Sébastien de Brossard's Dictionnaire of 1701: A comparative analysis of the complete copy

Abstract

This article presents a comparative study of what is believed to be the only existing complete copy of the first edition of Sébastien de Brossard’s Dictionnaire de musique. Dated 1701 and titled Dictionnaire des termes, it is located in the Academic Music Library, Foreign Literature Department of the St Petersburg State Conservatory, Russia. This dictionary is a part of a unique and extensive collection of 15th- to 19th-century editions compiled by Gottfried Engelbert Anders (1795–1866), who worked in the Bibliothèque Nationale de France for about 30 years. The collection was purchased by Mikhail Azanchevskii, a Russian patron of the arts, during his visit to Paris in 1868. In 1870, Azanchevskii donated the collection in its entirety to the Russian Music Society. Later it became a part of the St Petersburg State Conservatory library.
One of the main outcomes of this study of the dictionary is that it is possible to prove the textual similarity with its ‘second’ edition (1705, pp.xij[4]–380) and to see that its text generally corresponds with that of the 1703 edition. This article also presents reliable evidence that some of the crucial treatises mentioned in the dictionary had been published before 1701, since in that year de Brossard mentions de Saint Lambert’s name in a list of French authors whose works he has personally ‘seen, read, and examined’, proving that one (or possibly both) of de Saint Lambert’s works had been published before then. This suggests that scholars should pay extra attention to the word ‘nouveau’ in the title of his Nouveau traité de l’accompagnement published in Paris in 1707. Finally, we suggest three questions for future research: Why has de Brossard’s dictionary of 1701 disappeared? Why is it not mentioned in Christophe Ballard’s catalogues of printed works? Why did de Brossard himself not list it in his own catalogue?

Full text

Early Music, Vol. , No.  © e Author . Published by Oxford University Press. All rights reserved.
doi:./em/cav, available online at www.em.oxfordjournals.org
Advance Access publication June , 

AlexeiPanov and IvanRosano
Sébastien de Brossard’s Dictionnaire of :
a comparative analysis of the complete copy
I has been accepted among musicologists that the
rst publication of Sébastien de Brossard’s com-
plete Dictionaire de musique took place in Paris
in . However, there is in fact an earlier edition
of the Dictionnaire, published in  in Paris and
now housed in the Academic Music Library, Foreign
Literature Department of the St Petersburg State
Conservatory, Russia (illus.).
In the course of the last few years (and particularly
beginning from the publication of the English trans-
lation of de Brossard’s  Dictionaire de musique
by Albion Gruber), musicologists have started to
refer to this dictionary more oen, and interest in its
content has grown. Even when authors have referred
to the  edition (which happens very rarely), cita-
tions have actually been from the  edition. Only
since the completion of the Brossard thematic cata-
logue by Jean Duron in  has the  edition
been cited from directly. But there still remains a
problem with the edition of , because the Duron
catalogue records that it has  pages, whereas the
St Petersburg copy consists of  pages. (For this
reason we call it a complete de Brossard dictionary
of.)
e fact that a complete de Brossard diction-
ary had been published two years before the better
known  edition raises a number of important
bibliographical, textual and academic questions.
First of all, which of these two editions ( or
)should authors cite? Is the edition of  a
more reliable source than that of ? Which should
be considered the ‘rst’, and so on?
RISM provides some information, now outdated,
on the Dictionnaire des termes (): it states that
a single copy of this dictionary is in the private
collection of Albi Rosenthal in England and that it
has  pages (Albrecht Rosenthal died in ).
RISM also notes that the Dictionaire de musique
() contains a ‘Catalogue des auteurs qui ont écrit
en toutes sortes de langues ... sur le musique’, which
is not present in the earlier Dictionnaire des termes
(). e St Petersburg Dictionnaire des termes
has  pages,  more than the Rosenthal copy.
What is the missing content of the Rosenthal copy?
It might be presumed that since the Rosenthal copy
and that cited by Duron both (or is it one and the
same copy?) have  pages, their ‘missing’ pages
contain the Catalogue des auteurs qui ont écrit en
toutes sortes de langues ... sur le musique (see below).
Aer analysing the available information, Gruber
came to the following conclusion: ‘All of these arti-
cles [concerning the preliminaries in Dictionaire de
musique ()], combined with a table of French
words as an index, a brief discussion of Italian pro-
nunciation, and a catalogue of authors, would be
published together as the Dictionnaire de musique
in ’, and further notes that ‘A limited, octavo edi-
tion of these terms was printed as a Dictionnaire des
termes grecs, latines et italiens in ;… Acopy is
in the Albi Rosenthal collection in London.’ us,
according to Gruber, the Dictionaire de musique
() is the most reliable source and the Rosenthal
copy is ‘limited’.
But there is a third well-known and important
edition of de Brossard’s dictionary. Gruber cites it
thus: ‘Aer Christophe Ballard exhausted his copies
of the rst edition [i.e. that of], he relocked the
type in octavo format and published a second edi-
tion in . e changes that occur are minor: a
number of simple reference entries are added, the
AUGUST
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 e title-page of Sébastien de Brossard’s Dictionnaire des termes (). St Petersburg State Conservatory no.
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dedication and avertissement are omitted, and the
pages of text are now numbered.’ So, there are, in
fact, three editions of de Brossard’s dictionary.
From the comparative table of all three edi-
tions of de Brossard’s dictionary (,  and
)below, it can be seen that in the Dictionaire
de musique (), which is designated by de
Brossard himself as the ‘seconde edition’, the
‘Dedication’ is not omitted, nor did Ballard ‘relock
the type’ of the  edition and change it to an
octavo format, as stated by Gruber. He simply used
the type of the  edition for the  one. As
for the avertissement of the  edition, it was
rightfully omitted in , since its wording was
no longer relevant.
e rst sentence of the avertissement in the
Dictionaire de musique () is explanatory: ‘I will
not repeat here the reasons which led me, ve or
six years ago, to place at the head of the motets, for
which a second edition is being presented, an alpha-
betical explication of Italian terms found from time
to time’. If ‘ve or six years ago’ were to have been
mentioned in the dictionary of , it would have
referred to  or . But de Brossard is speaking
about his Elevations et motets a voix seule of ,
which was published about ten years earlier. De
Brossard also could not have written ‘ve or six years
ago’ in  with reference to the  edition of the
Prodromus musicalis, ou elevations et motets a voix
seule…, which were then only three years old. us
it was logical to omit the text of this avertissement in
the  edition.
