Set in the grounds of a grand Schloss on the plains of Lower Austria, the Grafenegg Festival does well by itself: a cut above Kenwood, a notch or two below Tanglewood. Opening its 10th-anniversary concert last year, Christian Jost’s fanfare runs out of steam some time before the five minutes are up, through no lack of skill or commitment from the nine brass players of the Tonkünstler.

Somewhat unfairly known as Vienna’s third orchestra, neither they nor Beethoven are well served by big-band, big-event, see-you-at-the-double-bar accounts of Coriolan and the inevitable Ninth. Ironically, the Mahler reorchestration – which they recorded for their own label in 2009 – would have been more apt for the occasion, as would the incisive direction of their previous music director, Kristjan Järvi. A fine team of soloists is sympathetically balanced, while the Wiener Singverein is served better by the cameras than the microphones. The chorus deliver Schiller’s text from memory with some rhetorical flourishes first introduced by Rattle, though Yutaka Sado goes full Bernstein on the final peroration.

Jost was the 2016 composer-in-residence at Grafenegg. In An die Hoffnung, he embeds Beethoven’s Op 94 song within a stressful ‘commentary’ for full orchestra. The concept is familiar from works of Detlev Glanert, though Jost’s work sounds more like Adams’s Harmonielehre with all the Schoenberg written back in. Stadium-style amplification does some frightful things to Klaus Florian Vogt’s tenor. Given his manful but partial mastering of a difficult part and rueful smiles at the end, the evening may not be one he would gladly relive, and I feel likewise.