According to Ezra Pound, “music begins to atrophy when it strays too far from the dance”; certainly concert life would be poorer without music that somehow related to dance.

For his Prom with the Philharmonia Orchestra, Esa-Pekka Salonen offered works in which dance played a role, and if the audience wasn’t dancing in the aisles, it was not for want of orchestral energy.

Hardcore trance music provided inspiration for Louis Andriessen’s The Hague Hacking, receiving its UK premiere and originally written for just two pianos.

Here, the two pianos, played with focused intensity by Katia and Marielle Labèque, guided the orchestra through Andriessen’s off-centre rhythmic labyrinth.

The piece builds on contrasts of high and low, stop and go, but the woozy lyricism of the orchestra’s contribution undercut the pianos’ not-quite-boogie ­interplay.

The rest of the programme offered more familiar pieces, but Salonen and his players brushed them up nicely.

The cod-Spanishry of Manuel de Falla’s Love the Magician proved thoroughly convincing, while Ravel’s Mother Goose teetered between childlike reverie and the threat of violence that permeates the best kids’ stories.

That threat rose to the surface in Ravel’s Boléro, given a performance that demonstrated how balletic full-on orchestral playing can be: from the tiny twitches of the cellists’ pizzicatos, to the thwack of mallet on gong, to the trombones’ raucous pumping, every sound emerged from movement expertly choreographed by Salonen’s baton, and a piece that can seem stale re-emerged as if brand new.

Repeated 27 August on BBC Radio 3 at 2.30pm (www.bbc.co.uk/proms).