Sébastien de Brossard's name is generally referred to only in connection with the celebrated Dictionnaire de musique which he published in 1703, the first dictionary devoted entirely to music. From the eighteenth century down to our own time this achievement has overshadowed his musical composition, which remains relatively unknown. On the evidence of this splendid recording it is of supreme quality, and the group La Rêveuse are to be applauded for bringing it to our attention.

Brossard's ancestry can be traced back to the thirteenth century, and his talents and activities were many and varied: the New Grove describes him as a priest, theorist, composer, lexicographer and bibliophile. (Those who enjoy esoteric details might care to note that he was descended from a family of glass-blowers.) Although Brossard spent part of his career in Paris, he never held any kind of permanent post there, and this may account for the relative neglect of his music; much of his life was spent in Strasbourg and later in Meaux, where he died in 1730. He bequeathed his comprehensive library to the Bibliothèque Royale, along with an accompanying catalogue; these priceless materials are now in the Bibliothèque Nationale.

Brossard's compositions are wide-ranging, and include oratorios, motets, masses, cantatas and instrumental works. He also produced copious airs sérieux et à boire, many of which were published by Christophe Ballard. The present recording is subtitled Histoires profanes et sacrées au temps de Bossuet (Bossuet was a bishop and court preacher to Louis XIV), the main works being the extended Oratorio sopra l'immaculata conceptione della B. Vergine (Oratorio upon the Immaculate Conception of the Blessed Virgin Mary), the secular cantata Leandro and the Dialogus poenitentis animae cum Deo (Dialogue of a Repentant Soul with God). The ensemble La Rêveuse is directed by the theorbo player Benjamin Perrot and consists of six singers with six instrumentalists: two violins, basse de viole and an opulent continuo group of harpsichord, organ and theorbo. The musicians' avowed aim is ‘to bring back to life selected works of the seventeenth and eighteenth centuries’, particularly, but not exclusively, from the extensive French repertory of this period. These musicians have a natural affinity with and profound understanding of this music, and they sing and play eloquently, stylishly and compellingly. Nothing is in any way exaggerated or overplayed, yet the music comes across with great commitment.

Brossard's confident and eloquent musical language is a distillation of his detailed knowledge of contemporary French, Italian and German styles. The music recalls that of Charpentier and Carissimi, although German contrapuntal influence is also apparent; Brossard knew Buxtehude and Rosenmüller. The Oratorio sopra l'immaculata conceptione della B. Vergine dates from the early years of the eighteenth century, and Brossard himself tells us that its inspiration was the type of composition heard in Rome during Lent, which he describes as ‘une espèce d'Opéra Spirituel’ (Brossard, Dictionnaire (1703), quoted in liner notes, 25). He makes the most of the opportunities afforded by the anonymous Latin text, scoring for five voices who take the allegorical characters of Human Nature, Virtue and Idolatry, as well as Adam and the Fathers. Various vocal combinations make for maximum contrast, with solo recitatives (generally in the arioso-like French style), short arias and ensembles. The coloratura writing in some of the arias is Italianate, as is the colourful and expressive harmonic language, with sparing but telling use of chromaticism, augmented-sixth chords and so on. We hear this particularly in the final scene, introduced by an ‘Infernal Symphony’ during which Adam regrets his ‘guilty shame’ over the ruin that he has brought upon mankind. Unfortunately, the oratorio is unfinished and stops abruptly after this point; the complete text is extant, but no music has survived for the latter part. Nevertheless, what remains is a substantial piece of great interest, beauty and refinement. All five participating vocalists of La Rêveuse sing with purity of intonation and beauty of tone. Here, as elsewhere on the disc, they are ideally complemented by the instrumentalists, particularly by the excellent continuo group who offer a model of what good continuo support should be. One of the great advances in stylish performance of such music since the early 2000s has been the development of continuo groups offering full-toned, colourful and imaginative realizations, and a recognition (at last) that the continuo group is absolutely fundamental. The chamber organ used by this group, unusually, boasts an 8-foot montre (that is, a principal rank), which gives a fuller, broader sonority than the 8-foot flute or bourdon which is customarily heard in a continuo role. It is effectively heard in the Dialogus discussed below.

Many of the musical characteristics mentioned above are evident also in the secular cantata Leandro, in which Brossard's music aptly reflects the evocative text from the Rime (1602) by Giovanni Battista Marino, words which apparently Monteverdi considered setting (liner notes, 31). This is a comparatively rare instance of a French composer of the period setting Italian words (although Charpentier sometimes did so). It is scored for three voices and continuo, and tells the story of Leandro and Hero, intent on uniting in a secret marriage. Guided by a torch held by Hero, Leandro swims each night across a stretch of water to join his beloved, but one dark, treacherous and stormy night the light is extinguished and he perishes on the rocks. Brossard sets the scene with music of vigour and passion, yet never overstepping the bounds of the bon goût which was so prized at that time. The tragic denouement, at which ‘no fisherman could refrain from weeping’ (liner notes, 16–17), is particularly affecting.

In the Dialogus poenitentis animae cum Deo Brossard skilfully blends elements of French and Italian styles to create a piece of consummate refinement. It is exquisitely sung by Chantal Santon Jeffery (the Soul) and haute-contre Jeffrey Thompson (God), and perfectly supported by the violins and continuo group. I cannot imagine a better performance.

The CD includes also a splendid trio sonata, one of five sonatas that Brossard wrote in the last years of the seventeenth century. Its sectional nature and other aspects of its style recall Buxtehude's instrumental writing, but Brossard also appears to have been influenced by the Italianate sonatas of Élisabeth Jacquet de la Guerre, four of which he had copied out and apparently much admired. The present sonata is characterized by an effective C major/C minor juxtaposition, similar to the kind of tonic major–minor key relationship favoured by Jacquet, so there may be some connection here.

All in all, I found this disc revelatory. Previously I knew little of Brossard's music, and it is immensely gratifying to be introduced to it by such passionate advocates. Complete texts given in four languages, and the liner notes by Jean Duron (in French, English and German), are highly informative. Everyone with an interest in the culture and music of early eighteenth-century France should investigate this release without delay.