Prom 17: Davis/ Bbc Symphony Orchestra, Royal Albert Hall, London

Sir Andrew Davis's Prom with the BBC SO featured music with influences as disparate as William Blake and Joni Mitchell, but there was a subtext subtly uniting the three main pieces: the influence of jazz and blues. After the Debussy Prelude, we heard the world premiere of Mark-Anthony Turnage's Uninterrupted Sorrow (a title that could be a bit of a liability, although the programme assured us that it wasn't as miserable as it sounded). A sort of concerto for orchestra, its 15 minutes included some atmospheric moments, especially the hanging resonances – all bowed vibraphone, muted brass and harmonics – of the opening, a series of virtuoso duets for various instruments (including, extravagantly, two bass tubas), rising to a section of rumbustious trombones and driving rhythms, and a loud climax, then sinking back to melancholy at the end. There were some quite pleasant melodic lines, it was all very well scored, well thought-out and self-assured, but this was hardly compelling music, and certainly not the stuff of which earth-shattering world premieres are made – something made all the more apparent by Ravel's amazing Piano Concerto for the Left Hand, which, frankly, erased instantly all memory of the Turnage. The dark, sinister twin of the sparkling Concerto in G, from its extraordinarily eerie double bassoon opening onwards, this performance was clearly a winner; the soloist Louis Lortie's splendidly emphatic entry heralded a rendition of admirable clarity, combined with expressive subtlety in the moments of pathos that balance the slightly un-Ravelian savage splendour of the primary themes. Nice bluesy playing from trombone, horn and others and overall tight control from conductor Davis made this a rendition to relish.

The second half comprised Vaughan Williams' monumental "masque for dancing", Job, a perfect Proms piece with its great broad gestures and colourful contrasts. Davis certainly made the most of it, clearly enjoying moulding this radiant and sometimes startling music, especially the jazzy "big band" material that Vaughan Williams seems to have associated with Satan. The saxophone was delightfully oleaginous in the dance of Job's very irritating Comforters, and the electronic affair replacing the hall's organ (currently being restored) was still pretty impressive in the cataclysmic vision of Satan triumphant. But the high point was the leader Michael Davis's heartfelt playing of the spiralling violin solo of the prophet Elihu – the spiritual turning-point of the whole drama. One could quibble at a slightly hasty Pavane, and a rather laidback Galliard, but overall this was a most satisfying and highly appreciated interpretation of one of the outstanding works in a peculiarly English visionary tradition.

Radio 3 will repeat this Prom today at 2pm