Three of the greatest works of the 20th century were joined in this program by the Australian premiere of a little-known French work.

First up were the Four Sea Interludes from Benjamin Britten’s opera Peter Grimes – evocative seascapes depicting the cold, grey, and unwelcoming ocean off the coast of Suffolk: Dawn, with its pale, high violin phrases and whirling clarinets; Sunday Morning, with horns imitating church bells; Moonlight, with rich string and brass chords pierced by twinkling harp and xylophone, and finally a vicious storm, making full use of the timpani.

Alexander Gavrylyuk and the Sydney Symphony Orchestra. Photo © Sydney Symphony Orchestra

Australian Nicholas Carter, a conductor with considerable experience in the opera house, gave a well-paced performance, shaping the oceanic swells with care. The violins did not quite cut through the rest of the melee in the Storm interlude, which was nevertheless savagely exciting.

Jeanne Demessieux (1921–1968) was known during her short life more as an organist than a composer. Her 1949 work, Poème, is notable for the interesting...