).
Marc-Antoine Charpentier, (lEuvres
(Hillsdale, NY: Pendragon Press),
2001.
completes: Mdlanges autographes
(Paris, 1996), vi, pp.66-8.
48 E. Bretteville, L'Eloquence de la
54 This elevation motet is located in
chaire, et du barreau, selon les principes
les plus solides de la Rhitorique cahier
sacrie39.etIn spite of its early position
in the 'French' series of cahiers, it is
profane (Paris, 1689), quoted in
written on Jesuit paper. It was initially

Ranum, The harmonic orator, p.364.
scored for two treble voices and bass,
but includes references to a revised
49 This attitude towards musical
composition is shared by writers
suchfor male voices. Whether or
scoring
as Lecerf, in his Comparaison de
lathis work was originally composed
not
for use at St Louis (or revised for use
musique italienne et de la musique
there), its message (both textual and
franFoise, and Bacilly, in his Remarques
curieuses sur l'art de bien chanter
(Paris,emphasizing reciprocal love
musical),
1668), trans. A. Casswell as A
and active devotion, is Jesuit in
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character. It echoes many of the
sentiments found in Loyola's Spiritual
exercises (trans. Vatier, p.159).
55 Mersenne, Harmonie universelle

(Paris, 1636; R/1975), p.41.
56 Charpentier's setting of the word
'clamabant' is reminiscent of two of his
settings of Psalm 129 (H189 and H211),

which open with similar settings of the
word 'clamavi'. Mersenne (Harmonie
universelle, p.360) notes that the minor

6th is used for expressing great laments
and anguish.
57 Marc-Antoine Charpentier, Le
reniement de St Pierre, H424, Paris,
Bibliothhque Nationale de France,

Ms. Vm' 1269, pp.1-23.
58 In the only source for this work,
Brossard describes Le reniement de St
Pierre as 'une histoire ou un oratorio h
seigneur Jesus-Christ: avec des Cantiques that he can cry Peter's tears from a
(Paris, 1685)) and Bourdaloue
place of affective knowledge of the
saving power of Jesus's Passion, all
(Exhortation sur le reniement de Saint
concentrated in the loving gaze of
Pierre (in (Euvres completes (Paris,
forgiveness. In Le reniement de St Pierre,
1823), ii, PP.411-22)) both expounded
on this same theme in their writings-- Charpentier traces this same pattern
through the music.
thus showing how three individuals
working at St Louis shared similar

approaches to theological issues.
Inspired by the teachings of St Ignatius,
Crasset encourages the worshipper to
enter Peter's world where two things
happen. First, the supplicant follows
the Ignatian path of imagining himself
in the scene, as laid out by Crasset.
Second, he opens himself to a deep
personal and affective engagement with
the apostle, and in so doing, makes an
experience of the Passion a part of his
own spiritual life. Crasset has,
therefore, moved from an exposition of
l'italienne du reniement et du repentir Peter's denial to a direct involvement

de St Pierre A 5 voix CCATB cum
organo'. The work was clearly
influenced by the music of Carissimi.
by one who is reflecting on the denial
59 Crasset (Entretiens doux et
key to the full integration of this

consideration into the life of the one
affectueux pour tous les jours du Carame

sur la mort et la passion de nostre
and its implications for his or her life.
The tears, metaphoric and actual, are
praying. Crasset tells the one praying
60 In his Rigles de composition (Paris,

Bibliothhque Nationale de France,
Ms. Nouv.acq. frangaise 6355, ff.13r-13v),
Charpentier assigns each of 18 modes a
particular inergie, commenting that
'The first, but least important, reason
for [transposing the modes] is to render
the same piece of music singable by all
sorts of voices. The second and
principal reason for this is in order to
express the different emotions, for
which the different characters of the
modes are very appropriate.' (f.13r).

When examining Charpentier's music,
there appears to be a very close
correspondence between the choice of
tonality and the overall sentiments
being expressed. In Le reniement de
St Pierre there seems to be a particularly
close relationship. For further
discussion of this topic, see Ranum,
indicates the hemiola in two of the
The harmonic orator, pp.3o8-57.
voice parts (haute-contre and basse)

and the continuo, and it serves a
61 Marc-Antoine Charpentier, R~gles

de composition (Paris, Bibliothbque
Nationale de France, Ms. Nouv.acq.
pictorial function by drawing

attention to the words being set.
Since the surrounding notation
uses void notation, this use
frangaise 6355, ff.13r-13v.

62 There are a number of instances
of coloration is all the more
striking.
where Charpentier also uses coloration

for its visual impact. The motet In
63 Crasset, Entretiens doux et
honorem Sancti Xaverij Canticum, H355, affectueux, p.316.
uses coloration for the words 'in
abyssum' and 'in profundum' (ix,

f.46v). The purpose of the black
notation here seems twofold: first, it
Resonances from
Vienna's past
64 Bourdaloue, Exhortation sur le

reniement de Saint Pierre, pp.421-2.
65 Marc-Antoine Charpentier,
Klaviernacherneister Ph. Schneider
Nibelungeng. 20 / Hainburg/D. / Austria

klavier.schneider.hainburg@aon.at
phone 0043-664-2524923
fax 0043-2165-64976
the desired emotional effect: see
Ranum, The harmonic orator.
72 E. Rosand, 'The descending
Musical quarterly, lxv (1979), PP.346-59.
66 There is no copy of the motet in the
almost certainly intended for use with

the motet, in cahier xIx (xvii, p.29).
de France, Vm7 559). Under the entry
instruments in
71 Quoted in Ranum, The harmonic

orator, p.413. Similarly, writers such as
Masson, Bacilly and Furetibre refer to
the choice of metre being imperative to
Paris, Bibliothbque Nationale de

