2.1 Through a detailed examination of the Meslanges, a clear pattern of handwriting styles emerges, with changes in clef formation that correspond to the use of different types of paper associated with distinct chronological periods. There are also direct correspondences between Charpentier’s choice of annotations, such as the designations used for solo voices and instruments, and his style of clef formation. Shirley Thompson notes that if we follow a revised chronology for Charpentier’s works based on clef formation, patterns emerge for the composer’s choice of particular annotations. These modifications to the chronology also make more sense of stylistic changes.¹⁶

2.2 Changes in handwriting highlight certain anomalies that cast doubt on some of the suggested dates for works. It should be stressed, however, that the analysis can only suggest dates of copying, not necessarily dates of composition. Conclusions drawn by re-examining the possible dates of copying may, however, reveal important details about Charpentier’s mode of composition and his approach to revising works for later performance.

2.3 In the Meslanges, Charpentier uses three distinct types of G and C clefs (here abbreviated as “G-1,” “G-2,” etc.; see Figure 1). Each of these clefs is associated with a particular chronological period in Charpentier’s career. Although the variation in the formation of the C clefs is slight, there are significant differences in the G clefs, which serve as an indication of chronology for copying within the Meslanges. Certain letter and clef formations remain constant, thus confirming the hand of one person. With the exception of folio 1 of Cahier 1, all the F clefs are drawn in the same manner. What is striking in the manuscripts is the consistency with which Charpentier employs these clefs, revealing clear patterns of use that correspond with other factors, such as the type of paper, annotations, scoring, and the identification of performers. It is therefore possible to group cahiers chronologically according to the use of particular clef formations. In many of the cahiers, there are added folios dating from later than the main body of the cahier. In such instances, the clef changes, together with other factors, such as the type of paper used by the composer, help confirm that the folios were added at a later date.¹⁷

2.4 A comparison of cahiers from the two series reveals consistencies not only in the watermarks and the identification of performers, but also the style of clef formation (Figure 2). This confirms that the manuscripts represent music that was copied throughout Charpentier’s life, rather than compiled at the end, and that the two series were compiled simultaneously rather than successively or randomly.¹⁸ For example, Cahiers 6 and XII–XIV not only have the same watermarks, but they also have the same style of writing; similarly VI–XI use the same “Jesuit paper”¹⁹ as that in 33, 39, 54–63, and LV–LXVI (Cahiers LVI, and LIX are missing; LVII may be incorrectly numbered by Hitchcock; see par. 4.10.3 below). All of the cahiers that use the Jesuit paper share the same style of clef formation and choice of annotations. Many of these “Jesuit cahiers” refer to singers known to have been associated with the Jesuit Church of St Louis. Although the two series of cahiers were for the most part compiled in chronological order, the present study suggests that some of the cahiers were copied out of order or were recopied at a later date (see Table 2 for the watermark distribution and Table 3 for the inserted leaves).

2.5 On occasion, certain seemingly inexplicable anomalies occur in the pattern of clef formation, with sudden significant changes of writing occurring within a cahier. An occasional slip in handwriting style is of no significance when assessing the chronology, and in fact such slips (such as when one clef differs from all the others in a cahier) are rare. A change that occurs within an otherwise consistent pattern, however, suggests a later date of copying. In these instances one or more leaves have been inserted into the cahier, either as a folded outer or center sheet (a pair of folios), or very occasionally as a single folio added to the cahier, creating an asymmetrical gathering. This is confirmed by a change of paper, corresponding to a change in writing. Such a correspondence of evidence adds credence to the theory that changes in handwriting are significant in dating the works.²⁰ Figure 3 illustrates such changes in Cahier 27.

2.6 The clef formations highlight instances where music has been copied into the manuscripts at a later date than the surrounding material. Often, these works also include stylistic elements that are quite distinct and draw on different types of performance practices. Rather than understanding these pieces as stylistic exceptions or anomalies, they should be examined alongside works that were copied at approximately the same time and with which they share striking similarities.

3. The Arabic Numeral Series

3.1 Cahiers 1–4

3.1.1 The writing on folio 1^r of Cahier 1 is in the hand of someone other than the composer. The clef formation, and even the spelling of one of the words, “Jeremiae,” is inconsistent with that found anywhere else in the Meslanges.²¹ As illustrated in Figure 4, the handwriting is shaky, with G clefs only partially formed and C clefs written in a form not found elsewhere in the manuscripts. The tails on the right of the C clefs point downwards rather than upwards, with two vertical lines rather than one. The F clef appears in a form not found elsewhere in Charpentier’s hand. It is the only instance where the bar lines are omitted (in the two instrumental parts during their rests in the bottom system). In the early part of Cahier 1 (fols. 1^r–3^v), rests are missing from some of the staves suggesting that these were copies that were not intended for use at a performance. Even letters are formed in a manner inconsistent with Charpentier’s hand. For the remainder of the cahier, clefs G-1 and C-1 are used.

3.1.2 With the exception of the outer folios of Cahiers 2, 3, and 4—which were added by the composer at a later date—Cahiers 2–4 date from the early 1670s and use clefs G-1 and C-1. Charpentier designates the solo voices with “1” and “2”—designations associated with cahiers early in both series of the Meslanges. Figure 5 shows the handwriting on the outer folios and that of the main body of Cahier 2. A change of paper for the outer folios corresponds with a change to a clef formation associated with the late 1680s and early 1690s. The annotations found on the outer folios (“p[remie]r” and “s[econ]d dessus,” and “basse cont[inue]”) are also associated with cahiers copied much later. The choice of terminology on folio 9^r is not found elsewhere in the early cahiers.²²

