@ Usher Hall, Edinburgh, on Fri 19 Feb 2016

It can be tempting to over-egg well-known and well-loved works, such as Debussy’s La Mer, in an attempt to enliven them to ears already so acquainted with the music, they can almost no longer hear it. However, such attempts at enrichment can be often at the expense of both the logic of the music and intentions of the composer.

In tonight’s interesting juxtaposition of La Mer with Vaughan Williams’ Sea Symphony, Peter Oundjian takes a far better approach. Rather than relying on affect, he endeavours to produce a real musical clarity, and in doing so lets the music speak for itself.

The RSNO project the subtle orchestral colours of La Mer in a well-balanced and nicely-detailed manner, a tight and highly-controlled brass section blending in rather than jutting out, as can so easily happen. Oundjian’s tempi may be non-controversial, but they are nevertheless spot on, changes in speed managed effortlessly, producing something beautifully organic from beginning to end.

It is interesting to hear Vaughan Williams’ Sea Symphony in the context of La Mer, as the composer’s subtle shift towards a slightly lighter, French-influenced style, after studying with Ravel in Paris, becomes very apparent. Again, Oundjian goes for clarity rather than melodrama, although the size of the forces and the acoustic of the hall, don’t always allow this to happen.

Soloists Katherine Broderick and Benedict Nelson do sterling work, but unfortunately are somewhat swamped by the orchestra (particularly Nelson) in the louder sections. The RSNO chorus, directed by Gregory Batsleer, are on top form, attacking the music with enthusiasm, but again the balance between orchestra and chorus isn’t always absolutely right, a victim of the Usher Hall. Noteworthy here are the brass, the quality of whose precise, crystal clear sound seems so in keeping with the British sensibilities of the work.

Nothing Oundjian can do can compensate for what is, after all, the rather overlong final movement of the Sea Symphony. However, this is a great piece of programming, these two contrasting yet subtly connected evocations of the sea performed with musical sensitivity, while avoiding unnecessary theatrics.