Rarely does the opportunity arise to revisit a new work so soon after its premiere, but the BBCSSO's latest portrait concert of its composer-in-association Jonathan Harvey did just that by including a work premiered by the orchestra less than two months ago.

A second hearing of Body Mandala, conducted again by Ilan Volkov, confirmed initial impressions of the strength of the work. But the second performance brought out the intricacies of Harvey's layered orchestral writing, subtleties initially hidden by the multi-faceted surface of the piece.

Tracing a reverse chronology, Body Mandala was followed by Tranquil Abiding, a work from the late 1990s. Like the later work, this was inspired by Harvey's interest in Buddhist philosophy and ritual, but whose stillness functioned as a counterpoint to Body Mandala's energy. Timepieces, 20 years old but here receiving its first Scottish performance, was the most self-consciously avant-garde piece in the programme. It was also, perhaps, the least interesting. However, as a piece requiring two conductors, it did provide the novel spectacle of Volkov and the orchestra's associate guest conductor Stefan Solyom side by side on the podium.

The wild-card element was provided by improvisations on Body Mandala and Tranquil Abiding by electro-acoustic specialist Kaffe Matthews, whose electronic reinterpretations of the works were relayed via six speakers placed around the audience. This was a bold experiment, though being improvised, it had the feel of work in progress, rather than a finished product, Matthews's take on Tranquil Abiding, in particular, losing its way towards the end.