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page about the watermarks
The
watermarks in the so-called "Roman" notebooks
I have summarized my notes so that scholars can
reconstruct the folded sheets of the notebook and deduce whether an inner or
outside sheet may have been replaced. (See my Vers une Chronologie des œuvres
de Marc-Antoine Charpentier, Baltimore, 1994, pp. 24-29.)
In cahiers where more than one brand of
paper was used, I either show the paper, folio by folio, or else I mark
the specific folio where the unusual paper appears — which may (or may
not) indicate a sheet inserted into an existing cahier..
“marque” — that is, the watermark
that indicates size and quality: a crest (écu), a bunch of grapes (raisin),
a sundial (cadran), a crowned L (L couronné), and so forth
“contremarque” — that is, the
watermark that indicates the mill, usually in a rectangular cartouche
containing initials and, sometimes, a flower or a heart. (Measurements are
in centimenters, not inches.)
The boldfaced letter or number following marque or contremarque
indicates the paper, as described in my Vers une Chronologie, pp.
57-59.
My notes do not always distinguish between page and folio, so the number in
the first column is flexible, so to speak.
NOTE: In Vers une chronologie, p.
53, I showed cahier XLVI as partly made of paper "10." That should be
corrected to read "J." This rectification is shown below, in
red, as are changes I made in April 2006 (and again in January 2007), while working on the Charpentier database for the Centre de Musique Baroque de Versailles.
The Cahiers “romains”
Cahiers I-V
These 5 cahiers are made entirely of A.
Cahiers VI-XI
Jesuit paper, †.
The ink of the staves has turned quite brown. On a few sheets, also of
Jesuit paper, the ink of the staves has remained black: this is the case
for folios 20, 33, 36-37, 50-51.
Cahier XII
Entirely made of B (although I did note that fol. 2 could possibly be the
I!C
of †).
Cahier XIII
The cahier was made of B, but on fols. 19-20 C was glued to a stub
by Charpentier himself.
Cahier XIV
Made of B.
At the end, (fol. 36-37) is a sheet of ◊, almost certainly added in 1752.
Cahier XV
Made entirely of 1.
Cahier XVI
Made entirely of 1.
Cahier XVII
52-55 paper 2
57-87 paper 1
88 A
Deleted
Cahier XVIII
Made entirely of F.
Cahier XIX
Made entirely of 3.
Cahier XX-XXII MISSING
Cahier XXIII
This notebook of preludes is made of several papers that
were folded together when the notebook was made, circa June 1679. The final
folios (40v, to 43) seem to have been blank until circa 1680, when Charpentier
added pieces using his new-style treble clef.
30 nothing (which suggests it is the other half of contremarque
E)
31 contremarque E
32 nothing (which suggests it is the other half of contremarque
E)
33 raisin, the marque of 4
34 contremarque 4
35-36 contremarque G
37 raisin (probably the marque of G)
38 raisin (probably the marque of G)
38 raisin (probably the marque of G)
39 raisin, the marque of 4
40 contremarque 4
41 contremarque E
42 nothing (which suggests it is the marque of E)
43 contremarque E
Cahier XXIV
This notebook, which contains preludes, comes before XXIII chronologically.
Rather than being folded all at once as most cahiers were, this cahier was put
together by piling three cahiers on top of one another.44 marque D
45 marque D
46 contremarque D
47 contremarque D
48 contremarque D
49 marque D
50 marque D
51 marque D
52 G (new prelude for an older work)
53 G (new prelude for an older work, related to the one
on fol. 52)
54 a scepter or crowned L on very heavy paper
(containing a new, untested work)
55 a scepter or crowned L on very heavy paper
(containing the rest of this new, untested work)
Cahier XXV
Made entirely of 5.
Cahier XXVI
10 marque 5
11 marque 5
12marque 5
13 6 (Jean-Baptiste Colbert’s paper)
14 contremarque 5
15 contremarque 5
16 contremarque 5
17 marque 5
Cahier XXVII
Made entirely of 5.
Cahier XXVIII
Seems to be made entirely of 6 (Jean-Baptiste Colbert’s paper), but the
dense paper made it difficult to decipher every watermark.
Cahier XXIX
Made of G, except that fols.1 and 2, and their other half, fols. 17
and 18, are sheets of 7
Cahier XXX
Made of 2 papers, d and 8, both of which have raisin as a
marque. I did not attempt to distinguish between these two raisins.
