Charpentier is a paradoxical subject. We know his work very well with his twenty-eight magnificent volumes of scores, copied by his own hand; at the same time, this is probably only the tip of the iceberg\u2026 Then, the main milestones of his career are known, but nothing is known about his training. He is recognized today as the greatest composer of sacred music of the Grand Si\u00e8cle, and at the same time\u2026 at the same time what else?<\/p>\n\n\n\n
One must pass by the sublime pages of le\u00e7ons de t\u00e9n\u00e8bres, motets for the Guise, psalms for the Jesuits, to come across a few more truculent pages, and realize that throughout his life, our Marc-Antoine Charpentier was not indifferent to humor. Is it for this reason that Moli\u00e8re spotted this young composer, just back from Italy, in the early 70s (1670)? The great Moli\u00e8re, who had just fallen out with the other Baptiste (Lully), who had pulled all the Louis-Quatorzian wool over his eyes, was looking for a talented musician who would be able to turn a few notes on the verses of the interludes that intersperse the acts of his comedies. Thus, the young Charpentier joined the troupe of the French Comedians. Of the works born of this collaboration, the most famous is Le Malade Imaginaire. Many others have come down to us, revealing all the unbridled fantasy that the public of the time expected. Humor was transformed from one century to the next: it was potty and frank, and the public laughed at it; it became politically incorrect and is now read in the second degree.<\/p>\n\n\n\n
Throughout his life, Charpentier showed a frank, subtle, wholehearted sense of humor, taking with him those who heard him; this sense of derision still reveals his true nature: visionary, eminently subtle, profound and definitely brilliant.<\/p>\n\n\n\n
\u2662<\/p>\n\n\n\n
Les Plaisirs de Versailles<\/em><\/strong><\/p>\n\n\n\n La Comtesse d\u2019Escarbagnas \/ La la Bonjour<\/strong><\/em> Le Sicilien<\/strong><\/em> Les Plaisirs de Versailles<\/strong><\/em> Le Malade imaginaire<\/strong><\/em> Les Arts florissants<\/strong><\/em><\/p>\n\n\n\n \u2662<\/p>\n","protected":false},"excerpt":{"rendered":" Directed by Jos Houben & Emily Wilson Charpentier is a paradoxical subject. We know his work very well with his twenty-eight magnificent volumes of scores, copied by his own hand; at the same time, this is probably only the tip of the iceberg\u2026 Then, the main milestones of his career are known, but nothing is […]<\/p>\n","protected":false},"author":5,"featured_media":1391,"template":"","program_cat":[15],"class_list":["post-280","program","type-program","status-publish","has-post-thumbnail","hentry","program_cat-on-stage"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/program\/280","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/program"}],"about":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/types\/program"}],"author":[{"embeddable":true,"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/users\/5"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/media\/1391"}],"wp:attachment":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/media?parent=280"}],"wp:term":[{"taxonomy":"program_cat","embeddable":true,"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/program_cat?post=280"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Ouverture de la Comtesse
Lalalala bonjour
O la belle symphonie<\/p>\n\n\n\n
Ouverture
Beaut\u00e9 dont la rigueur
Voulez-vous beaux bizarre<\/p>\n\n\n\n
Ouverture
Sc\u00e8ne 1 \u2013 La Musique
Sc\u00e8ne 2 \u2013 La Musique, la Conversation et le Ch\u0153ur
Sc\u00e8ne 3 \u2013 Un des Plaisirs
Sc\u00e8ne 4 \u2013 Le Jeu et les susdits<\/p>\n\n\n\n
Polichinelle & fantaisie des interruptions<\/p>\n\n\n\n