Composer

Marc-Antoine Charpentier

1634 — 1704

About

Albums

Charpentier: Leçons de ténèbres, Litanies & Magnificat

Arcangelo, Jonathan Cohen

Nouveau Monde - Baroque Arias And Songs

Patricia Petibon, La Cetra Barockorchester Basel, Andrea Marcon

Anne Sofie von Otter: Ombre de mon amant – French Baroque Arias

Anne Sofie von Otter, Orchestre Les Arts florissants, William Christie

Charpentier: Mass for 4 Choirs & Other Works

Ex Cathedra, Jeffrey Skidmore

Charpentier: Musique sacrée

Reinhard Goebel, Musica Antiqua Köln

Charpentier: Te Deum; Messe de Minuit; Nuit

Annick Massis, Magdalena Kožená, Eric Huchet, Patrick Henckens, Russell Smythe, Jean-Louis Bindi, Les Musiciens du Louvre, Chorus Of Les Musiciens Du Louvre, Marc Minkowski

Favourite Baroque Classics

The Brandenburg Consort, Roy Goodman

Christmas Concertos

Trevor Pinnock, The English Concert

About

Marc-Antoine Charpentier

Marc-Antoine Charpentier was born in Paris, but studied in Rome, where he spent three (some sources claim five) years under the iron rod of Giacomo Carissimi. On his return to Paris, he inevitably lived in the shadow of the ambitious and overbearing Lully, and it was only when the latter severed his links with Molière that Carpentiere was able to begin a collaboration with Molière's company that was launched with the comédie-ballet, Le malade imaginaire, in 1673, and that was to continue long after the dramatist's death. By contrast, his setting of Thomas Corneille's Médée divided opinion when staged at the opera in 1693. Although Carpentier wrote divertissements, secular cantatas, instrumental works and airs de cour, he is chiefly remembered for his sacred music, on the strength of which he is rightly regarded as the greatest French musician on the 17th century. He held a succession of sacred appointments as maitre de musique to the Collège de Clermont, to the Jesuits' principal church in Paris, St Louis, and, from 1698, to the Sainte-Chapelle, and it was for these institutions that he wrote the majority of his many religious works, including 11 masses, 54 lessons and responsories for Tenebrae, 37 antiphons, 84 psalm settings, 207 motets and 4 Te Deum settings, on the second of which his fame for a long time depended. He died in Paris at the age of 61.

Celebrating Marc-Antoine Charpentier: Baroque Genius

Marc-Antoine Charpentier (1643–1704) stands out as one of the most prolific and versatile French composers of the Baroque era, producing an extraordinary body of work across sacred and secular genres. His music, infused with a distinct Italian influence, set him apart from his contemporaries in France.

Exploring Charpentier's Life and Works

Charpentier was born in or near Paris and is believed to have studied with the Roman composer Giacomo Carissimi. Upon returning to Paris around 1670, Charpentier found himself in professional rivalry with Jean-Baptiste Lully, the dominant musical figure at the French court. This rivalry limited his opportunities in opera and ballet until he began working with Molière's troupe, composing for theatrical productions such as Le malade imaginaire and other collaborations with Corneille.

Mass for Four Choirs & Other Compositions by Charpentier

Charpentier's enduring reputation is built primarily on his sacred music. His compositions include Masses, Lessons and Responsories for Tenebrae, Antiphons, Psalm Settings, Motets, and Te Deum settings. His Te Deum (especially the prelude, known as the "Eurovision theme") remains his most internationally recognized work today.

He held a succession of important positions as maître de musique (music master) at significant Parisian institutions, including the Collège de Clermont, the Jesuit church of St. Louis, and from 1698, at the Sainte-Chapelle. These roles provided the platform for his prolific sacred output.

Despite setbacks in opera—most notably, the divided reception of his tragédie lyrique Médée in 1693—Charpentier's mastery of vocal music, especially in the oratorio and motet form, is widely acclaimed. His works continue to inspire modern performers and ensembles, ensuring his legacy lives on.