The Ranums' Panat Times
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The Ranums' Panat Times
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Read more about Marc-Antoine Charpentier
Read my comments about another article in the Actes, 2007
Concordance of Patricia Ranum's watermarks and Laurent Guillo's printed staves This Musing refers to
Laurent Guillo's "Les papiers imprimés NOTE: The
list of papers and PAP's at the end of this Musing has been re-cast At the end of his article on the printed music papers used by Marc-Antoine Charpentier, Laurent Guillo foresaw the need to correlate my evidence about watermarks and his evidence about printed papers. He wrote: "Il existe donc bien une corrélation entre ces deux critères de description des papiers: à certains filigranes correspondent certains papiers imprimés (ou manuscrits, et inversement). Mais il ne peut s'agir d'une corrélation «un pour un», car les différents filigranes relevés sont trois foix plus nombreux que les types de papiers imprimés. En combinant ces deux critères, on devrait pouvoir reconstituer la structure materielle de tous les cahiers des Mélanges, étude qui serait probablement riche de beaucoup d'enseignements." (p. 46) As a first step in combining these two criteria, I have drawn up a concordance of Guillo's and my findings. I tried to be very careful; and I checked and double-checked. But please write me at orestranum@verizon.net about any errors: it is very important that scholars not be misled by any stupid errors I may have made! Over the coming months, I hope to publish several Musings that I roughed out at Panat last summer. These preliminary studies will, I hope, show the importance of Laurent Guillo's findings. For example, I am convinced that this combination of watermarks and "PAP" numbers will permit us to narrow considerably the date when a work composed and copied out, or re-composed/recopied/repaired. I propose that the two sets of information be merged as follows, putting the paper first and, after a slash, the PAP number of the forme used to print it: K/25, A/75, J/77, b/77, and so forth. (I think it preferable to indicate the paper first, because in the Mélanges, a given brand of paper tends to be used for several years, but several printers' formes may be used to print that particular paper.) In the concordance that follows, I do not provide the folios/pages on which each paper appears in a given cahier: those details can be deduced from Guillo's detailed charts. The combined paper/Pap number is shown first within brackets. Next come the different PAP's, in numerical order, followed by an equal-sign and the bold italicized letters or numbers that indicate the watermark. The number of the specific cahiers with a given paper/PAP is found are shown within parentheses. [g/20] PAP-20 = g (cahier 26) [5/20] PAP-20 = 5 (cahiers XXV, XXVI, XXVII, XXVIII) [6/20] PAP-20 = 6 (cahiers XXVI, XXVIII: J-B Colbert's arms in watermark) [†/25] PAP-25 = † (cahier 5, central sheet; cahier 13, central sheet; cahier 20, intermingled; cahier 29, outer sheet; cahier 30, outer sheet; cahier 40, entirely) [K/25] PAP-25 = K (cahiers 42, XLIII(1)) [G/26] PAP-26 = G (cahiers 22, 36, 37, XXXV) [I/26] PAP-26 = I (cahiers 38, XXXVI, XXXVII, XXXVIII, XXXIX) [F/39] PAP-39 = F (cahiers 28, XVIII, XXXIII) [G/39] PAP-39 = G (cahier XXXIV) [†/39] PAP-39 = (cahiers XXXIII, XXXIV) [†/70] PAP-70 = †(2) (cahiers 27, 58, 59, VII, VIII, LVIII) [A/75] PAP-75 = A (cahiers 1, 2, 3, 4, I, II) [B/75] PAP-75 = B (cahier 6) [d/76] and .... : [e/76] PAP-76 = e and d, intermingled (cahier 20) [?/76] PAP-76 = undecipherable (cahier 26) [3/76] PAP-76 = 3 (cahier XIX) [L/76] PAP-76 = L (cahier XLIX) [b/77] PAP-77 = b (cahier 5) [J/77] PAP-77 = J (cahiers 41, XLI, XLII) [A/80] PAP-80 = A (cahier 4) [C/81] PAP-81 = C (cahiers 7, 10, 11, XIII) [F/81] PAP-81 = F (cahier 27) [1/81] PAP-81 = 1 (cahier XIV) [B/81] PAP-81 = B (cahier XIII) [scepter/81] PAP-81 = scepter (preludes: cahier XXIV) [D/82] PAP-82 = D (cahiers 7, 11, 12, 13, 14) [G/82] PAP-82 = G
(cahiers [E/83] PAP-83 = E (cahiers 8, 15, 16, 17, 18, 21, 22, 23, 24; and preludes: cahier XXIII) [4/83] PAP-83 = 4 (preludes: cahier XXIII) [g/83] PAP-83 = g (cahiers 25, 26, 28) [H/83] PAP-83 = H (cahier 34) [G/83] PAP-83 = G (cahier 35; and preludes: cahier XXXV) [?/83] PAP-83 = undecipherable (cahier 42) [8/83] PAP-83 = 8 (cahier XXX) [H/84], .... [d/84], ..... [8/84], and ..... : [G/84] PAP-84 = H, d, 8 and G (cahiers XXX, XXXI, XXXII)(3) [G/84] PAP-84 = G (cahiers 29, 30, 31-32, XXIX; and preludes: cahiers XXIII, XXIV) [7/84] PAP-84 = 7 (cahier XXIX) [1/84] PAP-84 = 1 (cahiers XV, XVI, XVII, "I") [K/85] PAP-85 = K (cahiers 44, 45, 46, XLIV, XLV, XLVI, XLVII, XLVIII) [J/85] PAP-85 = J (cahiers 42, 43a, 43b) [?/86] PAP-86 = undecipherable (cahier 42) [K/86] PAP-86 = K (cahier XLIV, XLVIII) [D/86] PAP-86 = D (preludes: cahier XXIV) [L/86] PAP-86 = L (cahiers 47, XLIX) [11/86] PAP-86 = 11 (cahier LIV) [A/87] PAP-87 = A (cahiers III, IV, V) [B/87] PAP-87 = B (cahiers XII, XIII) [2/88] PAP-88 = 2 (cahier XVII)
Notes: 1. Note that forme PAP-25 was also used to print Jesuit paper (†). 2. Guillo notes that the forme for PAP-70 was very exclusive: "Ce papier n'a été détecté que dans les Mélanges et dans la copie des motets de Lalande faite et signée par Philidor l'aîné en 1689...," p. 45. 3. This mixing of four brands of paper, all printed with the same forme, suggests that the staves were printed by the same shop and that Charpentier or his supplier bought a batch of music paper from that merchant, either not realizing or not caring that several different brands of paper were intermingled. |