The only Prom this summer by the Royal Scottish National Orchestra was a concert of monumental proportions, formed of three epic works. The latter two were well-ridden warhorses, but the first was brand new, bright-eyed and benignly overambitious. The Cosmic Dance is Naresh Sohal's first work for the Proms in three decades, and if its seven movements depicting the Big Bang and its aftermath have an obvious parallel, it is to be found in Holst's Planets suite, which also calls for the same orchestral makeup. Indeed, the Holst would have been an obvious and perhaps more felicitous pairing.

Sohal's score is unfashionably pictorial, more so than Holst's, and none the worse for that in the first four movements, in which the stars are distant and twinkling in the vastness. Sohal starts with the Vedic idea of the Unmanifest, depicted with a pregnant shimmering on percussion broken by a saxophone solo; and when the newly formed galaxies disperse, the stars really do dance, with melodies twisting elegantly in unexpected ways. It's when he focuses on the sun and moon that the textures tend towards baldness and the music becomes earthbound. The final movement, which tries to encapsulate the Earth and every human impulse on it, can't live up to its billing.

The first of the two Russian blockbusters was Rachmaninov's Piano Concerto No 3, in which Nikolai Lugansky gave a perfectly judged performance. The Adagio was full of passion yet maintained the music's flow. The orchestra was not always crisp, but conductor Peter Oundjian drew an intensity from the strings that had been absent from the few comparably heated moments in the Sohal.

With Tchaikovsky's Fifth Symphony the orchestra found their form. Balance was an issue, with the brass dominating the finale; but the earlier movements showcased some fine playing, particularly in the beautifully hushed solos for clarinet.

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