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Following an initial reconstruction on disc in 2015, the Ballet Royal de la Nuit enjoyed a triumphal modern premiere at the Théâtre de Caen in November 2017. That staged version, presented in this outstanding box set, at last includes the entire musical score (twenty-seven additional dances). The meticulous reconstitution of Sébastien Daucé, the incomparable poetry of Francesca Lattuada, an oneiric universe featuring more than 120 costumes designed by Olivier Charpentier, all contribute to an incredible enchantment further enhanced by the exploits of virtuoso jugglers and circus artists. In this ballet, a masterly achievement from every point of view, the spell remains unbroken from first note to last.

Sammartini's 67 surviving symphonies exhibit the gradual but dramatic stylistic shift from the Baroque to the Classical idiom; the six recorded here stem from his early period (1724-39) to around 1750. In addition to the obvious and expected stylistic progression, Sammartini also increased and strengthened the orchestra in his later symphonies by adding parts for oboes, horns, and trumpets. Most of the early symphonies omit violas; the middle symphonies employ trumpets and horns, and the late symphonies, none of which are offered here, include independent parts for oboes.

Man is a curious creature, more often than not playing the fool while thinking himself a genius in the process. In the late 80s there were many a thrash metal band trying to truly capture and even caricature this basic social axiom, culminating largely in a punk-infused version of the formerly dark and occult-obsessed original that took Malcolm "Scruff" Lewty to heart about metal lyrics being stupid…