Gruber tries to solve another riddle from the
avertissement with the following explanation: ‘As
the rst pages of the dictionary [of] were being
set up an interesting error was made in the print-
ing: an inappropriately worded avertissement was
set forth at the start of the denitions and it was
thus published in the rst edition []. ere are
several points which suggest that the published
avertissement was actually written for the Italian–
French lexicon intended for the second edition of
Prodromus musicalis [].’
e avertissement of  is indeed ambiguous.
It might even be presumed that it was written for
the Dictionnaire of , because the time-span (ve
to six years, i.e. from  to )ts and because
it is stated therein that the small dictionary in his
Elevations et motets would be augmented by ‘des
Catalogues, des Titres, & des Tables des Livres
Italiens, en même temps à la bonne exécution de
leur Musique’. Later in the text he states that he has
written ‘another work’ that he hopes to publish ‘with
God’s help’ in which one will nd not only Italian
terms but also those which contain information on
Greek, Latin and even French books. At the end of
the last paragraph of the avertissement de Brossard
writes: ‘Moreover, Iwas not satised with the eight
motets of the rst edition; Ihave added a ninth one
for the bass’. Since a ninth motet was added to the
second edition of Prodromus as ‘Canticum nonum’,
it is possible that the avertissement in the Dictionaire
de musique () was intended either for the sec-
ond edition of Prodromus (), as Gruber sug-
gests, or for the Dictionnaire des termes (), as
we presume.
We will begin by trying to determine the rela-
tionship between the Dictionnaire des termes ()
and the Dictionaire de musique (). Table lists
all the main parts of the St Petersburg copy of the
Dictionnaire des termes () as well as those of
the Dictionaire de musique (). e comparison
reveals some interestingfacts.
e principal conclusions to be drawn from the
comparison of the two editions ( and )are
as follows:
•With the exception of the preliminary pages,
the two editions are the same. Of particular
note is that in the Dictionaire de musique ()
the pagination is unusual, because aer ‘p.Xij’
comes ‘p.’; however, this allows the subsequent
pagination in the Dictionaire de musique ()
to correspond with the type and pagination of
the earlier Dictionnaire des termes (). is
suggests that Christophe Ballard used the same
printing plates for both editions.
•From this it follows that:
(a) Since copies of the Dictionnaire des termes () are
rare, citations can be taken from the entries dening
terms in the Dictionaire de musique () as well as
from all the other parts which coincide with the rst
edition (see Table).
(b) It is important to note that the last part of the
Dictionnaire des termes (, pp.–), is titled
‘CATALOGUE DES AUTEURS, qui ont écrit en
toutes sortes de Langues, de Tems, de Païs &c.
Soit de la Musique en general’, mentions ‘plus de
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Table1 A comparison of de Brossard’s editions of 1701 and 1705
Page no. Dictionnaire des termes (1701) [in the
octavo edition]
Dictionaire de musique (1705) [in the octavo
edition]
No pagination DICTIONNAIRE DE MUSIQUE. [Followed
by:] AVERTISSEMENT Quoyque j’aye donnê
le nom de Dictionnaire à cet Ouvrage…
[iii], iv, v [Dedication]
A MONSEIGNEUR, MONSEIGNEUR
J.BEGNIGNE BOSSUET EVESQUE DE MEAUX.
CONSEILLER DU ROY EN TOUS SES CONSEILS.
vi–vii PREFACE. Lorsque j’interpris cet Ouvrage, je n’eus
point d’abord d’autre vûë que celle d’ajoûter une
explication …
viii–ix AVIS. Neccessaire pour l’usage de ce Dictionaire [
items]
XEXTRAIT DU PRIVILEGE
Xi [Half-title] DICTIONAIRE DE MUSIQUE…
Xij[] [Aer the end of the aforementioned
AVERTISSEMENT in the middle of p. there
begins the part of the text explaining music
terms used in the dictionary (pp.–)]
DICTIONAIRE DE MUSIQUE. [e part of the text
explaining music terms used in the dictionary begins
on p.Xij to  and is at exactly the same place as in
the  edition.]
 [e text on this page begins with the word]
ALLEMANDA.
[e text on this page begins with the word]
ALLEMANDA.
– [From this point on (to the end of the
dictionary) not only the texts but also all the
separate parts and entries of both editions
are the same. Only the location of the two
TABLES in the dictionary diers (as shown
below).]
[between]
–
TABLE DES QUINZE CHORDS
DIATONIQUES… [inserted between these
pages].
e TABLE DES QUINZE CHORDS
DIATONIQUES… [is located at the end of
Dictionaire de musique ()].
 [End of the part of the text explaining musical
terms in the dictionary; the last word is
FLAGEOLLET in the article ZUFOLO.]
FIN.
[End of the part of the text explaining music terms in
the dictionary; the last word is FLAGEOLLET in the
article ZUFOLO.]
FIN.
 TABLE ALPHABETIQUE, CONTENANT. 
Les Termes François…
TABLE ALPHABETIQUE, CONTENANT.  Les
Termes François…
 Fin de la Table [alphabetique] du
Dictionnaire.
Fin de la Table [alphabetique] du Dictionnaire.
 [blank page] [blank page]
 TRAITÉ. De la maniere de bien prononcer
les Mots Italiens… [directly followed by:]
AVERTISSEMENT. Jamais on n’a en plus de
gout…
TRAITÉ. De la maniere de bien prononcer les Mots
Italiens… [directly followed by:] AVERTISSEMENT.
Jamais on n’a en plus de gout…
 [End of the previous TRAITÉ] [End of the previous TRAITÉ]
 TABLE, ou Recapitulation des principales
Dicultez de la Prononciation Italienne…
TABLE, ou Recapitulation des principales Dicultez
de la Prononciation Italienne…
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900. Auteurs qui ont écrit sur la Musique’. There
is no mention of the catalogue of authors on the
title-page of the Dictionaire de musique (), but
one can find the phrase ‘Et un Catalogue de plus
de . Auteurs, qui ont écrit sur la Musique, en
toutes sortes de Temps de Pays, & de Langues’ in
one other heading (the half-title) on p.Xj of the 
edition.