3.1.3 In these instances, there are two possible explanations for why the folios were added. In Cahier 2, it appears that music was recopied, but not revised. The most plausible reason is that pages became damaged and were replaced by the composer (perhaps for a later performance). In Cahiers 3 and 4, however, the change in handwriting and paper corresponds to a revision to the Messe pour les trepasses à 8 (H. 2) that is located at the beginning of Cahier 3. Ranum has suggested that this mass was revised in 1688 for the funeral of Mlle de Guise.²³ The additions in Cahiers 3 and 4 are illustrated in Figure 6. On folios 18^r–v of Cahier 3 Charpentier added a “simphonie du Kyrie” and a “simphonie devant le sanctus.” Significantly, on folio 19^r Charpentier crossed out the instrumental prelude (scored originally for two treble instruments and continuo). This trio texture would no longer be appropriate in a later, revised version of the work with orchestral accompaniment. On folio 20^r Charpentier inserted a “simphonie devant et apres christe pour les flustes et puis pour les viollons” in what would originally have been blank staves at the end of system. This again is written in the later style of handwriting, using clef G-2. On folio 20^v Charpentier notes that “La simphonie [then above this notes ‘trio’] et le Kyrie se repettent et puis l’on finit par la grande simphonie du Kyrie” (on folios 18^r–v). The first part of the sentence, relating to the repetition of the “symphonie du Kyrie,” is written in the same ink as the original part of the mass; the second part of the sentence, referring to the orchestral “simphonie,” is in a later ink which is the same as that used for the addition on folio 20^r. Immediately prior to the Sanctus, Charpentier added in the later ink “apres la simphonie” (on folio 18^v). On folio 23^v Charpentier has added instructions in the later ink which refer to a later performance of this work with orchestral accompaniment: in the top system, “sans viollons,” and in the second system, “viollons.” On page 26 Charpentier has added another instrumental passage, “sinfonie devant l’agnus dei.” Like the revised “simphonie du Kyrie,” it is scored for “flutes, violons,” and “orgue” (G¹, C¹, C², F⁴). This is the final page of Cahier 3 and forms the second half of the sheet on which the added first pages were written, thus corresponding to the writing on folios 18^r–v. Throughout Cahier 3, later references to additional instruments correspond with later clef formations.

3.1.4 The opening pages of Cahier 4 (fols. 27^r–28^r) also include an addition of a “prelude” “pour miseremini” (referring to the opening section of the “Plaintes des ames du purgatoire” (Mottet pour les trepasses a 8 (H. 311) on folio 29^r), and a “ritornelle,” “devant ah penis crucior” (referring to the section of the “Plaintes des ames du purgatoire” that begins on folio 31^v). Nowhere else in this motet does Charpentier write out music for instruments (other than the continuo), and nowhere else are the later clefs used. In addition, Charpentier adds the comment “son prelude est cy devant et dans les choeurs les instr[uments] se joignent avec les voix” (folio 29^r). In this instance, it appears that Charpentier left the first page blank and then added the instrumental sections at a later date (rather than inserting a folio at a later date). The final page of the cahier (page 34) was left blank by Charpentier and is then crossed out. If Ranum’s theory is correct, Charpentier must have re-used the mass and the motet for the funeral of Mlle de Guise in 1688 at which an orchestra was used, rather than the treble instruments originally intended. He did not, however, alter the vocal parts. If Charpentier did revise these works for use at the funeral of his patron, this would probably have been the only instance when Charpentier used a double orchestra in association with the Guise household. There are no direct references to Guise singers on other works scored for double chorus and double orchestra. Ranum cites a source that describes Mlle de Guise’s funeral as taking place “with great pomp at the church of the Capucines of the rue Saint-Honoré.” There is, however, no reference that confirms the use of the singers and instrumentalists necessary for the performance of a double-choir mass and motet. Ranum also suggests that these works might have been written originally for the funeral of the Duke de Guise in 1671.²⁴ It seems plausible that Charpentier could have reused the works in 1688 at Mlle de Guise’s funeral. The clefs used for the additional material are in the style of those used during the late 1680s (such as the clefs in Cahiers 55–62 and XLVII–LIV).

3.2 Cahier 5

3.2.1 An examination of the handwriting, and annotations in Cahier 5 suggests that all the music was copied during a later period than that in the surrounding cahiers. The handwriting used in Cahiers 6–18 shares the same characteristics as that used in Cahiers 1–4; that of Cahier 5, however, is similar to the writing in later cahiers, such as 20–2 (see Figure 7).

3.2.2 Works such as “Quare fremuerent gentes” (H. 168, Cahier 20) and “In convertendo Dominus” (H. 169, Cahiers 21–2), bear striking similarities with the “Prose des morts” (H. 12, Cahier 5). The works are all scored for double choir, with the instrumental parts doubling the voices. These parts are not written out during the chorus sections, but are shown by the words “tous avec viol[ons]” above the vocal lines. Instrumental interludes, however, are written out in full (G¹, C¹, C², F⁴). These are not later additions, which suggests that it was Charpentier’s original intention to have instruments doubling the voices throughout the chorus.²⁵ It suggests that some of the works in the manuscripts, such as H. 12, were sketches rather than fair copies.²⁶

3.2.3 In Cahier 5, rather than indicating the different soloists by “1” and “2” (as in the earlier works), Charpentier uses “A” and “B” (Figure 8). The use of this particular type of annotation, the style of the writing, and the style of the clef formation (G-2 and C-2) suggest that Cahier 5 dates from later than its position in the series might suggest. Ranum’s suggestion that the contents may have been revised and recopied during the late 1680s or 1690s seems late.²⁷ Based on the style of handwriting, it seems more likely that this cahier dates from the early 1680s.

