I don't know what gives Thomas Larcher the nerve to compose the music that he does. It may have something to do with living 1,300m above sea level – in "an architectural prize-winner", as he seems keen to have us know. On the other hand, it may not. Whatever the cause, his music is unanchored by loyalties of style, expressive intention, or good taste.

That said, few Proms commissions have been better suited to the Albert Hall acoustic than Larcher's Concerto for Violin, Cello and Orchestra, performed by Viktoria Mullova and Matthew Barley. The piece is about material diffusing, getting lost and turning up again at odd angles. If that suggests something like Tristan Murail, then ignore the thought. The plaintive principal material, shared by the soloists before disintegrating into the orchestra (which includes an electric zither and prepared piano), is more suggestive of Howard Shore, while ghosts of Gorecki, Prokoviev and even Handel pop up cheerfully along the way. Though inevitably diffuse as an experience, the piece came across well, delivered with concentration and poise by soloists and orchestra. But I'd hesitate before hearing it in a drier space.

It was an excellent idea to place Larcher next to Bruckner, not because both are Austrian, or share a certain grandiose naivety, but because if you have cobwebs in your ears, Bruckner will blow them away. Volkov and an in-form BBC Scottish Symphony Orchestra delivered a wonderfully shaped performance of the immense Fifth Symphony. I'm not sure I've heard the slow movement done better live, in touch with the work's tragic dimension but avoiding any melancholic self-indulgence. The piece in its entirety was like a wholesome mountain breeze, blowing clean away any remaining strands of Larcher, not to mention the congealed remains of two years of Mahler.

Tweet your reviews

The Guardian's team of critics will be reviewing every Prom this year and we'd love to hear your verdict, too. Every Prom will be broadcast live on Radio 3, or via the Proms website (you can also listen again for up to seven days after each concert). Send us your thoughts on the comments thread under each review, or tweet your reviews using hashtag #gdnproms. We'll collect the best together in a weekly blog on theguardian.com/music