Dukas's three mature orchestral compositions are gathered on this attractive disc. The earliest is the little-known symphony, obviously inspired by Franck's three-movement symphony written a decade earlier. Like Franck, Dukas creates a large-scale sonata-form first movement; a lyrical slow movement that incorporates lighter, scherzo-like elements; and a rushing finale that contains a grandiose contrasting melody. La Peri, a late work, is subtitled "Dance Poem." It is glisteningly orchestrated–yet remarkably restrained–clearly delineated, colorful music. The Sorcerer's Apprentice (composed in between the other two) is deservedly popular, a colorful, splendidly lucid tone poem. Slatkin leads brisk, strongly played performances.

This disc contains all of Dukas' orchestral music except for the early Polyeucte Overture. One of the most self-critical composers that ever lived, Dukas literally wrote one of everything–one symphonic poem, one symphony, one piano sonata, one variation set, one opera, one overture, and one ballet. Along with a few other small things, that's it. Naturally, everything that he let survive is of very high quality, but ironically only one work– The Sorcerer's Apprentice–has become popular, and that amazingly so, ever since Mickey Mouse played the part of the apprentice in Fantasia. If you enjoy that piece, you may want to give some of the other works a try, and here's the best way.

Dukas’ opera Ariane et Barbe-bleue, based on Maeterlinck’s symbolist version of the classic tale, sees free spirit Ariane become the sixth wife of the infamous Barbe-bleue, who gives his new bride seven keys to seven doors, but prohibits the use of the last. Ariane discovers an array of glittering jewels behind the first six doors, but a terrifying reality awaits her as she unlocks the seventh. José van Dam is cast as the villainous Barbe-bleue, while taking on the immensely demanding role of Ariane - who does not leave the stage throughout the entire opera - is American soprano Jeanne-Michèle Charbonnet.