3.3 Cahiers 6–13

3.3.1 Although Cahiers 6–8 share the same characteristics as Cahiers 1–4 (they consistently use the earliest type of clef formations, G-1 and C-1), Cahier [9] reveals a number of oddities. It is very short, with just eight pages, numbered with an odd mixture of pagination and foliation.²⁸ One of the works, “Judith sive Bethulia liberata” (H. 391), however, begins in Cahier [9] and is completed in Cahiers 10 and [11], thus allowing Hitchcock to identify this cahier as number 9.²⁹ The first two pages of Cahier [9] are ruled but without music.

3.3.2 The first work in Cahier [9] is a motet, “Pour Ste Anne” (H. 315), located on page 2. This is written using clef G-2, suggesting a date of the late 1680s or 1690s. It is a short motet composed for two dessus and continuo. The author of the Mémoire does not list the contents of Cahier 9; instead, he notes that “la 9e [cahyer] est a la fin de ce cahyer [8].”³⁰ After listing the music contained in Cahier 8, he then lists the “Historia ex Israel” (i.e., “Judith,” H. 391). There is no reference here to the motet “Pour Ste Anne.”³¹ The motet is, however, listed on folio 14^r of the Mémoire under “autres cahyers de musique du même auteur.” This is significant since there is another section on folio 13 of the Mémoire which refers specifically to “partition 9e. chiffre francois,” but which does not include a reference to the motet “Pour Ste Anne.” It does, however, refer to “Judith” (H. 391) that is in the current Cahier [9].

3.3.3 On folio 13^r of the Mémoire, under the heading “partition 9e chiffre francois,” there is a reference to “Languentibus a 3. voix” (H. 328) which is now in Cahier XXXII and a “motet pour St. Augustin.” The latter almost certainly refers to the motet “Pour St Augustine mourant, ‘Bonum certamen’” (H. 419) which is now in Cahier [d] and appears in the 1709 publication of motets.³²

3.3.4 The clefs used on folios 4^r–5^v of Cahier [9] are those associated with the end of Charpentier’s career. A comparison of the clef formation and the handwriting as well as the layout of the title page of “Judith” (H. 391) and “Judicium Salomonis” (H. 422) in Cahier LXXV, shows the similarities between the two styles (Figure 9). There can be no doubt that folios 4^r–5^v of Cahier [9] and the writing from Cahier LXXV (on which are named singers from the Sainte-Chapelle) date from the same period. The remainder of “Judith” is in Cahiers 10–[11] where the clefs and handwriting are those from the 1670s and early 1680s. Charpentier must have rewritten folios 4^r–5^v at a much later date in his career, during the late 1690s or early 1700s, possibly to replace missing or damaged pages or to revise the opening music, leading to the oddities in foliation and pagination in the cahier. There are, however, no suggestions of revisions made to any of the other music in Cahiers 10–[11].

3.3.5 It seems clear that Cahier [9] was compiled at a much later date than the surrounding cahiers and that its current contents do not reflect the music originally intended by the composer to form Cahier [9]. It is one of a number of examples that highlight problems with using the sequence of works within the cahiers and the sequence of cahiers within the complete Meslanges as the sole means of dating Charpentier’s music.³³

3.3.6 Cahiers 10–2 consistently use the early style of clef formation (G-1 and C-1). Cahier 13, however, includes the simple insertion of a central folded sheet (fols. 52–3) copied at a later date. In addition to the change in handwriting style, as seen most clearly in the G clef formation which dates from the late 1680s and 1690s (Figure 10), the paper is that associated with the Jesuits. Ranum seems to be correct in her theory that the reason for this insertion was the rewriting of the overture to the “Petite Pastorale” (H. 479) for a later performance.³⁴ Unlike some of the earlier examples, where inserted folios appear to be the result of replacing missing or damaged ones (since they do not represent a change in musical style), in this instance it seems far more likely that the inserted folios were a result of Charpentier rewriting earlier music for a later performance. The cahier itself seems to be in its correct chronological position in the series.

3.4 Cahiers 14–20

3.4.1 Cahiers 14–[18] are written using the same early clefs as the preceding cahiers (G-1 and C-1), and there are no added folios. Cahiers 19–22 and Cahiers 25–30, however, reveal a number of changes in handwriting that correspond to later additions of folios or, in the case of Cahiers 19 and 20, the later copying of the entire cahier. In Cahiers 19 and 20 the same clefs are used throughout, but these are G-2 and C-2, which suggests that the music was copied at a later date than Cahiers 21–31. On the final page of Cahier 20 (fol. 71^r), Charpentier had to squeeze the last measures onto the page to accommodate the material that immediately precedes that of Cahier 21 (the concluding section of “Hymne pour toutes les festes de la Vierge,” H. 60).³⁵

3.5 Cahiers 21–30

3.5.1 In Cahiers 21–2, the central folios of the cahiers date from earlier than the outer folios. The central sheets use clef G-1, while the outer sheets use the later G-2. Contrary to Ranum’s assertion that no later copying occurred in Cahier 22, it seems clear that the outer folios were added at a later date.³⁶ The same pattern of inserted paper is found in Cahiers 27–30. In each case, changes in handwriting correspond with changes in paper. These insertions produce a symmetrical pattern within the cahiers as shown in Table 3, with the recopied (or later copied) music appearing in the outer sheets of the cahier. Figure 11 provides an illustration of how changes in clef formation correspond with the later additions of folios to a cahier.

3.5.2 Cahiers 23–4 use the same clefs throughout (G-1).³⁷ Cahier 25, however, also includes two folded sheets inserted into the cahier, using the later clefs. The remainder of the cahier uses clefs G-1 and C-1.

