During the Royal Festival Hall's two-year closure, the London Philharmonic Orchestra had to shoehorn itself into the Queen Elizabeth Hall, tailoring its programmes to fit the smaller space. Odd, then, that the centrepiece of its first concert back at home-base was Mozart's Piano Concerto No20, for which the Festival Hall is rather large.

Vladimir Jurowski, soon to become the LPO's Principal Conductor, is a thoughtful planner, and no doubt he wanted to demonstrate that the hall's new acoustic has as much to reveal in Mozart as in mighty blockbusters. With Imogen Cooper as soloist, the concerto benefited from clean, bright articulation from top to bottom: Jurowski had the double-basses at the rear, their throaty growl underlining the work's minor-key menace.

If the strings cast an ominous darkness, Cooper's sly syncopations and pointed, playful rhythms shed light. She is an aristocratic player with a delicate touch, the occasional slip notwithstanding. Since Mozart's cadenzas do not survive, she chose to play Alfred Brendel's; melancholy musings looking forward to Schubert were delivered with an operatic sense of drama.

Prokofiev's Fifth Symphony is altogether more dense, but it, too, emerged with clarity. The composer dedicated it to "the grandeur of the human spirit", and Jurowski and his players gave it their all. The opening movement sometimes rambles; here it was taut, while the scherzo teetered between dance and march. Jurowski's light touch undercut any hint of bathos in the slow movement, while the climactic allegro was an exact blend of cool precision and wild abandon.

In Alfred Schnittke's 1985 (K)ein Sommernachstraum, or (Not) A Midsummer Night's Dream, Jurowski again had the mood right, getting his players to perform like a third-rate circus band on ice, all slips and slides with just the occasional moment of crystalline purity. For once this pseudo-18th century skit almost failed to outstay its welcome.