(c) It is now clear what the words ‘SECONDE EDITION’
on the title-page of the Dictionaire de musique
() mean. Given the results of the compari-
son in Table, it can be suggested that the words
‘SECONDE EDITION’ are used to indicate that
this dictionary is the ‘second edition’ of the earlier
published Dictionnaire des termes ()—even
the same printing plates were used—not of the
Dictionaire de musique (). And as de Brossard
states on the title-page of the Dictionaire de musique
(), the latter ‘Conforme à celle In-Folio, faite
en ’. Previously, when it was thought that the
Dictionnaire des termes () contained  pages
and was only an ‘avant-project publié chez Ballard:
Dictionnaire des Terms, “Extrait” in-o’,  it could
have been hypothesized that the Dictionaire de
musique () was the ‘rst edition’. As we now
know that there were three equally signicant edi-
tions of de Brossard’s dictionary (,  and
) and only one of them (the Dictionaire de
musique, ) has the indication ‘second edition’,
it is extremely dicult to solve this problem. In our
opinion, the Dictionaire de musique () ‘in folio’
stands apart. We shall return to this briey below.
In the Prodromus musicalis () there is an
important passage where de Brossard states that he
also published a dictionary containing all the essen-
tial parts. Itreads:
e author of these Motets at the same time presented
to the public this new Edition [and] a Dictionnaire
de Musique, containing not only Italian terms, but
numerous Greek and Latin terms, the knowing of
which is essential both for the execution of Music and
for the understanding of the Authors who use them &
in accordance with these terms he also explains [the
matters] which are curious & necessary for the knowl-
edge of History, eory, Composition & Practice as
well as in Ancient and as Modern Music both Vocal or
Instrumental &c.
With an alphabet Table of French words or terms,
which correspond with Greek, Latin and Italian terms
mentionedabove.
Together with a Table or a small Treatise on pronunciation
of Italianterms.
In the nearest time he will also present a most abundant
contemporary Catalogue of Authors who wrote either
ex Professio or en Passant on Music just as Ancient or
Modern alike Vocal or Instrumental.
Page no. Dictionnaire des termes (1701) [in the
octavo edition]
Dictionaire de musique (1705) [in the octavo
edition]
[between] pp.– TABLE GENERALE DES QUATRE
SYSTEMES DE LA MUSIQUE [is located
between these pages].
[e ‘TABLE GENERALE DES QUATRE SYSTEMES
DE LA MUSIQUE’ is placed at the end of the
dictionary].
 Fin de la Table.
CATALOGUE [written at the bottom of the
page]
Fin de la Table.
CATALOGUE [written at the bottom of the page]
 CATALOGUE DES AUTEURS, qui ont écrit
en toutes sortes de Langues, de Tems, de Païs
&c. Soit de la Musique en general… [directly
followed by:] PRÉFACE. Il y a plus de dix ans
que je travaille…
CATALOGUE DES AUTEURS, qui ont écrit en
toutes sortes de Langues, de Tems, de Païs &c. Soit
de la Musique en general… [directly followed by:]
PRÉFACE. Il y a plus de dix ans que je travaille…
 FIN. [e text of the dictionary ends with the
following words: ‘Au reste ceux, qui voudront
bien m’honorer de leurs avis, peuvent
s’assurer que je n’en seray pas ingrate en toutes
manieres & que je les citeray même avec les
éloges qui leur seront dûs, s’ils le souhaittent’.]
FIN. [e text of the dictionary ends with the
following words: ‘Au reste ceux, qui voudront bien
m’honorer de leurs avis, peuvent s’assurer que je n’en
seray pas ingrate en toutes manieres & que je les
citeray même avec les éloges qui leur seront dûs, s’ils
le souhaittent’.]
[] TABLE GENERALE DES QUATRE SYSTEMES DE
LA MUSIQUE.
Table1 Continued
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It seems that not enough attention has been given
to this crucial footnote. Aer the comparison in
Table and de Brossard’s words (‘e author of these
Motets … presented to the public … a Dictionnaire
de Musique, containing not only Italian terms, but
also numerous Greek and Latin terms …’) no fur-
ther proof is needed that de Brossard’s Dictionnaire
des termes () is the rst edition of his diction-
ary. It can now be said with certainty that two very
important music dictionaries were published in
one and the same year: the complete Dictionnaire
des termes () compiled by de Brossard and the
dictionary of omas Balthasar Janowka, Clavis ad
thesaurum magnae artis musicae.
e complete Dictionnaire des termes () may
have become extremely rare because its copies were
withdrawn from circulation, for three reasons: () it
had no ‘Dedication’; () the Extrait du privilege was
missing; and () there were no preliminaries of the
sort usually found in such publications.
We have looked through numerous early sources
in an attempt to nd references to de Brossard’s
Dictionnaire des termes () where specic infor-
mation, and in particular the number of pages,
might be given. But these eorts have produced
little reward, despite the fact that de Brossard’s
dictionary was quite well known in the rst half of
the th century. Johann Mattheson mentioned de
Brossard’s dictionary in  and in , and he
was one of the rst to cite from it copiously. In many
instances (especially when discussing problems of
style) he even argued against some of de Brossard’s
denitions. However, he does not provide any
precise publication references, only the page
numbers from his own work where he quotes de
Brossard. In the second part of his Criticæ Musicæ
(), Mattheson appeals to de Brossard’s deni-
tions and to his Catalogue des auteurs. Among
his citations and notes, Mattheson mentions that
the list of French authors had been printed in de
Brossard’s dictionary on p.. us it is possible
to conclude that Mattheson possessed one of the
Amsterdam editions of de Brossard’s dictionary:
either the so-called ‘third’ or ‘sixth’, both of which
were published without date. In the Paris editions
of  and , this list of ‘Auteurs qui écrit en
Françoise’ is on p., and the folio edition of 
has no pagination.
Cardinal Du Bois’s collection, published as
Bibliotheca Dubosiana, only lists de Brossard’s
Dictionaire de musique of . Titon Du Tillet
wrote in his Le parnasse françois that de Brossard
is mostly known for his Dictionaire de musique
volume published in folio and a second edition ‘in
o’.  e remark ‘in folio’ points to the  edition.
In Johann Gottfried Walther’s Lexicon () it is
written that de Brossard’s dictionary was published
at the beginning of the century as a ‘Musicalisches
Lexicon, which contains Greek, Latin, Italian and
French music terms’, many of which are reproduced
in his Lexicon in German. Walther also mentions
‘the Amsterdam edition, published in vo [which]
has  alphabets [alphabetical orders]’. It can be pre-
sumed that Walther did not possess the original dic-
tionaries of  or , because () the Amsterdam
editions (see RISM), were not published in folio, and
() because (as stated above) the page numbers given
in his articles correspond to the pages of the third or
sixth Amsterdam editions while the edition ‘in folio’
() had no pagination. Asignicant snippet of
information can be found in the Catalogus biblio-
thecæ Harleianæ (London, ), where in volume
iv, no., de Brossard’s dictionary is said to have
been published in Amsterdam in : ‘Brossard
Dictionaire de Musique, relie en Maroquin, doree
sur la tranche—Amst. ’. Charles Burney also
stated that ‘Brossard’s Musical Dictionary was rst
published in ’.