3.5.3 In Cahier 26, later additions are found in the outer sheets (fols. 12–13 and folios 39–40) and the central two folios (22–23) where clefs G-2 and C-2 are used, as well as the addition of continuo figuring in a different ink. Elsewhere in the cahier (fols. 14^r–21^v and 24^r–38^v) Charpentier uses G-1 and C-1, confirming an earlier date. The opening of Les Neuf Leçons de tenebres (H. 96–110) on page 13 must have been recopied at a later date because of damage to the original page or its loss: many of the measures, particularly those of the last system, are squeezed together in a way not found in the remainder of the piece. On folio 19^v, Charpentier has added the words “La susdite leçon se peut mettre en F ut fa” at the end of H. 97. This appears to be the same ink and handwriting as that found on folios 22^r–23^v, and suggests an alternative version made by the composer at a later date and written in a later style.

3.5.5 A further addition occurs on page 40 of Cahier 26 where Charpentier has copied out the “Salve regina des Jesuïtes” (H. 27). While the writing within the “Salve regina” is clearly that of Charpentier, the handwriting in the title is by another hand. Although there is no G clef on folio 40, the style of C clef (C-3) is that found in later works by Charpentier. It is unclear why this “Salve regina” is placed in the middle of the Leçons de tenebres. It seems to have been copied at a later date to fill an empty page that would have been at the end of the cahier. Table 3 illustrates the way in which folios were inserted into Cahier 26. In each instance, changes in handwriting correspond to changes in paper.

3.5.6 While the changes in handwriting in Cahier 26 represent work that was recopied to accommodate revisions or additions to existing material, the pages that were recopied in Cahier 27 appear simply to replace missing or damaged pages. There is no evidence on the existing pages that there is any change in style or scoring on these inserted pages to distinguish them from the surrounding material. These were almost certainly added during Charpentier’s time at the Jesuit Church. The C clefs are those dating from the late 1680s and early 1690s, and the paper is the Jesuit type.

3.5.7 As illustrated in Table 3, the outer folios of Cahier 27 (folio 41^r–v and pages 52–3) are written on Jesuit paper using G clefs (on pages 52–3) and C clefs associated with the time Charpentier spent at the Jesuit Church (G-2 and C-2; Figure 3). The original folios may have become damaged and Charpentier then replaced them. It seems likely that the Leçons de tenebres were performed at a later date by the three nuns whose names—M[èr]e Ste Caecile, M[èr]e Camille and M[èr]e Desnots—appear on the music: the writing used to indicate their names is in the same style and same ink as that found on the added pages. At a later date, on folios 48^v–58^r (H. 108–110), Charpentier has indicated which singer should sing each part, with instructions such as “celle qui aura chanté la premiere lecon” and “pr[emièr]e” and “s[econ]de.”

3.5.8 The first occurrence in Cahier 27 of G clefs is on folio 44^r, and they are G-1. On folio 46^r, Charpentier writes that “Le Recordare a trois dessus est dans un de mes grands liures en veau.” This is written in the same ink as the preceding comment on the page, “Jerusalem comme a la seconde leçon du mercredy sainct.” Beside “dessus” is “rit[ornelle]” in a different ink and style (though almost certainly that of the composer). This ink corresponds with writing found below it on the same page, “Le recordare a 2 dessus et ritorn[elles] est dans le livre 2 des demoiselles Pieches. Le Recordare a 2 dessus et une haute Contre est dans le cahyer [28].” The latter setting of the “Recordare” concludes Les Leçons de tenebres (H. 111–9) and is found on folios 55^v–58^v of Cahier 28.

3.5.9 The outer folios of Cahier 28 include music that was copied at a later date (see Table 3). Dynamics such as those on folio 54^v, “a voix basses” and “fort,” are not found elsewhere in conjunction with the use of the early clef formation.³⁸ The ink and style of handwriting suggest that the dynamics (as well as some continuo figuring) were added, probably at the same time that the outer folios were added. The later clefs used in the outer folios, and the addition of dynamics markings are consistent with the writing found in works dating from the time that Charpentier spent at the Jesuit Church. The same later style of handwriting is found on pages 65–6 at the end of the cahier. The handwriting on folios 54^r–v shares striking similarities with that found on folios 33^v–35^r of Cahier 19. In addition, the works found on these folios are written for the same three soloists: M[èr]e Camille, M[èr]e Ste Caecile and M[èr]e Desnots.³⁹

3.5.11 In Cahier 30, Charpentier’s choice of annotations, in particular his use of “A” and “B” associated with the sections marked “seul,” is of interest in terms of chronology. On folio 95^v, Charpentier includes an explanation of the meaning of the annotations used in “Extremum Dei judicium” (H. 401), noting that “un A veut dire les premieres, un B veut dire les secondes. On peut doubler tout cela dans les chorus.” These designations for the solo voices are also found in cahiers that come earlier in the series (19–24). Four of these (19–22), appear to have been copied out of chronological order (see par. 3.4–3.5 above). The instructions on how to interpret the letters suggest that this cahier was copied at an earlier date than Cahier 19. Such an explanation by the composer suggests that it was in Cahier 30 that Charpentier began using these designations. There are no other explanations of the terms in the Meslanges. The clef formations and annotations suggest that Cahiers 25–32 were copied before Cahiers 19–24.

3.6 Cahiers 31–2

3.6.1 Cahier 31 marks a significant change in Charpentier’s style of handwriting pattern. The C clefs remain constant throughout the cahier, but there is a change in the formation of the G clefs in the later pages of the cahier that represents a transition between two styles of handwriting.⁴¹ Charpentier’s handwriting in Cahier 32 is consistent throughout, although there are occasional differences in the formation of individual C clefs. At the end of the cahier, there is a cue to the following cahier, “Litanies de la V[ierge]” (H. 82). This is bound in Volume 11, illustrating how the ordering in the manuscripts was originally understood to follow the ordering of the cahiers, not the ordering of the volumes.⁴²

