Pendragon Press is proud to assume distribution of this very special book by Patricia Ranum who opens her preface with these words: "Marc-Antoine Charpentier knew or knew about all the sitters in this imaginary portrait gallery. During my long pursuit of the composer in European archives and libraries, these same individuals have become my friends—although I confess to feeling less sympathy for some than for others. I never succeeded in unveiling Charpentier the Man whom I consider my very closest seventeenth-century friend. Yet I could not leave my research papers to yellow in file drawers and force other scholars to retrace my steps and go down the blind alleys along which I made my frustrated way.
"For close to two decades, I have been making categorical statements about Charpentier and the Guises; but although I backed up these assertions with elaborate footnotes, no coherent picture emerged of the complex social relations of protection within which the composer worked. Hence this book."
Patricia Ranum: Patricia Ranum began studying seventeenth-century French rhetoric in the early 1980s. In 1984 her work with the singers of the Arts Florissants during rehearsals for Marc-Antoine Charpentier’s Médée made her concentrate her research on the relationships that exist between poetry, musical notation and the music itself. Her experiences while rhetorician for the European Baroque Academy of Ambronay of 1998 (Jean-Baptiste Lully’s Thésée, directed by William Christie) shaped the approach she uses in her Harmonic Orator (2001). In 2002 she served as rhetorician during the preparation of Pancrace Royer’s Le Pouvoir de l’Amour (directed by Lisa Goode Crawford) at Oberlin College. She continues to coach singers in French sung rhetoric.
Musicologists know her primarily for her scholarship on Marc-Antoine Charpentier, his patrons, the Guise princesses, and his musician colleagues. Among historians she is better known for her editions of historical sources and her translations of several leading French historians, among them Fernand Braudel and Philippe Ariès. She and her husband, Orest Ranum, a historian of early-modern France, spend their winters in Baltimore, Maryland, and their summers in a tiny village in northern Languedoc, France.