Granite-hewn, massive, elemental: well-worn descriptions of Sibelius's music become almost irresistible when referring to the interpretations of his compatriot Leif Segerstam. The Finn made a huge impression when he conducted the last three symphonies as part of the BBC Scottish Symphony's Sibelius series a little over a year ago. Here, he returned for a concert that featured a couple of the composer's shorter works alongside the fifth symphony of another composer with whom he is closely associated, Carl Nielsen.

The BBCSSO itself has something of an affinity for the sound and atmosphere of this northern music - a legacy of Osmo Vänskä's years at the helm - and you sense a meeting of minds in its partnership with Segerstam. First in the symphonic fantasia Pohjola's Daughter, then in the Scene with Cranes (extracted from the same incidental music that yielded Valse Triste), the sound the orchestra produced was pure Sibelius; depth growing out of the cellos and surface calm overlaying the intensity beneath. Again in the opening of the Nielsen, Segerstam was able to generate momentum out of apparent stasis, making the contrast with the driven, martial music that follows all the more effective. In the closing bars of the symphony, Segerstam pulled off the most extraordinary slow-down. Done with awesome control, the effect was of a mighty juggernaut being stopped in its tracks.

What though to make of Segerstam's own work, his 151st Symphony, which received its world premiere in Glasgow? With one of the most bizarre composer-written programme notes, referencing bird flu among other things, there is certainly a sense of the apocalyptic in much of the single movement, 25-minute work. Tolling bells, ringing gongs and hammer blows abound. The question is how much of it to take seriously. Listeners will have the opportunity to decide for themselves next Thursday when the concert is broadcast on Radio 3.