Until this autumn, Finnish conductor Esa-Pekka Salonen never had the opportunity to conduct the complete symphonic cycle of Sibelius. Last month he tackled it with the Los Angeles Philharmonic, of which he has been music director for 15 years. The Barbican Great Performers season enables him to repeat it in a series of four concerts (continuing tonight and next weekend).

According to Salonen, the ideal Sibelius performance should feel like "the ice breaking in a great northern river in April: intense, beautiful, terrifying and ultimately inevitable". Yet last night's account of the Second Symphony in D major was characterised by sharp thematic profiles, taut rhythmic control and driving momentum.

Unlike some of the classic readings, which do indeed give the impression of natural forces being unleashed, Salonen's reminded us that human agency was at work, and was none the worse for that. Near-mystical descriptions of ice breaking may read well in the programme but in the end these works are symphonic structures and Salonen drew from his efficient orchestra a colourful, dramatic, stirring performance.

Salonen's own Wing on Wing, a tribute to Frank Gehry's iconic Walt Disney Concert Hall in LA, reflects that creator's architectural principles in a number of ways. The title refers (in nautical terms) to the 180-degree angle exposing maximum sail area, and by analogy the surfaces of the edifice. The grain of material is built up with references to Salonen's Finnish heritage, to Stravinsky and to West Coast Minimalism.

A pair of stunning coloratura sopranos (Anu Komsi and Cyndia Sieden) soared above these energetic, ingratiating textures, sometimes from the stage, sometimes from high in the auditorium. It's a flashy, supercharged piece that lacks real substance but doubtless goes down well in California.

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