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	'''Marc-Antoine Charpentier''' ({{IPA\|fr\|maʁk ɑ̃twan ʃaʁpɑ̃tje\|lang}}; 1643 – 24 February 1704<ref>{{cite encyclopedia \|author=Hitchcock, H. \|year=2001 \|title=Charpentier, Marc-Antoine \|encyclopedia =Grove Music \|doi=10.1093/gmo/9781561592630.article.05471 \|isbn=978-1-56159-263-0 \|edition=Online \|access-date= 23 February 2019 \|url= http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000005471\|url-access=subscription }}</ref>) was a French [[Baroque]] composer during the reign of [[Louis XIV]]. One of his most famous works is the main theme from the prelude of his ''[[Te Deum (Charpentier)\|Te Deum]]'' ''H.146, Marche en rondeau''. This theme is still used today as a fanfare during television broadcasts of the [[Eurovision (network)\|Eurovision Network]] and the [[European Broadcasting Union]].		'''Marc-Antoine Charpentier''' ({{IPA\|fr\|maʁk ɑ̃twan ʃaʁpɑ̃tje\|lang}}; 1643 – 24 February 1704)<ref>{{cite encyclopedia \|author=Hitchcock, H. \|year=2001 \|title=Charpentier, Marc-Antoine \|encyclopedia =Grove Music \|doi=10.1093/gmo/9781561592630.article.05471 \|isbn=978-1-56159-263-0 \|edition=Online \|access-date= 23 February 2019 \|url= http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000005471\|url-access=subscription }}</ref> was a French [[Baroque]] composer during the reign of [[Louis XIV]]. One of his most famous works is the main theme from the prelude of his ''[[Te Deum (Charpentier)\|Te Deum]]'' ''H.146, Marche en rondeau''. This theme is still used today as a [[fanfare]] during television broadcasts of the [[Eurovision (network)\|Eurovision Network]] and the [[European Broadcasting Union]].

	Marc-Antoine Charpentier dominated the Baroque musical scene in seventeenth century France because of the quality of his prolific output. He mastered all genres, and his skill in writing sacred vocal music was especially hailed by his contemporaries.		Marc-Antoine Charpentier dominated the Baroque musical scene in seventeenth century France because of the quality of his prolific output. He mastered all genres, and his skill in writing sacred vocal music was especially hailed by his contemporaries.

	He began his career by going to Italy, where he fell under the influence of [[Giacomo Carissimi]] as well as other Italian composers, perhaps [[Domenico Mazzocchi]]. He would remain marked by the Italian style and become the only one with [[Jean-Joseph de Mondonville\|Jean-Joseph Cassanéa de Mondonville]] in France to approach the oratorio. In 1670, he became a master of music (composer and singer) in the service of the [[Duchess of Guise]]. From 1690 Charpentier composed [[Médée (Charpentier)\|''Médée'']], on a piece by [[Thomas Corneille\|Corneille]]. It was a determining failure in his career of composer: he henceforth devoted himself to religious music. He became the composer of the Carmelites of the "Rue du Bouloir", [[Montmartre Abbey]], [[Abbaye-aux-Bois]] and [[Port-Royal-des-Champs\|Port-Royal]]. In 1698, Charpentier was appointed music master for the children of the [[Sainte-Chapelle\|Sainte-Chapelle du Palais]]. After having obtained from the king [[Louis XIV]] a softening of [[Jean-Baptiste Lully\|Lully]]'s monopoly, [[Molière]] turned to Charpentier to compose the music for the intermissions of ''Circe'' and [[Andromède\|''Andromeda'']], as well as sung scenes for the revivals of ''The Forced Marriage'', and finally the musical pieces of [[The Imaginary Invalid\|''The Imaginary invalid'']].		He began his career by going to Italy, where he fell under the influence of [[Giacomo Carissimi]] as well as other Italian composers, perhaps [[Domenico Mazzocchi]]. He would remain marked by the Italian style and become the only one with [[Jean-Joseph de Mondonville\|Jean-Joseph Cassanéa de Mondonville]] in France to approach the oratorio. In 1670, he became a [[Master of Music\|master of music]] (composer and singer) in the service of the [[Duchess of Guise]]. From 1690 Charpentier composed [[Médée (Charpentier)\|''Médée'']], on a piece by [[Thomas Corneille\|Corneille]]. It was a determining failure in his career of composer: he henceforth devoted himself to religious music. He became the composer of the Carmelites of the "Rue du Bouloir", [[Montmartre Abbey]], [[Abbaye-aux-Bois]] and [[Port-Royal-des-Champs\|Port-Royal]]. In 1698, Charpentier was appointed music master for the children of the [[Sainte-Chapelle\|Sainte-Chapelle du Palais]]. After having obtained from the king [[Louis XIV]] a softening of [[Jean-Baptiste Lully\|Lully]]'s monopoly, [[Molière]] turned to Charpentier to compose the music for the intermissions of ''Circe'' and [[Andromède\|''Andromeda'']], as well as sung scenes for the revivals of ''The Forced Marriage'', and finally the musical pieces of [[The Imaginary Invalid\|''The Imaginary invalid'']].

	He composed secular works, stage music, [[opera]]s, [[cantata]]s, [[sonata]]s, [[Symphony\|symphonies]], as well as sacred music, [[motet]]s (large or small), [[oratorio]]s, masses, psalms, [[Magnificat]]s, [[Litanies]].		He composed secular works, stage music, [[opera]]s, [[cantata]]s, [[sonata]]s, [[Symphony\|symphonies]], as well as sacred music, [[motet]]s (large or small), [[oratorio]]s, masses, psalms, [[Magnificat]]s, [[Litanies]].
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	* ''Serenata a tre voci e sinfonia,'' H.472		* ''Serenata a tre voci e sinfonia,'' H.472
	* ''Epithalamio in lode dell'Altezza serenissima Elettorale di Massimiliano Emanuel Duca di Baviera concento a cinque voci con stromenti,'' H.473		* ''Epithalamio in lode dell'Altezza serenissima Elettorale di Massimiliano Emanuel Duca di Baviera concento a cinque voci con stromenti,'' H.473
	* ~~'''<small>~~''Epitaphium Carpentarii,''~~</small>''' <small>~~H.474~~</small>~~		* ''Epitaphium Carpentarii,'' H.474
	* ''Beate mie pene / Duo à doi canti del Signor Charpentier,'' H.475		* ''Beate mie pene / Duo à doi canti del Signor Charpentier,'' H.475
	* ''"Superbo amore",'' H.476		* ''"Superbo amore",'' H.476
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	[[Thierry Pécou]] : ''Le Tombeau de Marc-Antoine Charpentier'', pour 3 chœurs à voix égales, orgue baroque, basse de viole, positif et cloches (1995)		[[Thierry Pécou]] : ''Le Tombeau de Marc-Antoine Charpentier'', pour 3 chœurs à voix égales, orgue baroque, basse de viole, positif et cloches (1995)

	[[Philippe Hersant]] : ''Le Cantique des 3 enfants dans la fournaise'' (1995), poem by [[Antoine Godeau]], in front of ''La Messe à 4 Choeurs'' H.4 by Marc-Antoine Charpentier with same chorus and orchestra. (CD Radio France 2019)		[[Philippe Hersant]] : ''Le Cantique des 3 enfants dans la fournaise'' (1995), poem by [[Antoine Godeau]], in front of ''La Messe à 4 Choeurs'' H.4 by Marc-Antoine Charpentier with same chorus and orchestra. (CD [[Radio France]] 2019)

	==References==		==References==

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