The counter-mark of d is found on fols. 24, 26. The counter-mark of 8
is found on fols. 19, 20, 21, 22, 23 (which suggests that the raisin
on fols. 30-34 are the other half of these five outer sheets).
Cahiers XXXI-XXXII
Made of 8 and H. It was very difficult to distinguish the
watermarks in some of this paper. For example, it was difficult to say whether
many of the oval counter-marks belonged to 8 or to H.
Distinguishing the two papers was made still more difficult by the fact that the
marque on both papers is a raisin. I can only say that fols. 36,
49 and 60 are H, and fols. 47 and 57 are 8.
Fol. 64 of cahier XXXII is contremarque G.
Cahier XXXIII (les Pièche)
The outer 3 sheets are F. The inner 4 sheets (fols. 41-48) are †,
that is, Jesuit.
Cahier XXXIV
Made entirely of †. (Note, therefore, that footnote b, p. 53, Vers une
Chronologie, is incorrect.)
Cahier XXXV
Made entirely of G.
Cahiers XXXVI-XXXIX (the memorial service for the Queen at the Little Carmel,
Dec. 1683)
Made entirely of I.
Cahier XL MISSING
Cahier XLI-XLII
Made entirely of J.
Cahiers XLIII-XLV
Made entirely of K.
Cahier XLVI
This cahier is made of papers K and J,
plus an unidentified paper. As the listing of watermarks below suggests, the two papers do not seem to have
been intermixed and folded into a cahier at the same time. First of all there
are the equivalent of 9 sheets of folded paper, which would be too thick to fold
into a cahier. So Charpentier must have made at least 2 thinner cahiers and
superimposed them. It is difficult to sort out the
different sheets of paper (one half with the marque and the other with
the contremarque) to see how the folded sheets were stacked upon one
another and treated as a “cahier,” because the contremarque of
both papers is a raisin. The unidentified paper is shown in
blue.
85 marque J
86 marque J
87 contremarque K
88 marque J
89 contremarque K
90 contremarque I-coeur-[illegible], 5.1 cm.,
very thick paper
91 contremarque I-coeur-[illegible], 5.1 cm.,
very thick paper
92 marque K
93 marque J
94 contremarque K
95 contremarque I-coeur-[illegible], 5.1 cm.,
very thick paper
96 marque K
97 marque K
98 raisin (smaller than the raisin of K)
99 raisin (smaller than the raisin of K)
100 marque J
101 contremarque J
102/3 contremarque J
Cahiers XLVII-XLVIII
Made entirely of K.
Cahier XLIX
Made of L, except the outside sheet (fols. 35 and 50) which is 9.
Cahier L
The three outer sheets are 10 (that is, fols. 51, 52, 53 and 67, 68, 69.
The inner sheets, fols. 55-66 are L.
Cahier LI
Made entirely of L.
Cahiers LII-LIII MISSING
But, judging from the paper, which is †, that is Jesuit, cahier “d” may
be the missing LII.
Cahier LIV (which seems to date from the early Jesuit years)
Made of 11 and †, as follows:
84 raisin (which probably is the marque of fol. 93/94)
85 raisin (which probably is marque 11)
86 contremarque 11
87 contremarque 11
88 contremarque 11
89 raisin (which probably is marque 11)
90 raisin (which probably is marque 11)
91 †
92 †
93/94 illegible counter-mark of fol. 84
In other words, the folded sheet of Jesuit paper, fols. 91-92, is tucked into a
notebook made of 4 folded sheets of paper: the outer one is fols. 84 and 93/94
(an unidentified paper), then came originally two folded sheets of 11, and the
folded Jesuit sheet was tucked in after fol. 90.
Cahiers LV-LXI (minus MISSING cahiers LVI and LIX)
Made entirely of †
Cahier LXII
Made of M and 12. This notebook is too thick to have been folded
as one notebook. Indeed, it is two superimposed notebooks. The first, fols.
1-17, is made entirely of M. Then comes another notebook made entirely of
12, fols 18-25. For some reason, Charpentier treated these as a single notebook.
Cahier LXIII
Made entirely of O
Cahiers LXIV-LXVI
Made entirely of †
Cahier LXVIII MISSING
Cahiers LXVIII-LXIX
Made entirely of N
Cahier LXX
Made entirely of 12
Cahiers LXXI-LXXIII MISSING
Cahiers LXXIV-LXXV
Made entirely of O
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