In the grand Allgemeines Gelehrten=Lexicon
() by Christian Gottlieb Jöcher, the author/
compiler follows the information given by Titon
Du Tillet. Mattheson, Adlung, Gerber and Choron
have no denite information concerning the 
edition. Fétis () calls the  edition dedicated
to Bossuet the ‘première édition’ and the edition of
 is the ‘second’ one. Gustav Schilling, in corrob-
oration with numerous eminent authors, published
the Encyclopädie der gesammten musikalischen
Wissenschaen in , but only de Brossard’s dic-
tionary of  is mentioned; Schilling states that de
Brossard’s manuscripts are held in the Paris ‘Königs
Bibliothek’.
e Dictionnaire des termes () is mentioned
in the catalogue of the famous French bibliographer
Étienne Gabriel Peignot (–), published in
 (illus.); and in another private library, this
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    
time of the well-known French composer and music
historian Juste-Adrien-Lenoir de La Fage, there were
as many as three dierent editions of de Brossard’s
dictionary (illus.). Unfortunately no information
about the number of pages in de Brossard’s diction-
ary in Peignot’s or de La Fage’s collections is given;
however, it is most likely that they had complete
copies of the  edition.
In recent literature, de Brossard’s Dictionnaire
des termes () is mentioned by the organist and
musicologist Denise Launay, but he gives no infor-
mation on the number of pages. In the s it was
even stated in a ‘checklist of sources—–’
that instead of de Brossard’s dictionary of  one
should have in mind the re-edited dictionary of
. Many other authors have written about de
Brossard’s Dictionnaire des termes () or at least
referred to it in their works. Most importantly, one
should mention the ‘Translator’s preface’ to Gruber’s
 English translation, and Jean Duron’s L’œ u v re
de Sébastien de Brossard, 1655–1730: catalogue
thématique.
However, there are several instances of erroneous
information relating to de Brossard’s dictionaries
found in recent scholarly works. One such state-
ment, for example, dates from : the ‘Dictionaire
de musique, [was] rst published at Amsterdam in
; all quotations are from the third edition, n.d.
[]’. Here, not only is the  edition of de
Brossard’s dictionary cited as the ‘rst’, but it is also
said to have been published in Amsterdam.
e collection of rare books in the
Riemenschneider Bach Library at Baldwin Wallace
University in Ohio includes de Brossard’s dictionar-
ies, and it is curious to read the following, written
in : ‘In , T.B. Janowka had such a work [i.e.
a dictionary] printed in Prague. Two years later the
well-known Dictionaire de Musique of Sébastien de
Brossard made its rst appearance in Paris (Ballard,
). It was the Brossard Dictionnaire that served
as a model for most of the other eighteenth-cen-
tury lexicographic eorts. Asecond edition of the
Dictionnaire appeared in , and a third was
printed in Amsterdam by Estienne Roger about
.’ Since the library did not include de Brossard’s
Dictionnaire des termes (), it is evident that the
Dictionaire de musique of  was here being con-
sidered to be the ‘rst’ edition and consequently
the statement that Janowka’s publication preceded
de Brossard’s is patently incorrect. Both music dic-
tionaries were simultaneously (though separately)
published in . Similar statements are encoun-
tered in a Rivista de Musicologia article by Walter
Kurt Kreyszig.
Unlike earlier authors, Peter Allsop, in , was
correct to state that de Brossard’s rst dictionary was
published in  (‘as dened in those much-quoted
over-generalizations of the Frenchman Sébastien de
Brossard in his Dictionaire de musique, rst pub-
lished in Paris in ’), but unfortunately, he does
not provide any bibliographical evidence. e quo-
tations in his article derive from the c. edition of
de Brossard’s dictionary.
More recently, in , Paul Collins concludes
(following Gruber): ‘An expanded version of this
modest preface [in de Brossard’s Elevations et motets
a voix seule, of] merited separate publication as
an octavo print, appearing in  as a Dictionnaire
des termes grecs, latins et italiens. To this Brossard
nally added information on music history and
theory to create the nal  Dictionnaire as we
know it today.’ is statement reveals that Collins
was acquainted only with the Rosenthal copy,
because the complete edition of  contained both
‘information on music history’ and on ‘theory’. All
of Collins’s quotations are taken from the  edi-
tion, and the author does not cite any page numbers,
since, as noted previously, this edition was published
without pagination.
 Étienne Gabriel Peignot, Catalogue d’une nombreuse
collection de livres anciens rares et curieux…(Paris, ),
p., no.
 Juste-Adrien-Lenoir de La Fage, Catalogue de la
Bibliothèque Musicale... (Paris, ), p., nos.–
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    
Table  compares the rst three editions of de
Brossard’s dictionary, and the following preliminary
conclusions can be drawn fromit:
•Table proves that the Dictionnaire des termes
() was not an ‘Extrait’ but rather a complete
edition, and that the St Petersburg copy with
its  pages is still the only one in existence.
Excluding the preliminary pages, the main text
as a whole is the same as that in the  and
 editions (see n. for the minor dierences
in the preliminary entries).
•is, in turn, means that (excluding the ‘prelimi-
nary pages’) the Dictionaire de musique ()
is not the rst complete edition of de Brossard’s
dictionary.
Table2 A comparison of the rst three editions of de Brossard’s dictionary
Page no. Dictionnaire des termes (1701) [in
octavo edition]
Dictionaire de musique (1703)
[in folio edition without
pagination]50
Dictionaire de musique (1705) [in
octavo edition]
[Title] [Title] [Title]
No
pagination
DICTIONNAIRE DE MUSIQUE /
AVERTISSEMENT. Quoyque j’aye
donnê le nom de Dictionnaire à cet
Ouvrage;…
[iii], iv, v [Dedication]
A MONSEIGNEUR,
MONSEIGNEUR
J.BEGNIGNE BOSSUET
EVESQUE DE MEAUX.
CONSEILLER DU ROY EN
TOUS SES CONSEILS [across
two pages].
