Rediscover Tchaikovsky, commanded the title of the introductory evening to Michael Tilson Thomas's pair of concerts with the LSO. It had seemed to promise that he would be shaking up familiar works - but in the first half of this, the second programme, the performances we got were polished, steady, sonorous and almost devoid of risk.

This was an opportunity missed, as the orchestra was on top form. But in the Romeo and Juliet Fantasy Overture he appeared happy to let some passages almost conduct themselves. The warm, romantic orchestral sound, fading to a swooning whisper in the quieter love music, was just right, but this was a competent performance rather than a dynamic one.

Something similar was true of the First Piano Concerto. The soloist was Vladimir Feltsman, who had the muscle in his playing to ensure that the piano was never overwhelmed, and who brought the showmanship that this sprawling, often bombastic, piece perhaps requires; but he valued power and brilliance over fluidity, and could be indulgent in the slower passages of the first movement.

There was, however, a discovery to be made in the second half. Tchaikovsky's First Symphony, subtitled Winter Dreams, is an early work, and can sound that way - though the itchy figuration in the first movement is subtly judged, the rhythm that drives the third is just a little too relentless, and the fugue in the finale is the work of a counterpoint swot. But elsewhere there are moments of pure Tchaikovsky: the full horn section taking up the melody in the slow movement; the elegant waltz in the middle section of the third. It may not have the weight of his later symphonies, but when played with the depth and colour Tilson Thomas and the orchestra brought to it here, it certainly seemed to come from the same stable.