The Barbican Centre is making much of its 25th anniversary, and the highpoint of its celebrations came with this concert, given by the London Symphony Orchestra and its president Colin Davis in the presence of the Queen and Prince Philip. Students from the Guildhall School of Music and Drama next door played a brass arrangement of Tallis's Spem in Alium in the foyer before the concert - presumably, the one authentic English brass masterpiece, Purcell's Funeral Music for Queen Mary, would have been a bit tactless in the circumstances. Free sparkling wine for the audience in the interval and big screens in the hall itself showing images from the centre's 25-year history during platform changes, gave the event a sense of occasion.

There was a new work by James MacMillan to begin the programme, too. The five-minute piece, with the rather Turnage-like title of Stomp, bolstered the standard LSO line-up with extra brass players from the Guildhall School and, as the subtitle - With Fate and Elvira - showed, it had been composed for this programme, which also included Mozart's C major Piano Concerto No 21 K467 and Tchaikovsky's Fourth Symphony. A brassy Gaelic jig topped and tailed a slower central section that paraded a woozy version of the slow-movement tune from K467 and the stentorian motto theme from Tchaikovsky 4, without doing much with either.

The real Mozart and Tchaikovsky fared better. Mitsuko Uchida was the compelling concerto soloist, listening intently to what Davis was doing with the orchestral accompaniment and alive to every nuance; her left-hand playing was a marvel, whether providing the point of reference for the airy flights of decoration in the first movement, or dovetailing with the gilded melody of the Andante. Davis's Tchaikovsky, lugubrious and Germanic to begin with, gradually built up momentum, so at least the last movement had the energy this concert really needed.