[Dedication]
A MONSEIGNEUR, MONSEIGNEUR
J.BEGNIGNE BOSSUET EVESQUE
DE MEAUX. CONSEILLER DU ROY
EN TOUS SES CONSEILS [across three
pages, iii–v].
vi–vii PREFACE. Lorsque j’interpris cet
Ouvrage, je n’eus point d’abord d’autre
vûë que celle d’ajoûter une explication
… [in the dictionary of —see
below]
viii–ix AVIS. Neccessaire pour l’usage de ce
Dictionaire [ items; in the  edition
the AV IS is at the end of the copy].
XEXTRAIT DU PRIVILEGE [in the
 dictionary the EXTRAIT DU
PRIVILEGE is at the end of the copy]
Xi [Half-title] DICTIONAIRE DE
MUSIQUE…
AVERTISSEMENT. Je ne
repete point icy les raisons qui
m’obligerent il y a cinc à six ans,
de mettre à la tête des Motets,
don’t on donne une seconde
Edition… [e text of this
AVERTISSEMENT is not found
in other editions. See comments
above.]
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    
Page no. Dictionnaire des termes (1701) [in
octavo edition]
Dictionaire de musique (1703)
[in folio edition without
pagination]50
Dictionaire de musique (1705) [in
octavo edition]
[Title] [Title] [Title]
Xij[] [p.] [e AVERTISSEMENT is
directly followed by the text part of
the dictionary with denitions of
music terms (pp.–).]
[e ‘AVERTISSEMENT’ is
directly followed by the text
part of the dictionary with
denitions of music terms.]
DICTIONAIRE DE MUSIQUE.
[Directly followed by the text part of
the dictionary with the denitions of
music terms (pp.Xij–).]
 [e rst entry on p. is on the word]
ALLEMANDA.
[No pagination; the entry on
the word ALLEMANDA is
missing.]
[e rst entry on p. is on the word]
ALLEMANDA.
– [Further on (to the end of the
dictionaries) not only all the texts but
also all the separate parts and entries
of the  and  editions are the
same. Only the location of the two
TABLES diers (see below).]
[In general the entries on music
coincide with the  and 
editions, but there are some
minor deviations.]
[Further on (to the end of the
dictionaries) not only all the texts but
also all the separate parts and entries
of the  and  editions fully
coincide. Only the location of the two
TABLES diers (see below).]
[between]
–
TABLE DES QUINZE CHORDS
DIATONIQUE… [is found here].
[e TABLE DES QUINZE
CHORDS DIATONIQUE is a
part of the text explaining the
term SYSTEMA.]
[is TABLE is located at the end of
this edition.]
 [End of the text part with denitions
of music terms in this edition; the last
word is FLAGEOLLET in the entry
ZUFOLO.]
FIN.
[End of the text part with
denitions of music terms in
this edition; the last word is
FLAGEOLLET in the entry
ZUFOLO.]
FIN.
[End of the text part with denitions
of music terms in this edition; the last
word is FLAGEOLLET in the entry
ZUFOLO.]
FIN.
 TABLE ALPHABETIQUE,
CONTENANT. o Les Termes
François…
TABLE ALPHABETIQUE,
CONTENANT. o Les Termes
François…
TABLE ALPHABETIQUE,
CONTENANT. o Les Termes
François…
 Fin de la Table [alphabetique] du
Dictionnaire.
Fin de la Table [alphabetique]
du Dictionnaire.
Fin de la Table [alphabetique] du
Dictionnaire.
 [blank page] [blank page] [blank page]
 TRAITÉ. De la maniere de
bien prononcer les Mots
Italiens… [directly followed by:]
AVERTISSEMENT. Jamais on n’a en
plus de gout…
TRAITÉ. De la maniere de
bien prononcer les Mots
Italiens… [directly followed
by:] AVERTISSEMENT. Jamais
on n’a en plus de gout…
TRAITÉ. De la maniere de bien
prononcer les Mots Italiens… [directly
followed by:] AVERTISSEMENT.
Jamais on n’a en plus de gout…
 [End of the previous TRAITÉ] [End of the previous TRAITÉ]
 TABLE, ou Recapitulation des
principales Dicultez de la
Prononciation Italienne…
TABLE, ou Récapitulation des
principales Dicultez de la
Prononciation Italienne…
TABLE, ou Recapitulation des
principales Dicultez de la
Prononciation Italienne…
[blank page]
[between]
pp.–
TABLE GENERALE DES QUATRE
SYSTEMES DE LA MUSIQUE [is
located between these pages].
[e TABLE GENERALE DES
QUATRE SYSTEMES DE LA
MUSIQUE is a part of the text
explaining the term SYSTEMA.]
[e TABLE GENERALE DES
QUATRE SYSTEMES DE LA
MUSIQUE is located at the end of this
edition.]
Table2 Continued
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    
•When compared with the Dictionnaire des
termes (), only new preliminary pages were
added to the Dictionaire de musique of .
is means that the Dictionaire de musique
() and the Dictionaire de musique () are
also incomplete. ey concur only in the main
text. e above-mentioned ‘preliminaries’ do
have their own value, but for the musicologist,
as has been shown, the important parts are those
clarifying the precise meaning of music terms,
their Italian and French interpretations, and the
discussion of the authors of books and music
which de Brossard himself had examined and
read.
•e Dictionaire de musique () seems
to have been an exclusive edition published
in folio. ere were probably only a small
number of copies printed, since, as has been
shown, Walther in his Musicalisches Lexicon,
Mattheson in his publications, and others refer
to pages from the third or sixth (Amsterdam)
editions of the dictionary (the ones without a
publication date).
•Another signicant conclusion concerns de
Brossard’s ‘List of authors’, which must have been
published for the rst time in , not in .
e signicance of this can be shown by the fol-
lowing example. It is generally accepted today
Page no. Dictionnaire des termes (1701) [in
octavo edition]
Dictionaire de musique (1703)
[in folio edition without
pagination]50
Dictionaire de musique (1705) [in
octavo edition]
[Title] [Title] [Title]
 Fin de la Table.
CATALOGUE [written at the end of
this page]
Fin de la Table.
