The Ranums' Panat Times
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The Ranums' Panat Times |
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opening page of Patricia's "Musings" "French" cahiers for 1673 With 1673, one begins to watch the Guise princesses come out of their deep mourning. One also begins to see a separation between two distinct protectresses. That is to say, although Mme de Guise prepares to leave the Hotel de Guise, she turns to Charpentier for specific events worthy of a royal princess and that often are mentioned in the press. The bulk of Charpentier's compositions, by contrast, appear to be for Mlle de Guise, whose name rarely is mentioned in the press and whose devotions, from 1670 on, have been characterized by devotion to her patron saint, the Virgin. Their Highnesses clearly were feeling their way during 1673, not only about their private chapels, but about the social and cultural roles they would henceforth play at court or in the capital. It would, however, be unwise to divide Charpentier's works categorically in this way: because Mme de Guise frequently withdrew to Montmartre — where she and Mlle de Guise may well have been on Friday, March 31, when Guise chambermaids sang for tenebrae.
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