Ironically, it was on the day Sir Malcolm Arnold died that this full-length ballet, drawn from a dazzling range of his works, was premiered at the Alhambra Theatre, Bradford. Years before Arnold had toyed with the idea of writing a ballet on the colourful subject, even writing a few sketches. Yet his fragile health prevented him from progressing and it was John Longstaff, prompted by choreographer David Nixon, who with the composer’s approval devised a sequence of pieces from Arnold’s enormous catalogue, arranging them for the modest theatre orchestra of Northern Ballet.

It works superbly, giving one an exciting conspectus on the work of one of the 20th century’s most approachable composers. The Overture is an archetypal example of Arnold’s film music, taken from Trapeze, followed by one of the best-known pieces all – the English Dance used as the signature tune for TV’s What the Papers Say. The energetic pieces, apt for the Dumas novel, give way to the Wedding Night sequence from Hobson’s Choice, and music from Symphonies Nos 3 and 5, David Copperfield and Hobson’s Choice fits nicely into the sequence.

Act 2 opens with a string orchestra arrangement of the very early Phantasy, recently unearthed on a Naxos disc (5/07). Longstaff’s coup at the emotional climax of the ballet is to have two sections of Symphony No 5 – the haunting opening of the slow movement followed by the finale, which ends on the fortissimo reprise of that great melody, rounded off with a few hushed bars of ghostly chimes. In the ballet they represent d’Artagnan’s tender farewell to his beloved Constance, followed by the Musketeers’ race to Calais and their capture.

Having this dazzling sequence on disc is a joy, particularly in this lively performance conducted by John Pryce-Jones. A valuable addition to the Arnold repertory.