3.7 Cahier 33

3.7.1 A problem arises with the ordering of the cahiers at this point because the contents of Cahier 33 were copied (and possibly also composed) at a much later date than the cahiers that precede and follow it. The style of handwriting in Cahier 33 stands out from that of the surrounding material (see Figure 12). Charpentier is consistent in his handwriting and clef formation (G-2 and C-3), as well as in his use of Jesuit paper throughout this cahier.⁴³ The handwriting in Cahiers 33 and 39 shares close similarities with, for example, the final pages of Cahiers 62 and 63 which, like Cahiers 33 and 39, are written on Jesuit paper.⁴⁴ The annotations used in Cahiers 33 and 39 are those used later in the series, such as “premier” and “second” rather than “A” and “B” as is found in the neighboring cahiers.⁴⁵ Similarly, in Cahiers 33 and 39 Charpentier specifies the use of bassoons (as well as oboes and recorders). References to bassoons occur only in cahiers that appear to date from the late 1680s and 1690s (most of which are written on Jesuit paper).⁴⁶ Also, the designation “acc[ompagnement] seul,” which is used to refer to the continuo, is associated with those cahiers dating from the late 1680s and 1690s.⁴⁷ With the exception of Cahiers 33, 39, and VI–IX—all of which are believed to have been copied at a later date than their position in the Meslanges would suggest—only Cahiers 54–75 and LIV–LXXV use “acc[ompagnement] seul.”

3.7.2 On folio 15^v of Cahier 33, at the beginning of the setting of “Exaudiat” (H. 180), Charpentier notes that “son prelude est au cahyer 63.” Both the style of handwriting and the type of paper used in Cahier 33 and Cahier 63 are the same. During his time with the Jesuits, Charpentier reworked and then recopied earlier works; hence the existence of nine instrumental preludes to psalm settings and Magnificats in Cahier 63.⁴⁸

3.8 Cahiers 34–8

3.8.1 With the exception of the two outer folios of Cahier 34 (22^r–24^v and 39^r–41^r) that were added at a later date, Charpentier’s clef formation is consistent throughout the cahier: G-2 and C-2. The writing on the outer pages, however, is the same as that in Cahier 33. Both of these folios are written on Jesuit paper, as is Cahier 33, and both use the later clefs, G-2 and C-3. Charpentier also added a prelude to the dramatic motet, “Josue” (H. 404), for double orchestra on the Jesuit pages (pp. 23–4) for a later performance of this work. In the motet setting itself, there are no orchestral parts written out. The prelude to H. 404, however, is written for double orchestra.⁴⁹

3.9 Cahiers 38–50

3.9.1 Cahier 38 is written consistently using the middle-period clefs (G-2 and C-2) and is datable since it includes the motet “Luctus de morte augustissimae Mariae Theresiae reginae Galliae” (H. 331), which was composed to commemorate the death of Queen Marie Thérèse in 1683. Cahier 39, like Cahier 33, uses the late-period C clefs (C-3) and is written on Jesuit paper. Although Cahier 39 begins with the conclusion of the elevation motet “O coelestis Jerusalem” (H. 252) from the preceding cahier, the music was clearly copied at a later date. It is written on the same paper, with the same ink, and in the same style of writing as music copied in, for example, Cahiers 33, 63, 64, 65, 66, LVII, LXI, LXII, and LXIV–LXIX.

3.9.2 Cahier 40 returns to the clef formations (G-2 and C-2) and style of Cahiers 37–8 (and also that of Cahiers 19–20). It uses, for example, “A” and “B” to designate the first and second soloists, rather than “premier” and “second,” as in the later works. Cahiers 40–62 are consistent in their use of clefs G-2 and C-2.⁵⁰

3.9.3 Cahier 43[a], which comprises just three folios, includes the continuation of “In nativitatem D[omini] n[ostri] J[esu] C[hristi] canticum” (H. 414) from Cahier 42. Only the numeral 3 of Cahier 43[a] is visible. Since Cahier 42 ends in the middle of “In nativitatem” and this is concluded in Cahier [4]3, there is little doubt which number was intended at the beginning of the cahier.⁵¹

3.9.4 At the end of Cahier 43[a], there is a verbal cue (“Miserere”) which points to Cahier [43b]. This cue appears, however, to have been written in a hand other than that of the composer. Cahier [43b], which is located at the beginning of Volume 7, has no number, but the scribe of the Mémoire identifies the musical contents as being part of Cahier 43. The setting of the “Miserere” (H. 193), which is the first of two works in Cahier [43b], was originally written for the Guise household. As in works in Cahiers 41 and 42, Charpentier identifies the soloists on the score. There are indications in a different type of ink, however, that refer to a later performance at the Jesuit Church. At the beginning of Cahier [43b], the words “Miserere des Jesuites” have been added in a different hand, as well as the names of singers associated with the Jesuit church.

3.9.5 Cahiers [4]4–7 use the same clef formations (G-2 and C-2) throughout and they include the names of singers from the Guise household. Cahier 48 appears to be missing, since none of the folios includes the numeral “48.” Folio 4^r of the Mémoire notes that “La 48e [Cahier] est a la fin de ce Cahier [47].”⁵² This contains just one work, “La Descente d’Orphée aux enfers” (H. 488) and is written on the same type of paper as that used in Cahier 47. It is possible, however, that the scribe of the Mémoire was correct in writing that Cahier 48 is found at the end of Cahier 47. The handwriting suggests that Cahier 48 may have begun on folio 91 or folio 92, but that some of the folios went missing. A change of paper occurs at folio 91 (which is blank) of what is currently numbered as Cahier 47. This paper is also used for folios 85–7, and folio 91 corresponds to folio 85. Folios 86–7 appear to have been inserted into the cahier as one folded sheet of paper, as have folios 88–9. This could have marked the beginning of a new cahier, namely Cahier 48.⁵³

