Ocean’s Kingdom was commissioned by New York City Ballet and premiered in New York in September 2011. The scenario, featuring amorous conflicts in an underwater kingdom invaded by earthly intruders, is Paul McCartney’s own. That it has come in for much criticism is of little moment in considering the score as a purely auditory experience. It’s not Tchaikovsky or Stravinsky, and it isn’t The Beatles either. Nor is it even Carl Davis, who was McCartney’s collaborator on the Liverpool Oratorio and who has since been much occupied with ballet. Rather, the impression is of atmospheric music, with little forward momentum. The first of four separate movements is built around a three-note motif, portraying Ocean’s Kingdom as a languid place, after which matters are spurred into rhythmic action in the perky dance motif of the second movement (‘Hall of Dance’). Things lapse somewhat in a third movement (‘Imprisonment’), which may offer plenty of action on stage but comes off less well in sound only. The final movement (‘Moonrise’) then works up gratifyingly bolder orchestral strokes as it rises towards an undeniably haunting and climactic final theme.

Superior souls may complain of a lack of great substance; but that’s the nature of much ballet music. What’s on offer is agreeably tuneful and sometimes stimulating music, with undeniably sumptuous orchestral sound. With technical support from John Wilson (arranger as well as conductor) and Andrew Cottee (orchestrator), the ultimate impression is of music with a rightful place in the British light orchestral tradition.