CATALOGUE [written at the end of
this page]
 CATALOGUE DES AUTEURS,
qui ont écrit en toutes sortes de
Langues, de Tems, de Païs &c. Soit
de la Musique en general… [directly
followed by:] PRÉFACE. Il y a plus de
dix ans que je travaille…
CATALOGUE DES AUTEURS,
qui ont écrit en toutes sortes
de Langues, de Tems, de Païs
&c. Soit de la Musique en
general… [directly followed
by:] PRÉFACE. Il y a plus de dix
ans que je travaille…
CATALOGUE DES AUTEURS, qui
ont écrit en toutes sortes de Langues,
de Tems, de Païs &c. Soit de la Musique
en general… [directly followed by:]
PRÉFACE. Il y a plus de dix ans que je
travaille…
 FIN. [e edition ends with the
following sentence: ‘Au reste ceux,
qui voudront bien m’honorer de leurs
avis, peuvent s’assurer que je n’en
seray pas ingrate en toutes manieres
& que je les citeray même avec les
éloges qui leur seront dûs, s’ils le
souhaittent’.]
FIN [e text ends with
the following sentence: ‘Au
reste ceux, qui voudront
bien m’honorer de leurs avis,
peuvent s’assurer que je n’en
seray pas ingrate en toutes
manieres & que je les citeray
même avec les éloges qui leur
seront dûs, s’ils le souhaittent’.]
FIN. [e edition ends with the
following sentence: ‘Au reste ceux, qui
voudront bien m’honorer de leurs avis,
peuvent s’assurer que je n’en seray pas
ingrate en toutes manieres & que je les
citeray même avec les éloges qui leur
seront dûs, s’ils le souhaittent’.
PREFACE. Lorsque j’interpris
cet Ouvrage, je n’eus point
d’abord d’autre vûë que celle
d’ajoûter une explication …
AVIS. Neccessaire pour l’usage
de ce Dictionaire… [ items].
EXTRAIT DU PRIVILEGE.
Table2 Continued
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    
that the rst publication of de Saint Lambert’s
treatise Principes du clavecin took place in 
and his Nouveau traité de l’accompagnement du
clavecin was published in . Both Rebecca
Harris-Warrick and John Powell reached the
same conclusion: ‘e dates  and 
should nally be recognized as the genuine pub-
lication dates of the two works’ and ‘there can
be little doubt that les Principes du clavecin pre-
dates the Nouveau traité, and that the  and
 publications are both rst editions’. But in
the second column on p. of the Dictionnaire
des termes (), in the part called ‘Quatrieme
classe auteurs, qui ont écrit en François’, the
name de Saint Lambert is listed. It should be
noted that de Brossard included a list of French
authors whose works he had personally ‘seen,
read, and examined’ (j’ay vûs, lûs & examinez;
our emphasis) in the Premiere partie, where
de Saint Lambert is named. is list of French
authors (illus.) is identical in all four editions
discussed above.
e fact that de Saint Lambert is mentioned in the
Dictionnaire des termes () as a published author
suggests that one of his treatises (or perhaps both)
were published before . is also explains why
writers from the end of the th and the rst half
of the th centuries did not cite earlier dates for
the publication of de Saint Lambert’s treatises. For
instance, it reveals that Fétis did not provide full
or completely accurate information when he wrote
the following in the rst edition of his Biographie
universelle:
On de Saint-Lambert: o Traité de l’accompagnement du
clavecin, de l’orgue et de quelques autres instrumens.
Paris, Ballard, , in-o oblong. Une deuxième édition a
paru à Paris, chez Ballard, en , in-° obl. ° Principes
du clavecin; Paris, Ballard, , in-° obl., une deuxième
édition a été publiée par le même imprimeur, en ,
in- °obl.
It was only in his second edition () that Fétis
added a complete description of the contents
of de Saint Lambert’s Les principes du clavecin
and recorded that this treatise had also been
published without date ‘in o’ by E. Roger in
Amsterdam.
ere need be no more doubt about the date of the
publication of de Brossard’s complete Dictionnaire
des termes in . Further research (such as a full
comparison of texts in all de Brossard’s editions)
may bring more results. Study of de Brossard’s
‘Catalogue des auteurs, qui ont écrit en toutes sortes
de Langues’ in the Dictionnaire des termes ()
may also bring new discoveries. We have, to date,
mainly been concerned with specic bibliographical
and textual problems.
One branch of future research may be con-
nected with de Brossard’s own manuscript
 e list of French authors in Brossard’s Dictionnaire des
termes ()
at Belgorod State University on August 13, 2015http://em.oxfordjournals.org/Downloaded from

    
entitled ‘Catalogue. Des livres de Musique
Theorique et Prattique, Vocalle et instrumentalle,
tant imprimée que Manuscripte, qui Sont dans
Le cabinet du Sr. Sebastien de Brossard … ’.
A preliminary study of this catalogue reveals
that de Brossard probably did not mean to cre-
ate an extensive work ready for public consump-
tion; even in the French part of this catalogue
many contemporary publications are missing.
For example, de Brossard does not mention the
works by M. L’Affillard (,  etc.), the
Nouveau traité de l’accompagnement by de Saint
Lambert () and others. It may be presumed
that this was a personal catalogue designed for
de Brossard’s own everyday use. It is also unclear
why de Brossard listed his Dictionaire de musique
of  in the main part of his catalogue, while his
edition ‘in folio’ of  is only found in the index.
And, most importantly, why did he not include
his Dictionnaire des termes ()? Our hypoth-
esis is that he did not want to keep this edition
because essential preliminaries were missing. He
may even have given an order to dispose of this
dictionary because the  edition fully concurs
with the previous one in its main text. If this was
the case, then we should be grateful that one com-
plete copy of his Dictionnaire des termes ()
has survived.
Alexei Panov studied organ at the St Petersburg State Conservatory (1986–92) and was a post-
graduate at the Kazan State Conservatory (1992–3). He has published numerous articles and ve
monographs, his main topics being Baroque treatises, Baroque and early Classical performance
practice, musical lexicography, history of the organ and organ music, and theo-musicology. He is
Professor and Director of the Department of Organ, Harpsichord and Carillon, and Vice-Dean
of the Faculty of Arts at the St Petersburg State University as well as Professor at the Kazan State
Conservatory. He has been a board member of the Russian Society for Music eory since 2011.
a.panov@spbu.ru
Ivan Rosano studied piano at the St Petersburg State Conservatory (1959–66), and was also a post-
graduate there (1968–71). He has published numerous articles and four monographs on the history of
the harpsichord and early pianoforte, on the performance of ornamentation, on temperament, and
on Baroque treatises. He is currently a Professor in the Department of Organ and Harpsichord at the
St Petersburg State Conservatory and of the Faculty of Arts (Department of Organ, Harpsichord and
Carillon) at St Petersburg State University. irosano@yandex.ru
e authors acknowledge St Petersburg
State University for the research grant
30.38.159.2013.
 roughout this article the
original spelling of the editions is
retained, including the distinction
Dictionnaire/Dictionaire.
