"For my son Edward, aged one week," is the dedication of the final movement of Mark-Anthony Turnage's Evening Songs. A meditation on childhood, innocence and experience, Evening Songs began life as a project with the Ealing Youth Orchestra, who first performed the last movement in 1998. The premiere of the complete score was given, however, by the North German Radio Orchestra in Hamburg in 2000, and the piece now forms the latest instalment of Vladimir Jurowski's Turnage series with the London Philharmonic.

Finely conducted by Jurowski and exquisitely played, this proves a troubling, uneven work. It consists of two nocturnes, essentially lullabies to Turnage's sons, separated by a contrasting interlude. The hypnotic calm of the nocturnes - the first based on a bluesy saxophone solo, the second on gamelan-like tintinnabulations - is undercut by intimations of impending danger as the textures turn darkly sensual or thudding chords cut off the music's gentle flow. The breezy central interlude, a wide-ranging string melody accompanied by ominously clanging bells, seriously ruptures the mood, however, and could, perhaps, have been omitted.

Works by Rachmaninov and Tchaikovsky formed the rest of the programme. Nikolai Lugansky was the soloist in Rachmaninov's Paganini Rhapsody. This was a laid-back performance, free from overt sentimentality, and not so much a battle between pianist and orchestra as a unified display of jazzy wit, with Jurowski uncovering all sorts of orchestral details you haven't noticed before.

The quintessential Jurowski mix of visceral emotion and refined intelligence was less in evidence, however, in Tchaikovsky's Suite No 3, which got off to a portentous start with an account of the opening Elegy that was slower and more overtly stolid than it needed to be. Jurowski only struck form with the limping waltz that forms the Suite's second movement, though the final Polonaise was second to none in its dash and glitter.