It would not, perhaps, be too much of a stretch to think of Marc-Antoine Charpentier as a sort of late 17th century Poulenc. Poulenc is known for two distinct artistic faces, one a comedian of the zaniest sort, and the other capable of expressing the most profound emotional depth. Charpentier's work lay in almost complete obscurity for nearly two centuries when in the late 20 century it began being brought to light, revealing one of the most fertile and inventive musical minds of the Baroque. He has been known almost exclusively for his religious music, and particularly for his gift for expressing the darkest grief.
The liner notes of The Hugo Masters: An Anthology of Chinese Classical Music contain extensive documentation of the various instruments used in Chinese solo and orchestral music, with descriptions of their history and modifications, as well as an essay to help Western listeners understand the background of Chinese classical music.
These "concerts mis en simphonie" are Jean-Philippe Rameau's Pièces de clavecin en concert of 1741, orchestrated for strings and winds (but no harpsichord) by Hugo Reyne, flutist and director of the historical-instrument group La Simphonie du Marais. Rameau's originals are for violin, viola da gamba, and harpsichord, but unlike in an Italian trio sonata or accompanied sonata the harpsichord is at the center of the group. The violin and gamba are accompanimental and can optionally be replaced with other instruments.