Don’t be put off here, though, by an absence of ‘big names’. Frank Beermann and the Chemnitz-based Robert-Schumann-Philharmonie offer a breezily energetic performance, done with plenty of panache and wit, closer in style to Beecham’s spirited elegance than Bernstein’s comparative weight. The structure continues to surprise: Goldmark opens with a swirling set of folk-based variations, reserving sonata form for his breakneck finale. The debt to Brahms is very apparent, but the woodwind-writing in the amorous ‘Im Garten’ section and the string fugato that kicks off the final dance also reveal a familiarity with The Bartered Bride. The playing is virtuoso, though clarity comes at the price of a lack of warmth in the strings.

The coupling, however, is striking. Unusually for a late-19th-century composer Goldmark ignored the perceived Wagner-Brahms dichotomy (though he was dismayed by Wagner’s anti-Semitism), and his Aeschylus-inspired 1890 concert overture Prometheus Bound attempts a fusion of formal rigour with chromatic intensity and orchestral complexity. A slow introduction, winding upwards Norn-like on strings and woodwind, leads to a massive single-movement sonata that develops themes associated with the chained titan’s angry defiance and the humanity he has aided against the gods’ wishes.

Beermann conducts with measured intensity. The brass-playing has tremendous majesty, nowhere more so than in the hefty first statement of Prometheus’s theme against a lurching string tremolando, while the complex woodwind counterpoint that ushers in human aspiration is eloquent in the extreme. A gripping rarity, finely done.