John Storgårds's Prom with the BBC Philharmonic flanked two lesser-known British works (Peter Maxwell Davies's Fifth Symphony, Frank Bridge's Oration) with two of Sibelius's most popular pieces, Finlandia and the Second Symphony. Sibelius is often regarded as Storgårds's calling card, though his interpretations of his Finnish compatriot's music divide opinion and there are times when you can see why.

Storgårds gives the impression of someone exciting, if wayward, who thinks in terms of individual moments rather than in extended musical spans. He is very heart-on-sleeve: Finlandia was so emotive that you overlooked its lack of finesse, and felt by the end you could man a barricade, were there one available. The symphony was altogether more ambiguous: the sense of organic ebb and flow, so integral to the composer's music, was fractured in places as it turned episodic. The first movement seemed unnecessarily pulled about. But the edge-of-your-seat finale, with its vast perorations, was as thrilling as one could wish.

Similar qualities characterised Storgårds's performance of Maxwell Davies's Fifth. The symphony owes an acknowledged debt to Sibelius in the evolutionary way its contrasting scherzos and adagios progress from snatches of plainchant on the woodwind at the outset, though we were more conscious of the textural contrasts between abrasion and sensuousness, rather than the work's shape.

Oration, meanwhile, is a one-movement cello concerto, composed in 1930, that inveighs against the loss of lives in the first world war. It doesn't, however, quite warrant the huge claims sometimes made for it. Leonard Elschenbroich was a fierce, committed soloist, but even he couldn't disguise the music's tendency to meander. Still, the haunting lullaby that brings the work to a close is one of Bridge's finest inspirations and it was breathtakingly done.

• The Proms continue until 13 September. Details: bbc.co.uk/proms.