Bach's keyboard concertos used to be a regular part of the symphonic repertory, played on a modern grand piano with a full complement of strings. The rise of period instruments made such performances musicologically incorrect for a while, but now the traditionalists seem to be fighting back.

Pianists such as Angela Hewitt, Andras Schiff and Murray Perahia regularly feature the works in their concerts, and the latest recruit to their cause seems to be Stephen Kovacevich, who played both the D minor and F minor Concertos with Marin Alsop and the modestly reduced strings of the Bournemouth Symphony.

As Kovacevich was a pupil of Myra Hess, Bach on the piano cannot be unfamiliar territory, and his performances of both works projected a sense of old familiarity, with the octave doublings of piano and orchestra in the first bars of the D minor plunging straight into a long lost world of musical innocence.

There were, undeniably, some beautiful things in both works - the pearly tone that Kovacevich found for the slow movement of the F minor was worth the trip to Poole in itself - but they were juxtaposed with passages that were harder to take, when the piano figuration and string accompaniment really did seem drained of any life force, and sometimes not precisely co-ordinated.

The concertos were bracketed by Beethoven's First Symphony and the Enigma Variations to make the kind of programme they aren't supposed to make anymore. Alsop's Beethoven was unflashy and respectable, always well articulated by both the strings and wind of the BSO but texturally just a bit stodgy at times. But the Elgar was beautifully done, perhaps not as witty as some performances, but not as sickly sentimental either. Even Nimrod was kept moving (and sounded even more Beethovenian as a result) and the extrovert numbers - WMB, Troyte, GRS and the carefully paced finale - had zip and bounce.

· Repeated tonight at the Guildhall, Portsmouth. Box office: 0239 282 4355.