I am fortunate to have been offered the kind advice and assistance of many during the long preparation of this publication. In particular, I would like to thank David Ledbetter for providing erudite notes on performance practice and Ketil Haugsand for not only his enthusiasm for the project, but also for his encouraging foreword. François-Pierre Goy of the Bibliothèque nationale de France’s Département de Musique has been remarkable in sharing an unrivalled knowledge and understanding of 17th-century French music, culture and life, and has been a constant source of information and support while I prepared the preface. Others at the Bibliothèque nationale have also been quick to answer queries concerning rare printed material, which they have done with unquestionable authority. In particular, I would like to mention Françoise Cestor of the Réserve des livres rares and thank her for the time she took in providing me with images of otherwise unavailable source material. Ikumi Crocoll of the Reference Division of the Newberry Library in Chicago and Emma Darbyshire of the Fitzwilliam Image Library in Cambridge have been helpful by providing information and images of documents I wished to consult. I would also like to thank friends who have been able to bring their considerable talents and knowledge of French baroque music to bear: Ludmila Tschakalova listened critically, discussed my ideas as they unfolded and afforded me the benefit of her extensive knowledge and experience; Frank Mento and Ola Hansen-Møllerud Hauen used their knowledge and contacts to help with some tricky areas of old French; Bradley Lehman and David Hansell provided excellent support in respectively proofing the music and preface; and David Fallows, Dean Farwood, John Irving and John Moralis were very kind in also reading the text and making salient observations based on their expertise.