Mark Elder has achieved an astonishing transformation at the Hallé, and the extreme sophistication of the orchestra’s playing can match any orchestra in the world. There is no better example of his achievement than in this immensely compelling account of La mer, which in refinement of detail, warmth of atmosphere and the sheer brilliance of the playing is comparable with any in the catalogue.

The pianissimo opening has an evocative sense of mystery, reminding me of Reiner’s Chicago version. Elder’s control of phrase and shaping of line has the most subtle rubato and infinitely varied dynamic, always seeming spontaneous. The tension is high but there are moments of languor – the sunshine on the water glowing on the horns (5'00") is magical, and the closing of the first section moves from sensuous feeling to grandeur.

“Jeux de vagues” glitters, bringing solo instrumental playing of great delicacy and an exotic colouring, with an underlying rhapsodical feeling that reminds me of Barbirolli, the lustre of the strings exquisite at the becalmed close. The spectacular “Dialogue du vent et de la mer” opens darkly, even ominously, and has haunting evocation at its gentle central section, yet Elder generates exhilaration and ardour at the climax with the racing waves of the orchestra’s virtuosity. The recording is extraordinarily vivid, with perhaps just a touch of fierceness on top but with fine body and richness and great transparency of texture, with Debussy’s intricate percussion (and delicate harp) effects adding exactly the right shimmer. Altogether a remarkable achievement.

What makes this disc unmissable is the equally fine playing (and lustrous recording) in Colin Matthews’s imaginative orchestration of 12 of Debussy’s piano Préludes. Forget the piano originals, these are far more than “orchestrations”: the music is completely and creatively rethought in orchestral terms.