1.1 Tucked away in Indiana Universitys Lilly Library is a previously unknown manuscript copy of a basso continuo treatise in the hand of Marc-Antoine Charpentier, the only known autograph of Charpentiers theoretical writings. The manuscript is included in Traité daccompagnement et de composition, which is found in the front portion of a composite volume (call number MT530 .B73) that also contains a printed treatise (Pierre Borjon de Scellerys Traité de la mvsette, avec vne novvelle methode, pour apprendre de soy-mesme à joüer de cét instrument facilement, & en peu de temps [Lyon: Girin and Rivière, 1672]) and a manuscript play (Au Loup, signed and dated Votre fille Helaine … 1695). The manuscript Traité is the subject of my doctoral project in harpsichord at the Indiana University Jacobs School of Music, an annotated transcription and translation of this work on continuo and composition. Patricia Ranum kindly agreed to look over my transcription and translation, and identified Charpentiers hand in the manuscript. This identification has been corroborated by Catherine Cessac.
1.2 The Traité consists of 33 leaves, which contain text and musical examples. Leaves 1–27 are in an unidentified hand. The last 6 leaves, on different paper, are the portion copied by Charpentier. The first page of this section is numbered XLI in the upper left corner, evidently in Charpentiers hand (see Figure 1).
1.3 The manuscript is apparently unknown to scholars and does not appear to be a copy of another treatise; its authorship is unknown. A comparison with contemporaneous French accompaniment and theoretical treatises published ca.1650–1750 shows that the final six leaves are similar in format and content to parts of Charpentiers Rules of Composition (known from secondary copies), and that the Traité as a whole seems to be an original work. The Traité combines the discussions of accompaniment and composition, often treated separately, to a greater extent than other sources, stressing the compositional aspects of basso continuo practice.
1.4 My forthcoming annotated transcription and translation will be prefaced with a detailed description of the entire Traité. Ranum has posted her own findings regarding the Charpentier portion of the manuscript on her Web site (http://www.ranumspanat.com/xli_prologue.htm).
Copyright © Society for Seventeenth-Century Music. All Rights Reserved.
Items appearing in JSCM may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the Editor-in-Chief of JSCM.
Any authorized redistribution of an item published in JSCM must include the following information in a form appropriate to the medium in which it is to appear:
This item appeared in the Journal of Seventeenth Century Music (http://www.sscm-jscm.org/) [volume, no. (year)], and it is republished here with permission.
Libraries may archive issues of JSCM in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Exceptions to these requirements must be approved in writing by the Editor-in-Chief of JSCM.
Website Design and Development by Crooked River Design.