 The full title of this dictionary
reads, ‘Brossard, Sébastien de.
DICTIONAIRE DE MUSIQUE,
contenant une explication des
Termes Grecs, Latins, Italiens, &
François les plus usitez dans la
Musique. Al’occasion desquels on
rapporte ce qu’il y a de plus curieux,
& de plus necessaire à sçavoir; tant
pour l’Histoire & la Theorie, que
pour la Composition, & la Pratique
Ancienne & Moderne De la Musique
Vocale, Instrumentale, Plaine,
Simple, Figurée &c. ENSEMBLE,
une Table Alphabetique des Ter mes
François qui sont dans le corps de
l’Ouvrage, sous les Titres Grecs,
Latins & Italiens; pour servir de
Supplément. Un Traité de la maniere
de bien prononcer, sur tout en
chantant, les Termes Italiens, Latins,
& François. Et un Catalogue de plus
de 900. Auteurs qui ont écrit sur la
Musique, en toutes sortes de Temps,
de Pays, & de Langues. DEDIÉ
AMONSEIGNEUR L’EVESQUE
DE ME AU X. Par Me Sebastien
de Brossard, cy-devant Prebendé
Deputé, & Maître de Chapelle de
l’Eglise Cathedrale de Strasburg;
maintenant Grand Chapelain,
& Maître de Musique de l’Eglise
Cathedrale de Meaux. AParis, chez
Christophe Ballard, seul Imprimeur
du Roy pour la Musique, ruë S.Jean
de Beauvais, au Mont-Parnasse.
M.DCCIII. Avec Privilege de Sa
Majesté.’
 See A.Panov and I.Rosano,
‘De Saint Lambert and de Brossard:
unknown and known’, Vestnik St
Petersburg University, xv/ (),
pp.–; and Essays on problems of
rhythm in Germany in the XVIIIth
at Belgorod State University on August 13, 2015http://em.oxfordjournals.org/Downloaded from

    
century: overdotting and the so-called
taktenlehre (a research of sources)
(Heilbronn, ).
 Sébastien de Brossard, Dictionary
of music, trans. and ed. A.Gruber
(Henryville, ).
 J. Duron, L’œuvre de Sébastien
de Brossard, 1655–1730: catalogue
thématique (Paris, ).
 See J.Duron, Regards sur la musique
au temps de Louis XIV (Brussels,
), p..
 ‘Only one exemplar of this early
edition, Dictionnaire des termes
grecs, latins et italiens (Ballard,
)is known to exist, and belongs
to the private collection of Alfrede
Cortot. Generally, the  printing
is known as the “rst” edition.’ K.O.
Smith, ‘e secular airs of Sebastien
de Brossard (–)’ (PhD diss.,
University of Illinois at Urbana-
Champaign, ), p.. De Brossard,
Dictionary of music, trans. and ed.
Gruber, p.vii, for example, concludes
that the rst edition of de Brossard’s
Dictionaire de musique was published
by Ballard in  and states that ‘this
 edition was printed in-folio and
consisted of  unnumbered pages
set up in two columns, excepting
the preliminaries’. It is self-evident
that many corrections of statements
presented in contemporary works
found in our article are not critical in
nature, and are made solely because
we are studying a previously unknown
historical document, Sébastien de
Brossard’s complete  Dictionnaire
des Termes.
 roughout the remainder of this
article, the  edition will be referred
to as Dictionnaire des termes and that
of  as Dictionaire de musique.
 Répertoire International des Sources
Musicales (Munich, ), vol.,
p..
 It should be noted that the same
number of pages is mentioned in
Duron, L’œuvre de Sébastien de
Brossard, p., and there is no full
information on the edition in Smith,
‘e secular airs of Sebastien de
Brossard’.
 RISM, vol., p..
 De Brossard, Dictionary of music,
trans. and ed. Gruber, p.iv.
 e Academic Music Library,
Foreign Literature Department of the
St Petersburg State Conservatory, has
the original edition of de Brossard’s
Dictionaire de musique (); we
would like to express our gratitude for
having been given permission to study
this book.
 De Brossard, Dictionary of
music, trans. and ed. Gruber, p.; our
emphasis.
 Roman numerals are only found in
the  edition.
 Here it should be especially noted
that page Xij on the le-hand side of
the Dictionaire de musique () is
directly followed by page ‘’ [sic] on the
right-hand side.
 If we choose any page at
random, for example p. from the
Dictionnaire des termes (), we see
that it begins with the words ‘nous les
avons déjà tous expliquez’ and ends
with the word ‘l’exem-’; the same words
occur on p. of the Dictionaire de
musique ().
 In the description of the
Dictionnaire des termes () in
Duron, L’œuvre de Sébastien de
Brossard, p., it is stated that
this table is found at the end of
the dictionary on p.[]. In the
dictionary of  from St Petersburg,
the Table des quanze chords
diatoniques is at the end of the
volume. Duron does not provide any
information concerning the location
of this table in the Dictionaire de
musique ().
 It is unclear why the same
texts on p. of both dictionaries
are named differently in Duron,
L’œuvre de Sébastien de Brossard,
pp., ; one is labelled ‘Table
alphabetique’ and the other ‘Table
des terms françois’. However, in the
original text of both dictionaries it is
written: ‘TABLE ALPHABETIQUE,
CONTENANT. o Les Termes
François qui concernant la
musique…’.
 e ‘blank pages’ in both editions
are not indicated in Duron, L’œu vr e
de Sébastien de Brossard, pp.,
, while in his description of the
Dictionaire de musique () they are
(p.).
 The ‘TABLE, ou Recapitulation
des principales Difficultez de la
Prononciation Italienne’ is found
in both dictionaries, but in Duron,
L’œuvre de Sébastien de Brossard,
pp., , it is only shown in
connection with the Dictionnaire
des termes (). Any small detail
is important because discrepancies
in the texts of these two dictionaries
would prove that they are not
identical. Our Table shows
similarity in all the text parts with
the exception that the ‘TABLE DES
QUINZE CHORDS DIATONIQUES’
and the ‘TABLE GENERALE DES
QUATRE SYSTEMES DE LA
MUSIQUE’ have different locations
as a result of being printed separately
from the main body of the editions
and then pasted in.
 All sections in this part of both
editions also concur in all respects.
