Some conductors are too much or not enough. Hans Vonk, who took the reins of the Seattle Symphony Orchestra last night at Benaroya Hall, was just right. So right, in fact, that the performance could be called, in a word, well-mannered.

Take Beethoven's Symphony No. 6 in F major, Op. 68, "Pastorale." Described by the composer as "recollections of life in the country," the stately allegro drew rich performances from the strings, which sounded full even when disappearing into pianissimos.

And under Vonk's direction, instruments engaged in tea-time chat. A section would speak, then listen when others chimed in. This pleasant dialogue grew spunkier in the middle of the andante section, where a flute, oboe and clarinet impersonated a nightingale, quail and cuckoo.

Vonk's control also served well in Ravel's sparkly Piano Concerto in G major, accompanied by guest pianist Ivan Moravec. Moravec, who is acclaimed in all the world music capitals, was less of a spotlight performer than an ensemble member. During the allegramente movement he had the chance to show off precise technique in staccato passages, but also blended seamlessly into accompaniment for the dreamlike sequences. His left-hand accuracy was particularly impressive, since the fingerings took up half the keyboard. The adagio assai movement gave him some room, however, as he played his solo with tenderness and later floated scales around the wind solos.

Ravel's piece is not an easy one to like; its time-signature swaps and jazzy phrases in the first movement could have been jarring, but the symphony kept things punchy without running away with it. Fortissimos were kept one notch below chaos. And the roller-coaster presto movement, which moved between smooth rides and hammering stops and starts, left the audience clapping before Vonk had the chance to lower his arms.

Vonk is not a flamboyant conductor, but neither is he a stick waving a stick. The Dutch-born conductor of the St. Louis Symphony has a stage presence that weighs authoritatively on his players. His movements are restrained, channeling intensity into the music.

And for the most part, the orchestra listened. Despite some fumbles through triplets by the lower strings, the instruments kept with his conducting, never overpowering one another.

The evening started off with "Entr'acte (Wandering Through the Woods)" by Alphons Diepenbrock, which showcased woodwinds, backed by a strong bass. And the program closed with the Beethoven, which ended in a manner fitting for the night - calmly and stately; no frills, no flourish. Just a seasoned conductor keeping his ranks in line.