3.9.6 In his Catalogue, Hitchcock notes that anomalies occur in the final work in Cahier 47, “Caecilia virgo et martyr” (H. 415). Although not identified as such by Hitchcock, this work is a copy and slight revision of “Caecilia virgo et martyr” (H. 413) which is in Cahier 42. In the earlier version of the motet there are two main sections. The second part is missing from the version in Cahier 47. There was, however, a reference to a first and second part, but this was crossed out, with the word “finis” appearing at the close (possibly written in another hand). Hitchcock refers to the omission of one of the characters, Almachius tyrannus, as well as the omission of the “Chorus angelorum”—singers who are listed at the beginning of this dramatic motet. On folio 93^r, there is a note that “apres cette ouverture on chante le prologue voyez au cahyer XLIX.” Hitchcock adds that “this work [H. 415] occupies the last pages of Cahier 47, and Cahier 48 is missing from the mss, which lead to the conjecture that these missing characters were introduced in a continuation of the motet occupying the first pages of Cahier 48.”⁵⁴ Then, because of the changes made to the verbal cues at the end of the work, Hitchcock rejects the idea that there was ever a second part intended for this dramatic motet. There is, however, no clear evidence here that it was Charpentier who made the changes to the cues at the end of H. 415. The original words appear to be “[parte] seconda,” suggesting that the second part of the motet did at one time exist. It is possible that, since Charpentier did not want to make any revisions to the second part of this motet, he chose not to recopy it; or he may have needed a work that focussed more clearly on the theme of conversion than on martyrdom (since the second part of the earlier oratorio, H. 413, describes the martyrdom of St Cecilia). Pages must either be missing from this cahier (47/48) or from the beginning of the next.

3.9.7 The first page of Cahier [49] includes the closing bars of the elevation motet, “Transfige, dulcissime Jesu” (H. 430). A complete version of this motet (H. 251) is in Cahier XXXIX.⁵⁵ It may be assumed that Cahier [49] would have included the opening to the revised version of “Transfige, dulcissime Jesu” (H. 430), as well as the second part of the dramatic motet “Caecilia virgo et martyr.” Cahier “II”, which Ranum suggests may be the missing Cahier 48, includes neither of these works.

3.9.8 Cahier 50 is written in the same hand as Cahier [49] from which it follows directly with the “Idyle sur le retour de la Santé du Roy” (H. 48). This work begins on folio 6^v of Cahier [49] and is completed on folio 15^r of Cahier 50. The following three cahiers (51–3) are missing both from the Meslanges and from the Mémoire.

3.10 Cahiers 54–70

3.10.1 With Cahier 54, there is a change in the paper used by Charpentier. It was at this point that Charpentier left the Guise household to work for the Jesuits on a regular basis. The names of singers from the Guise household appear in Cahier 50, but that is the last occurrence of these singers’ names in this series.

3.10.2 Cahiers 54–63 all use the same type of paper: the Jesuit paper, ruled with 20 staves. Throughout these cahiers, Charpentier is consistent in his style of handwriting and in his choice of annotations. For example, he uses the solo voice designations “pr[emier]” and “s[econ]d” rather than the earlier “A” and “B,” or “1” and “2.” He also uses “acc[ompagnment] seul” or “orgue” for the continuo. Such designations are only found on works that were copied from the late 1680s through the 1690s. Charpentier provides more specific information about scoring in the works written for the Jesuits. Figure 13 illustrates the various types of annotations used by Charpentier in the Meslanges.

3.10.3 At the bottom of folio 20^v of Cahier 59 there is a change in C clef formation, with the use of a style associated with the latest period of Charpentier’s composition (C-3). This, together with the change in handwriting style, suggests that the final pages of Cahier 59 were copied at a much later date than the rest of the cahier. Earlier in Cahier 59 (on folio 13^r), there are some additions to the score in a later hand, such as the reference to “Mercredy St.”—perhaps made at the same time as the final pages of the cahier were copied. The outer folios (fols. 23^r–v and 40^r–41^r) of Cahier 60 were also copied at a later date. The clef formation, handwriting, and the annotations are the same as those in Cahiers 70, 74, and 75.⁵⁶ Some of the instructions that appear on folios 23–51 of Cahiers 60–1, in the Messe a 4 voix, 4 vio[lo]ns, 2 flutes et 2 hautbois [pou]r Mr Mauroy (H. 6), are in an identical handwriting style to that in Cahier 74. It appears therefore that Charpentier added the final pages of Cahier 59, the outer folios of Cahier 60, and some of the annotations later in his career.     

3.10.4 Charpentier also uses the C-3 clef on pages 63–4 of Cahier 61 and for three systems on folio 65^r of Cahier 62. This latter cahier marks a transition into the period in which Charpentier consistently uses the third type of C clef, the change starting at folio 83^v. The clef formation throughout Cahier 63 is consistent: G-2 and C-3. The outer folios of Cahier 64 appear to have been added at a later date since they use the third type of G clef and use the style of handwriting associated with Charpentier’s years at the Sainte-Chapelle, 1698–1704. This later type of G clef, and the style of handwriting associated with it also appear on folios 31^r–v of Cahier 64. This is something of an anomaly since this appears to be the same paper as that in the remainder of Cahier 64. It appears as though Charpentier left blank space on folios 30^v–31^v on which to copy the remaining noels (H. 534). He then copied the music at a later date. There is also a gap at the bottom of folios 31^v and page 33, as well as two blank pages (pp. 34–5).

