Some of Dvorák's lesser known works seem to be edging their way back into the repertoire at present. Hard on the heels of Daniel Harding's unearthing of The Golden Spinning Wheel with the LSO, we find Jiri Belohlavek and the BBC Symphony Orchestra re-examining the Fifth Symphony. They prove that its neglect is, in some respects, inexplicable.

Dating from 1875, it's a work of great charm, optimistic in mood, and bucolic in tone. Its debt to Bedrich Smetana's epoch-making Mà Vlast is obvious, and its slow movement is structured round one of the greatest melodies Dvorák ever wrote.

It is also full of super-subtle orchestral effects that make it difficult for the performers - swift yet quiet brass arpeggios, discreetly virtuosic woodwind writing. It's a measure of Belohlavek's success with the once variable BBCSO that the playing had such exquisite finesse. Belohlavek conducted without a score: he clearly has Dvorák in his blood. Other conductors will hopefully take the work up, though few, one suspects, will do it half as well.

The companion pieces were Brahms' First Piano Concerto and Petr Eben's Vox Clamantis. Born into a Jewish family, though raised a Catholic, Eben survived Buchenwald as a teenager, and his music bears witness to the catastrophes of the 20th century. Dating from the aftermath of the Prague Spring, Vox Clamantis has three trumpets proclaiming defiance over an orchestral threnody that heaves with anger and grief.

The soloist in the Brahms was Cédric Tiberghien. Quietly intense in a work that some interpreters hammer, he stilled the fierce orchestral storms that Belohlavek summoned round him, before launching the finale with proud assertiveness. Young, gawkily charismatic and incredibly refined, he's already a pianist of greatness.