Web Projects by John S. Powell
john-powell@utulsa.edu
 

  • Vita with hyperlinks to pdfs of published articles

  • book:  Music and Theatre in France, 1600-1680 (Oxford University Press, 2000)

  • recent article:  A French Baroque PrimerThis article talks about musical issues like:   accidentals and cross-relations, dissonances, double-dotting and inequality (notes inégales), conducting patterns, meter signs, old mensural signs, totally white (and totally black) notation, clefs and voice-types, melodic ornaments (according to Loulié, Charpentier's friend), and melodic ornaments specific to Charpentier.  The article ends with Charpentier's indication of the "emotion" or "mood" of most of the major and minor keys, and his "Short Rules for Accompaniment."  If the above link doesn't open a webpage with the embedded article after a few moments, you can directly download a pdf of the article here.

  • website:  Music and Theater in France in the Seventeenth Century an ongoing project that makes available a select group of 17th-century French plays in facsimile together with the music that accompanied the first performance and subsequent performances. 

  • selected multimedia presentations:
    • ORATORIOS BY CHARPENTIER:
    • COMIC PROLOGUES, INTERMÈDES, AND PASTORAL ENTR'ACTES:
      • La Princesse d'Élide - Prologue
        • Aurora sings an air to bring on the dawn; meanwhile, the dogkeepers arise from sleep and get ready for the hunt.  Lysiscas (orig. played by Moliere) has slept in late, and the other valets de chasse come and try to rouse him in song.  After making many excuses--he needs more sleep, he has wet his bed-- Lysiscas gets up and torments them in kind.  The prologue ends with 3 dances: one for the sleepy dogkeepers, one for the hunting horns and trumpets, and one for the awakened dogkeepers.


    • LARGER PROJECTS
      • Hésione
        • Hésione, André Campra's nearly-forgotten masterwork and his first tragédie en musique, was a big hit when it premièred at the Paris Opéra on 21 December 1701.  Now it is available for the first time in a performing edition with English translation.  The plot is familiar:  boy loves girl, who loves another boy, and who is beloved by Venus, who conjures up a vision showing boy 1 and girl together...thereby making boy 2 jealous.  Meanwhile, Neptune is pissed off and sends a Sea Monster to destroy Troy, and the King promises girl to whomever defeats the Sea Monster and, for further incentive, has girl chained naked to a rock to be gobbled up.  Venus fixes it so that boy 1 kills Sea Monster, while she flys away with boy 2 (who, being a bad sport, curses them all).
      • Psyché
      • Grand Office des Morts
          • Charpentier's Grand Office des Morts, a performing edition of Charpentier's early, double choir Mass for the dead (Messe pour les Trépassés), together with a related psalm setting of the De Profundis, the Dies Irae, and the Motet pour les Trépassés (with text taken from the Office of the Dead); this edition was used by Les Arts Florissants for performance and recording in 2004.
             
  • SMALLER PROJECTS
  • Canticum canticorum
    • petits motets by Bouzignac, Charpentier, Carissimi, Nivers, Dumont,  Henry, and Campra based on texts from the Song of Songs
  • Concert pour Quatre Parties de Violes
  • Beatus vir
    • a setting by Charpentier of Psalm 1, which would go nicely on a double bill with Monteverdi's setting of the same psalm
  • Trio de Monsieur Charpentier  
  • Airs de differents compositeurs (1678)
    • an unusual and unique collection of French, English, Italian, and Spanish airs composed by leading composers of the mid-17th Century, and now owned by the Westminster Abbey Chapter Library.  The composers include Michel Lambert, Honoré d'Ambruis, Michel Farinel, Sébastien Le Camus, Robert Cambert, Jean Sicard, Michel-Richard de Lalande, Jacques Paisible, Charles Hurel, Jean-Baptiste Lully, Luigi Rossi, and William Turner.  As the collection includes only vocal parts without accompaniment, I have sought out and transcribed concordant sources for many of the airs.  Among other curiosities, this anthology includes the earliest work by Lalande (a drinking song) and an early source for Io's lament from Lully’s opera Isis.
       
  • Copyists' Hands
    • another ongoing project that provides samples of the handwriting of various late 17th-century and early 18th-century French copyists; it isolates various characteristic features of these hands (clef formation, notes, flags, beams, and script) to aid in identifying the copyists of other French manuscript