3.10.5 Cahier 66 returns to a consistent use of clefs G-2 and C-3.⁵⁷ Cahier 70 has clefs G-2 and C-3, and uses a style of handwriting similar to that in Cahiers 64 and 66, particularly folios 18^r and 31^r–v of Cahier 64, and folio 54^r to page 65 of Cahier 66. Hitchcock has noted that Cahier 66 “as apparently constituted, is almost twice as long as most. The next extant Cahier in this series (70) is unusually short”;⁵⁸ The Mémoire’s listing of the contents is shown in Table 4. If the Mémoire is correct—and the changes in handwriting style and the use of the same paper suggest that it is—then Cahier 70 would have included the one work currently in Cahier 70, followed by all the music from folio 54^r to page 65 of Cahier 66.⁵⁹

3.10.6 Cahier 74 reveals a number of differences in handwriting style, such as the formation of letters, and the more consistent use of capitalization than in earlier cahiers. There are more indications on the score, such as “grave” (fol. 7^r), “guay” (fol. 8^r), “legerement” (fol. 20^r), and “tres leger et guay” (fol. 21^v). While many works include the indication “guay,” few have as many tempo indications. On folio 7^r, Charpentier is specific about the instrumentation, noting that “cet accompagnement doit estre de flutes et hautbois,” while the continuo is marked “basso [continuo] avec org[ue],” and on folio 15^v he writes “la moitié des dessus” and “toutes les hautes contres.” On folio 23^r Charpentier includes organ registrations that are only rarely found in the Meslanges (“jeux doux”). The layout of the score, the neatness, and the detailed instructions for performers (perhaps for the benefit of a copyist) suggest that these copies were made for a purpose slightly different from those for other cahiers in the series. Whereas many other works appear to be fair copies for the composer himself to use or on occasions rough drafts, this might have been written for someone else.

3.10.7 Cahier 75 is the first cahier in this series in which the names of singers from the Sainte-Chapelle appear. According to Ranum, with the death of a maître de musique at the Sainte-Chapelle, all the music composed specifically for it was confiscated. The works in Cahier 75 would therefore have had to be written for religious celebrations outside of the regular services there.⁶⁰ Ranum further notes that Charpentier may have been writing music for services held by the Confraternity of Saint Michel du Mont de la Mer at the Chapel of Saint-Michel. She mentions documents from the period that refer to the use of singers from the Sainte-Chapelle at these services. She cites one example that refers to celebrations that “fera chanter en musique par tous les chantres de la Ste Chapelle, avec les enfants de chœur, les 1es et 2es vespres, la grande messe avec le salut ….” She also mentions a reference in the Mercure Galant to singers from the Sainte-Chapelle participating in these services.⁶¹ Like Cahier 74, the final cahier in this series uses the most modern style of handwriting throughout, with the use of clefs G–2 and C–3. Cahier 75 has its number erased, and it looks as though it could have been a continuation of Cahier 66 (see 3.10.5).

4. The Roman Numeral Series

4.1 Cahiers I–V

4.1.1 Cahiers I–V and Cahiers 1–4 are written on the same type of paper. They use the same style of handwriting and the same form of annotations, such as “1” and “2” to designate first and second soloists. All these cahiers use the earliest forms of the clefs (G-1 and C-1).

4.2 Cahiers VI–XI

4.2.1 While there is overwhelming evidence that Cahiers I–V were copied at the beginning of Charpentier’s career (both in clef formation and musical style), there is compelling evidence that the works contained in Cahiers VI–XI were not only copied, but also either composed or substantially revised at a later date than that initially proposed by other scholars (Figure 14). Cahiers VI–XI are written on the Jesuit paper associated with Charpentier’s time working at the Church of St Louis.

4.2.2 Ranum (whose chronology is based on the existing order of the cahiers being correct within both series) has noted that Cahier IX does not in fact appear to be in the correct place in the series. While she postulates that the cahier is out of order by two cahiers (and therefore a few months), evidence of clef formation, and annotations suggests that in fact it is probably out of order by approximately 50 cahiers, and that the cahier as it now exists therefore dates from over a decade later than previously believed. Ranum has identified occasions in the year 1671 for which the music in Cahier IX could have been composed since this is where the cahier would fall if the cahiers were arranged in chronological order.⁶² It would, however, be possible to find similar occasions for which the music could have been used or reused during the 1680s or 1690s. If one compares the contents of Cahiers [LVII], LVIII and LX, there are close similarities between the types of occasions for which they might have been composed and those surrounding Cahier IX. It therefore seems likely that the works that we now have in Cahier IX were copied at the same time as the works in Cahiers LVIII, LX, and surrounding cahiers.

4.2.3 An examination of the contents of Cahiers VI–XI suggests that the works now contained in these cahiers comprise revisions of earlier (no longer surviving) works. On folio 4^r of Cahier VI, Charpentier gives the number of measures of “Psalmus David 147” (H. 158) as 254 and notes that “il avoit 194 augm[entée de] 60.” Similarly, on folio 16^r of Cahier VI in the Messe à 8 voix (H. 3) Charpentier notes “340 il avoit 221 augm[entée de] 119” and on folio 46^v of Cahier VIII, at the close of the Magnificat (H. 73) he writes that “elle avoit 229, elle a 357 augmentée de 128.” At the end of Cahier XI, Charpentier writes that “les vio[lo]ns joueront une Allemande en a mi la re voyez au cahyer IX.” Folio 7^r of the Mémoire includes a reference to an “allemande grave pour un reposoir” which was probably the same piece as is mentioned at the end of Cahier IX.⁶³ Clearly, the original contents of Cahier IX differed markedly from what remains today. Evidence suggests that the works contained in Cahiers VI–XI received substantial rewriting. In other cahiers, Charpentier includes references to instrumental parts being added or alternative voices being used, but he does not rewrite the composition. The evidence suggests that the entire composition was reworked or perhaps entirely recomposed for the Jesuits.

4.2.4 The handwriting in Cahiers VI–XI differs considerably from that in the surrounding cahiers. Examples of the handwriting in Cahiers 1–30 in both series (with some notable exceptions which have already been discussed) share the same characteristics in the style of clef formation, yet bear no relationship to the writing in Cahiers VI–XI. The clef formation in Cahiers VI–IX is the same, for example, as that in Cahiers 61 and LXI, but shares none of the characteristics found in the cahiers that should be contemporaneous with it—in other words, those with numerals early in either series.

