David Matthews' music is a long way from the cutting edge, wherever that may be. Yet his work, which perhaps owes more to Tippett than to anyone else, is so well-crafted, with such a feeling for sonority and musical motion, it is impossible to say why on earth that should be held against it.

He now has six symphonies under his belt, with all the formal rigour that they demand. The Symphony No 6, premiered as part of the BBC National Orchestra of Wales's Prom under principal guest conductor Jac van Steen, is a 35-minute, three-movement work that grew out of its compact, hot-headed central scherzo, written first to a separate commission for a variation on Vaughan Williams's hymn tune Down Ampney. Indeed, the stripped-down ascending and descending essentials of the tune pervade the whole work; anyone who knows the hymn can get an idea, even on a first listen, of how tautly constructed this symphony is.

The scherzo, barely five minutes long and with a racing duet for vibraphone and marimba towards its close, is the work's high point, but the more coolly contemplative outer movements, coloured by solos for flugelhorn and bass flute, share a sense of elegant propulsion. Near the end, Matthews finally introduces the actual hymn tune in full; at first you fear this will break the spell, but Matthews makes of a potentially banal moment something beautiful, even if true excitement remains elusive.

Alongside this, we heard Prokofiev's Violin Concerto No 2, in which Janine Jansen's gutsy, secure playing was marred only by a sense of impatience that unsettled the finale's mechanical rhythmic drive. The French bookends were Debussy's Printemps, which began the evening with a subtle glitter, and, at the end, a whirling if slightly monochrome reading of Ravel's masterly La Valse.

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