Troisieme Magnificat a 4 voix avec instruments, H. 79 by Marc-Antoine Charpentier: a modern urtext edition with commentary

This document is a critical urtext with commentary of Marc-Antoine Charpentier's Troisieme Magnificat a 4 voix avec instruments, H.79. It includes a review of recent research about Charpentier and his music, a concise bibliographical sketch of his life and work and an investigation into the process of bringing this particular work into a clear, modern edition. It was not until the middle of the twentieth century that musicologists began in earnest the process of studying and performing much of the music of Charpentier. A debt of gratitude is owed to Hugh Wiley Hitchcock for his groundbreaking research into the composer's life and for editing Charpentier's manuscripts and creating a catalogue of his works. This initial foray into the music of Charpentier spawned further interest by other scholars and musicians, eventually leading to the great research that continues today. ❧ The edition created here is primarily an urtext, and for the most part remains unedited from Charpentier's original source. Several components have been modernized by virtue of practicality and modern convention. Modern clefs are utilized throughout and an incipit is included on the opening page, which indicates the original clefs used in the manuscript. The clefs used are a vital part of decoding the score, as the type of clef used by Charpentier remains one of the few indicators in his manuscripts as to instrumentation. The bass figures are not realized, but are included in the same manner that Charpentier indicated. ❧ Some performance practice ideas are considered, including the choice of modern string instruments that best imitate the multi-sized French violins that would most likely have been played in Charpentier's time. Some thoughts regarding ornamentation and note inequality (notes inégales) are included as well as an English translation of the Latin Magnificat text. ❧ The primary reason for the creation of this edition is the opportunity to look closer at the choral music of a master composer of the French Baroque. The existence of this urtext edition should continue to encourage the creation of modern editions of Charpentier's many unpublished compositions. This new edition should serve as an aid to realizing a modern performance of H.79. Conductors who prepare H.79 and other compositions by Marc-Antoine Charpentier will find the discussion of historical context, editorial practices, and performing styles a resource, and hopefully will facilitate further study.

本文件为马克-安托万·夏庞蒂埃（Marc-Antoine Charpentier）《四声部与乐器伴奏第三首尊主颂》（Troisieme Magnificat a 4 voix avec instruments, H.79）的批判性原始文本（urtext）及评注集。全文涵盖针对夏庞蒂埃及其音乐的最新研究综述、其生平与创作的简明传记梗概，以及将该作品整理为清晰现代版本的全过程考证。

直至20世纪中叶，音乐学家才真正启动了对夏庞蒂埃大量作品的研究与演奏实践探索。我们应当向休·威利·希区柯克（Hugh Wiley Hitchcock）致以诚挚谢意——他率先开展了针对该作曲家生平的开创性研究，整理了夏庞蒂埃的手稿并编制了其作品目录。此次对夏庞蒂埃音乐的首次开拓性探索，引发了其他学者与音乐家的浓厚兴趣，最终促成了延续至今的深入研究工作。

❧ 本版本以原始文本（urtext）为核心框架，绝大多数内容严格保留夏庞蒂埃原稿的原貌。仅出于实用性与现代乐谱惯例的考量，对部分细节进行了现代化处理：全程采用现代谱号，并在开篇页面加入了标注手稿原始谱号的开篇主题片段（incipit）。谱号是解读乐谱的关键要素之一，夏庞蒂埃手稿中使用的谱号类型，是推断其作品配器的少数可靠依据之一。本版本未实现低音数字记谱的填充，而是完整保留了夏庞蒂埃原稿中的标注形式。

❧ 本版本还纳入了若干演奏实践建议，包括选用最能还原夏庞蒂埃时代多形制法国小提琴音色的现代弦乐器方案；同时收录了关于装饰音演奏与不均匀音符（notes inégales）的相关思考，以及拉丁文本《尊主颂》的英文译稿。

❧ 制作本版本的核心初衷，是为深入研究这位法国巴洛克大师的合唱作品提供便利。本原始文本（urtext）版本的推出，有望进一步推动夏庞蒂埃大量未刊作品的现代版本编纂工作。此新版将助力H.79的现代演奏实践。对于准备排演H.79及马克-安托万·夏庞蒂埃其他作品的指挥者而言，文中关于历史背景、编辑规范与演奏风格的讨论可作为实用参考，亦有望推动相关领域的后续研究。