Perhaps the answer is to search online. It would be well worthwhile, as this is a first-rate selection of unfamiliar but appealing cantatas and songs from the early 18th century. The main pieces are the two Orphée cantatas. The Clérambault was published in 1710: Orpheus’s lament is introduced in recitative by a narrator, who reappears from time to time. The hero successfully begs Pluto to release Eurydice, and the cantata ends with a distinctly premature celebration of the victory won by love. There’s a strong Italian cast to the writing in the general tunefulness and the da capo form of the airs. The first of Orpheus’s pleas is particularly striking, with flute and violin accompanying but no continuo.

By a happy chance – or perhaps deliberately – the Rameau cantata continues the story: Orpheus leads his wife out of the underworld but, fatally, looks back. Again there is a narrator, and again the trans-Alpine influence is clear. The first air, for “a laughing escort of young Cupids”, has a foot-tapping jollity that demands an instant replay. Cyril Auvity has exactly the right lightness of touch alternating, where appropriate, with an intensity of utterance that is very moving.

Vos mépris chaque jour by Michel Lambert, Lully’s father-in-law, has the same ground bass as the final duet in L’incoronazione di Poppea, and it is nearly as beautiful. Charpentier’s Tristes deserts makes a sombre ending. The whole recital is immensely enjoyable.