4.2.5 While it is conceivable that Charpentier might have altered his handwriting style in Cahiers VI–XI—immediately after completing the early cahiers (I–V)—it is implausible that he should then revert to the earlier style for another twenty or so cahiers, only to return to the style of Cahier IX for works of the late 1680s and 1690s. Rather, the evidence strongly suggests that these Cahiers were copied at a much later date.

4.2.6 A study of the types of annotation used by Charpentier shows close resemblances between the works that share the same style of handwriting. The annotations in Cahiers VI–XI are quite distinct from those of the surrounding cahiers and yet share strikingly close similarities with, for example, Cahier LXII. In Cahiers VI–XI, Charpentier uses only “premier” and “second” (or their abbreviations) for both voices and instruments, yet in the surrounding cahiers there are no examples of this type of annotation, used for the Jesuits. Charpentier also uses “acc[ompagnement] seul” for the continuo group—a term which is associated with works written for the Jesuits and the Sainte-Chapelle, but not found elsewhere.⁶⁴ The term “acc[ompagnement] seul” is also found in Cahiers 33, 39, XIX, (all of which were copied at a later date than their places in the series suggest), and in Cahier 54. The use of the term “basse continüe,” which is found in Cahiers VI (H. 3), VIII (H. 514), X (H. 145) and XI (H. 162) is also found only in the later cahiers. Similarly, the use of “récit,” “duo,” and “trio” in Cahiers IX and XI corresponds with his use of the terms in much later cahiers, such as LXI–LXIII.

4.2.7 Two other examples of annotations in Cahiers VI–XI, otherwise not found until much later in the Meslanges, are of interest in terms of chronology. First, Charpentier’s specification of the use of the bassoon in “Laetatus sum” (H. 161, Cahier IX) and the Messe à 8 voix (H. 3, Cahier VI) are the only examples in early cahiers in either series; second, Charpentier’s indication of “sourdines” as in the same piece and the Te Deum (H. 145, Cahier X) are found elsewhere only in much later cahiers (those dating from the late 1680s and 1690s). If Charpentier did compose and copy the works into Cahier IX during the 1670s (which I do not believe), this would be one of the earliest uses of the term “sourdines” in French seventeenth-century music. Instead, Lully’s Le Triomphe de l’amour (LWV 59) of 1681 appears to have been the first example.⁶⁵ An examination of the handwriting (particularly the clef formation), the watermarks, and the type of annotations in Cahiers VI–XI suggests repeatedly that the works were copied not in the 1670s, but in the late 1680s or, more probably, the early 1690s. The handwriting, choice of annotations, and musical style are consistent with that in Cahiers LI–LXI.

4.3 Cahiers XII–XVII

4.3.1 These cahiers employ the earliest form of handwriting in the Meslanges (see Figure 15). They include the mass setting for four choirs (H. 4), written following the Italian style of polychoral writing,⁶⁶ almost certainly written during or immediately after Charpentier’s sojourn in Italy. Cahier XV includes incidental music written to accompany a performance of La Comtesse d’Escarbagnas (H. 494) in 1672. The handwriting in this cahier is not as neat as that in many of the others, and on page 48 Charpentier has scribbled along the edge of the page, as if to correct the flow of the ink since there are a lot of smudges. It appears as though this cahier was written as a rough draft rather than a fair copy. The writing of the text on pages 47–8 is in the hand of another scribe, and is the same on page 62 and pages 64–5 (as well as the titles on pages 57 and 69, and the final remarks on pages 70 and 88 of Cahier XVII). Figure 16 illustrates the early style of handwriting, additions of words by another scribe, and the later additions of some instrumental simphonies for “Sacrificium Abrahae” (H. 402).

4.3.2 At the end of Cahier XV, Charpentier includes a verbal cue to “Le Malade imaginaire avant les deffences,” whose music appears in Cahier XVI. Cahier XVII begins with “Le Malade Imaginaire Ouverture avec les deffences” (H. 495a). The reference to “les deffences” is in response to the restrictions that were made in 1672 and 1673 to the number of performers permitted in theatrical performances.⁶⁷ Cahier XVI includes only two folios, on which Charpentier has written out a prologue for Le Malade imaginaire (H. 495) that appears to be incomplete. The paper used for folios 52–6 of Cahier XVII is not found elsewhere in the Meslanges. On folio 70^v (mistakenly numbered as 90) Charpentier has added some “symphonies ajustées au sacrifice d’Abraham” (H. 402a, Figure 16d). The writing on this page is distinct from that found elsewhere in Cahier XVII. It uses the G-2 rather than clef G-1 that is found elsewhere in the cahier (there are no C clefs on the page). The dramatic motet, “Sacrificium Abrahae” (H. 402) for which these “symphonies” were written, is in Cahier XXX, and these instrumental ritornelles were clearly added after the composition of the motet. Interestingly, on folio 7^r of the Mémoire, there is a reference to a “Prelude pour le Sacrifice d’Abraham” within Cahier IX (there are a number of works listed here that have since been lost). The existence of “Sacrificium Abrahae” in Cahier XXX and the change of clef formation suggest that this music was copied at a later date, probably at the same time as the revisions made to the works that were originally in Cahiers VI–XI.

4.3.3 More than in any other cahier, XVII is clearly a rough sketchbook intended to show how its passages could be incorporated into other works. The writing is not as neat as elsewhere in the Meslanges, there are more mistakes, and often in the chorus sections only one of the parts includes the text, as on folios pages 77–8 and 80–3. On folio 53^v, there is reference to music for Le Malade imaginaire in Cahier 44. The note, which reads “apres le prelude cayer 44,” is not written in Charpentier’s hand, nor the hand of pages 47–8 in Cahier XV. As Hitchcock notes: