Coupling a concerto with a chamber work involving the soloist is an excellent idea, especially when the works are Dvorák’s greatest concerto and his most popular piano trio. We’ve already had Isabelle Faust in an outstanding account of the Violin Concerto coupled with the Op 65 Trio by the three players above. I look forward to what, logically, must be the next issue: Alexander Melnikov in the Piano Concerto coupled with another trio.

Here the linking is apt because the cello plays such a salient role in the Trio, leading the way in each of the six movements. Jean-Guihen Queyras has power and deep expressiveness from his first solo in a performance which more than most makes the many extreme speed changes in each of the dumka movements sound natural and spontaneous. These may not be Czech artists but their feeling for the idiom is unerringly magnetic. The Trio emerges as a work of comparable stature to the Concerto, a match for the vintage Beaux Arts version while benefiting from refined digital sound.

In the Cello Concerto, Jirí Belohlávek and the Prague Philharmonia prove fresh, incisive and warmly sympathetic accompanists, matching the youthful urgency of Queyras. The clarity and bite of the cellist is most refreshing, with consistently clean attack. Perhaps even more remarkable is his imagination in phrasing melodic writing, subtly individual yet never self-conscious, and as in the Trio he adopts a daringly wide dynamic range with pianissimi that have you catching your breath. Jacqueline du Pré in her live Prom performance displays similar daring, and at times finds even greater poignancy, but Queyras benefits from studio conditions in sound and clarity while still giving the illusion of live music-making.