France, Ms. Vm' 1269, pp.69-75.
Reverend Pdre Commite, J~suite'. The

edition was published in Paris by
J.-B.-C. Ballard in 1725 as 'Dialogue en
trio de Mr Charpentier' in Milanges de
musique (Paris, Bibliothique Nationale
original condition
70 Ranum, The harmonic orator, p.33o.
tetrachord: an emblem of lament',
67 There is a reference to the author of

the text on a published version of this
motet, 'Les paroles sont du Feu le
A fine collection of
have a colloquy (conversation) with
Christ.
Dialogus inter Christum et peccatores,
Rare and magnificent examplesM~langes autographes, but there is an

instrumental prelude, H425a, that was
of historical pianos from
1830 - 1930
69 The idea of Christ talking directly

to the exercitant is very much a part of
the Exercises. At the close of the period
of prayer, the one praying is asked to
of'Commire' in Louis Morbri's Grand
dictionnaire historique, the writer
73 The Jesuits at St Louis continued to

use the Roman Breviary in spite of the
adoption by most other Parisian
churches of the Gallican Breviarium
parisiense; see n.6 above.

74 This is surely an argument for
performers to adopt French
pronunciations of Latin, allowing the
natural rhythmic inflections of the text
to be heard through (rather than
against) the music. Much has been
written about the fusion of French
poetry and music in secular vocal

works, and treatises on French
declamation are an excellent source
of information on practices that

affect the delivery of Latin, as well as
French texts. A wealth of information
comments that 'Perhaps since the

on this subject is offered in Ranum,
century of Augustus, no one has better
The harmonic orator. See also P.
understood the genius of lyric poetry.'
Quoted in P. Ranum, The harmonic Ranum, Mdthode de la prononciation
latine dite 'vulgaire' ou 'h la frangaise':
orator, p.23o.
petite mithode h l'usage des chanteurs
68 In terms of the Ignatian Spiritual et des ricitants d'aprbs le manuscrit
exercises, this piece would fall under the
de dom Jacques Le Clerc (vers 1665)
(Arles, 1991).
category of 'First Week' material.
www.pianoandart.com

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Docere, Delectare, Movere: Marc-Antoine Charpentier and Jesuit Spirituality

Author(s): C. Jane Gosine and Erik Oland

C. Jane Gosine and Erik Oland

Docere, delectare, movere: Marc-Antoine Charpentier

with which he was associated during his composing

cahiers identify singers from the Op~ra as soloists

includes examples of a wide range of genres and

choice or under the influence of his employers,

the scoring and melodic writing) indicates that

groups in Europe and North America.

choir (men and boys) accompanied by continuo

instructions regarding instrumentation, revealing his

included additional singers, such as those from the

motet In honorem Sancti Xaverij Canticum, H355,12 for

Opera, often accompanied by large instrumental

example, he specifies not only the instrumentation

forces. The vocal writing in the latter tends to be more

complex, with more frequent solo sections. Since the

interest in instrumental colour." In the dramatic

(lent, animrn) and dynamic markings (doux, fort,

significant difference in style between these sections.'0

sourd/sourdines, a demie voix)14 used both for purely

On the works scored for large instrumental forces,

musical purposes, such as on the melismatic setting

Charpentier leaves some of his most detailed

of the word volantem ('flying'; see illus.1), and as a

. - - '. ... . .. . . , , ' , '. , t , ' " .

-4;/!~~"" ' ,.- , t -

?-, " ' ,.! i~ . Fs ?: . " ?, ? -?

1 In honorem Sancti Xaverij Canticum, H355, 'Vidi angelum volantem p

means of a more pictorial expression of the text, such

paintings, glittering ornaments of gold and silver,

as at the word mortui ('the dead'), where he indicates

hundreds of flickering candles,20 the lingering sweet

the term 'sourd' and 'a demie voix' in contrast to the

scent of incense, vestments made from the finest

influence and order the beliefs and emotions of the

resided in the sumptuous mansions that sur-

In Vouet's depiction of La presentation au

rounded the rue St Antoine on which the church of

temple (illus.7) the beholder's eyes are immediately

St Louis was built.'6

drawn to the image of the infant Jesus in the middle

ence, expression, and discourse ... as well as ... aSpiritual exercises).

devotion-of using all a person's senses and experi-

background of religious grandeur, opulence and

ences to encounter God.'8

triumphalism, it is easy to understand why the Jesuits

Within the church of St Louis (illus.4) the Jesuits

welcomed opera singers into their church as soloists.

of the congregation at St Louis who were familiar

sculptures and bronze bas-reliefs (including those

with the religious and civic celebrations at court and

cU;J E~i n3iY.ttW'I~ mcs~i s.w);ll~rll~*r~?S\wwI ~* SI.

LE~lw X~: I MSI: rwC lurz,~l; m

;CLJ~CJIIIII)I? ~YCL~ ncr~f~~..~J 41~1~ ;nlr~ 4~

/Ycl~~(~~L*3r~gyll~' ~kY)? _-_,u ^'~'L?CL)~LJIL~?I?. (

~i- a~~bt~a~r~ -~c~c~~ I~'"

514 EARLY MUSIC NOVEMBER 2004

them. Their pronunciation is pitiful. They cut, they distort,

they mutilate the words in a ludicrous manner, and it is

descriptive art was idolatrous; that an image of a

communion is discouraged because some receive [Eucharist]

have seen an old woman whose devotion is more focused on

cU;J E~i n3iY.ttW'I~ mcs~i s.w);ll~rll~r~?S\wwI ~ SI.

/Ycl(L*3r~gyll~' ~kY)? _-_,u ^'~'L?CL)~LJIL~?I?. (