The major work here is the Second Symphony, begun in 1919 and completed two years later. Looking Janus-like both back to the composer’s pre-war impressionism and forward to the athleticism of his music from the 1930s, the Symphony is counterpointed here by the short Pour une fête de printemps (1921), a delightful evocation of French rural life. The concluding Suite in F (1926) presents Roussel’s final manner at its most exuberant, the three neo-Baroque dance forms acting as the basis for a synthesis of intellectual rigour with maximum entertainment.

On his previous release, Stéphane Denève’s tempi in the Third Symphony steered a middle course between Dutoit (driven) and Eschenbach (cautious). Here in the Second, he proves slower than either rival, taking a touch under 43 minutes, a minute longer than Eschenbach and nearly five than Dutoit. Yet, as with the Third, Denève’s pacing feels perfectly natural, allowing this complex, elusive, yet very rewarding score to breathe. And as with Eschenbach’s rival account, an ancillary gain is with the exposure of a wealth of orchestral detail. The Naxos recording, if not quite as brilliant as Ondine’s, is fully up to the task.

In the Suite and Pour une fête de printemps once again Denève assumes speeds that fit the music like a glove. The Royal Scottish National Orchestra play with élan throughout, relishing the music. It would be no surprise if they were granted the freedom of Paris for this. Highly recommended.