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Marc Antoine Charpentier was born in 1643. in Paris. For a long time, the year of birth was in doubt, and the day remains unknown. His father was a master-scribe. Nothing is known about his youth. He probably studied under the Jesuits. There was a common story that M.A. Charpentier came from a family of artists and traveled to Rome in his youth to become a painter. No documents have been found to support this story. He probably arrived in Rome in 1666 or 1667. According to the story, he studied music with the composer J. We will be at war for three years, which is doubtful. However, it is clear that M.A. Charpentier was well acquainted with the works of Italian composers of that time: the two earliest known signatures of M.A. Charpentier were found in his possession of J. In copies of the works of Karisimios and F. Bareta. After returning from Rome, the composer was supported by Countess Maria de Loren (Lorraine, de Guise), who accommodated him in her palace in Paris. M.A. Charpantje worked for her as a court composer and singer until the death of the countess in 1688.

Acquaintance with the influential Giza family apparently brought M.A. Charpentier to the royal theater troupe (Moliere's troupe). At that time Ž. B. Liuli abandoned cooperation with the troupe and his functions were taken over by M.A. Sharpantje. in 1672 there was a theatrical performance with only music by M. A. Charpentier, and he collaborated with the troupe for the next two decades (it was renamed the Comédie-Française in 1680). Mercure galant magazine 1679. in the September issue it was reported that M.A. Charpantje composed the music for the mass at St. On the occasion of the celebration of Louis, commissioned by the court painter Charles Le Bren. 1680 it was reported about listeners gathering at the Cistercian Abbey of Buis to hear M.A. Charpentier's Tenebrae compositions. The composer composed three-voice motets for other monasteries as well, including Port Royal, for which he also composed a mass with separate parts dedicated to the monastery's saints Francis and Margarita. 1679−80 and 1682−83. he was invited to compose music for the Dauphin Band of France. According to the Mercure galant, his motets appealed to King Louis XIV. It is likely that M.A. Charpantje created a large-scale motet for the musicians of the dauphin band in 1683. after the death of Queen Maria Theresa (In obitum augustissimae nec non piissimae gallorum reginae lamentum) and its accompanying De profundis.

M.A. Charpentier worked as a bandmaster at the Jesuit College of Clermont (renamed to the College of Louis the Great in 1683) and later as a music teacher at the Jesuit principal St. Louis Church in Paris. His work with the Jesuits lasted about 10 years, until about the mid-1690s. in 1683 M.A. Charpentier applied for the newly established position of music director and composer at the court of King Louis XIV, but withdrew from the competition due to poor health. Apparently as a reward for his work with the Dauphin Chapel, Louis XIV granted the composer a pension in the same year. 1692−93 M.A. Charpentier was the music teacher of Philippe d'Orléans, Duke of Chartres, the future regent of France. in 1693 The most famous work of the composer was staged at the Paris Opera - the dramatic musical performance "Medea" based on the libretto by T. Kornelis (P. Kornelis' brother). This production received unsurpassed evaluations, probably due to the influence of the recently deceased Ž. For the fans of B. Liuli who did not like the Italianized music style of M.A. Charpantje.

in 1698 music subway position St. The chapel in the Palace of Justice became vacant after the death of the previous meter. It was the second most prestigious religious musical post after that of the royal court at Versailles in the underground of chapel music. After the intervention of the Duke of Chartres, M.A. Charpentier was appointed to this position. He St. He worked in the chapel until his death, led the musical part of ceremonies and rites, composed music for them and taught choir boys to sing. Some of the composer's most mature works were created for St. In the chapel: the motets Motet pour une longue offrande (1698-99), Judicium Salomonis (1702) and the mass Assumpta est Maria. Marc Antoine Charpentier died in 1704. February 24, in Paris. According to the testimony, he was buried in St. In the chapel, but his grave has not been found. Very few of the composer's works were published during his lifetime. Most of M.A. Charpantje's work consists of religious (sacred) vocal works. These are 11 masses, 84 works for psalms, 207 motets - a total of about 500 religious works. Another important part of M.A. Šarpantje's work is about 30 works for the theater.