Dvorak's lush, nostalgic-seeming scores can get the complacent treatment from musicians and audiences alike, but in this concert under Simon Rattle, the Orchestra of the Age of Enlightenment's period instruments gave a pair of the composer's warhorses a rawness that was as unexpected as it was exciting.

With the basses ranged along the back, the sound of the orchestra at full tilt was thrilling, but there were moments when ensemble between players was allowed to falter. This seemed insignificant, though, next to Rattle's ability to keep the music's latent dynamism near the surface. The Cello Concerto rose into life with a blazing crescendo that left the violins on a blistering high trill; later in this long movement, the subtle kick Rattle gave to the final beat of every bar kept the music driving forward. Even period instruments don't solve the problems of balance in this concerto, and Steven Isserlis was inclined to bluster when trying to push the faster cello passages across, but his impassioned playing made the expansive melodies bloom; this was never merely a showpiece.

In the Symphony No 6, too, the OAE's winds gave the music new character; the flutes were more emollient, the oboes harsher and edgier than our ears are used to. If the Adagio seemed to slacken just slightly, there was muscle to spare in the stomping Czech dance of the third movement. This was edge-of-the-seat stuff: Dvorak desterilised.