 Duron, L’œuvre de Sébastien de
Brossard, p..
 Sébastien de Brossard, Prodromus
musicalis. Ou Élevations Et Motets
… Seconde Edition … Livre Premier
(Paris, ).
 e ‘abundant Catalogue’
mentioned was not published during
author’s lifetime. Instead of this
grand project, de Brossard included a
catalogue of authors (‘CATALOGUE
DES AUTEURS, qui ont écrit en
toutes sortes de Langues, de Tems,
de Païs &c…’) in the Dictionnaire
des termes () (pp.–). On
the title-page of the Dictionaire de
musique () de Brossard claried
that he added ‘a Catalogue of more
than  Authors, who have written
on music in a variety of times,
countries, and languages’ (trans.
Gruber). He included a similar
addition to the half-title of the 
edition. e planned abundant
Catalogue was published in  by
Yolande de Brossard as a part of her
at Belgorod State University on August 13, 2015http://em.oxfordjournals.org/Downloaded from

    
magnicent project La collection
Sébastien de Brossard, 1655–1730:
catalogue (Paris, ).
 omas Balthasar Janowka, Clavis
ad thesaurum magnae artis musicae
(Vetero-Pragæ, ).
 Johann Mattheson, Das
Neu=Erönete Orchestre (Hamburg,
), pp., , , .
 Johann Mattheson, Das
Beschützte Orchestre (Hamburg,
), pp.–.
 Johann Mattheson, Criticæ Musicæ
Tomus Secundus (Hamburg, ),
p., continuation of the footnote ‘e’
from p..
 Bibliotheca Dubosiana ou
Catalogue de la Bibliotheque de
feu son Eminence Monseigneur le
Cardinal Du Bois (A. La Haye, ),
p., no..
 Évrard Titon Du Tillet, Le parnasse
françois (Paris, ), p..
 Johann Gottfried Walther,
Musicalisches Lexicon Oder
musicalische Bibliothec (Leipzig, ),
pp.–.
 Herbert Schneider also
confirmed that Walther used the
Amsterdam edition of de Brossard’s
dictionary published by Étienne
Roger ‘either in  or ’. See
H.Schneider, ‘Le Dictionnaire
de Musique de S.de Brossard et
le Musikalisches Lexicon de J.G.
Walther’, Sébastien de Brossard
musicien, ed. J.Duron (Paris, ),
p..
 Catalogus bibliothecæ Harleianæ,
… Vol . IV (London, ).
 It can be hypothesized that this
could have been a copy of the rst Paris
edition of de Brossard’s Dictionnaire
des termes (), named dierently for
some reason. Instead of Dictionnaire
des termes it had the same name as the
 edition: ‘Dictionaire de Musique’.
 Charles Burney, A General History
of Music (London, ), iv, p..
 Christian Gottlieb Jöcher,
Allgemeines Gelehrten=Lexicon
(Leipzig, ), pp.–.
 François-Joseph Fétis, Biographie
Universelle des Musiciens et
Bibliographie Générale de la
Musique, Tome Deuxième (Paris,
), p..
 Gustav Schilling (ed.), Encyclopädie
der gesammten musikalischen
Wissenschaen, oder Universal=Lexicon
der Tonkunst. Zweiter Band (Stuttgart,
), p..
 Catalogue d’une nombreuse
collection de livres anciens rares et
curieux provenant de la bibliotheque
de feu Gabriel Peignot (Paris, ),
p., no..
 Catalogue de la Bibliothèque
Musicale de feu M.J. Adr.
De La Fage (Paris, ), p.,
nos.–.
 D. Launay, La Musique religieuse
en France: du Concile de Trente à 1804
(Paris, ), p..
 A. Cohen, ‘Symposium on
seventeenth-century music theory:
France’, Journal of Music eory, i/
(), p..
 It is not possible to list all the many
other dierences here.
 C. Gianturco, ‘“Cantate Spirituali e
Morali”, with a description of the papal
sacred cantata tradition for Christmas
–’, Music & Letters, lxxiii
(), p..
 J. Winzenburger and E.Barber,
‘Riemenschneider Bach Library vault
holding’, Bach, i (), p..
 W. K.Kreyszig, ‘Das Praeludium
als Ubergangsform vom
Hochbarock zum Empfindsamen
Stil’, Rivista de Musicologia, xvi
(), pp.–.
 P. Allsop, ‘Da camera e da ballo—
alla francese etall’italiana: functional
and national distinctions in Corelli’s
sonate da camera’, Early Music, xxvi/
(), p..
 P. Collins, e stylus phantasticus
and free keyboard music of the North
German Baroque (Aldershot and
Burlington, VT, ), p..
 The order of parts of the
Dictionaire de musique () in
Table conforms with their order
in the original publication. The
page numbers given in the first
column do not pertain to the 
edition. We must also point out
that the roman numerals were
written exclusively on the first
twelve pages of de Brossard’s
edition (). It was not our goal
to compare entries on music in the
first three editions of de Brossard’s
dictionaries in detail; however,
even at the beginning (letter A),
discrepancies can easily be found.
For example, if we compare the
Dictionaire de musique ()
and the Dictionnaire des Termes
(), there are no entries on
ALLEMANDE and All’ROVERSCIO
in the former. Therefore one must
be very careful when citing from
these editions.
 See n..
 Monsieur de Saint Lambert,
Principles of the harpsichord
by Monsieur de Saint Lambert,
trans. and ed. R.Harris-Warrick
(Cambridge and New York, ),
p.ix; Monsieur de Saint Lambert,
A new treatise on accompaniment:
with the harpsichord, the organ, and
with other instruments by Monsieur
de Saint Lambert, trans. and ed. J.S.
Powell (Bloomington, IN, ),
p.xi; Monsieur de Saint Lambert,
Les Principes du Clavecin (Paris,
)[Amsterdam edition c.];
Monsieur de Saint Lambert,
Nouveau Traité de
L’Accompagnement du Clavecin, de
L’Orgue, et des Autres Instruments
(Paris, ). See also Panov and
Rosanoff, ‘De Saint Lambert and
de Brossard: unknown and
k n o w n ’.
 François-Joseph Fétis, Biographie
universelle des Musiciens et
Bibliographie Génerale de la
Musique, Tome Huitième (Brussels,
), p..
 However, the name L’Allard can
be found in the ‘List of French authors’
in de Brossard’s editions.
at Belgorod State University on August 13, 2015http://em.oxfordjournals.org/Downloaded from