Sebastian Klinger – first solo cellist of the Bavarian Radio Symphony Orchestra – has already committed several chamber and instrumental works to disc. But this is his first recording of an orchestral warhorse. Were it not for a certain reluctance to take risks and a certain emotional tepidness, one might call his Dvořák Concerto remarkable.

It is never anything less than refined, with a natural feeling for the composer’s lyricism. Klinger allows nothing as unseemly as a breath to intrude on the long-limbed phrases, and the contours of the dancing rhythms are meticulously chiselled, without once coming across as self-conscious. All of which endows the outer movements especially with momentum.

But where is the spontaneity? The heady sense of abandon? Klinger makes an authoritative first entry but lacks the do-or-die passion of Alisa Weilerstein or Steven Isserlis. And while he does well to avoid over-indulgence, there is little sense of the yearning that defines the second movement. The sighs of regret at 1'58" rattle by unsavoured, as does the wind-down from 9'29" to the end. That’s partly down to conductor Simon Gaudenz, who tends to rush the Deutsche Radio Philharmonie. But Klinger himself sacrifices tonal range for propulsion.

It’s not a criticism you could level at the disc’s second item, the Dumky Piano Trio. On the contrary, Klinger and his colleagues – violinist Lisa Batiashvili and pianist Milana Chernyavskaya – cherish every note. Theirs is an exquisite performance that thrills in the sudden mood-swings; the second dumka in particular could hardly sound more fragile or more impetuous. Most significantly, it’s a performance in which the music’s child-like charm, so simple in character and yet so difficult to capture, takes centre stage.