Joseph Hector Fiocco, known to many would-be pianists and violinists (and their parents) for a charming little Allegro, was a leading figure in the musical life of Antwerp and Brussels during the early 18th century, ending up as choirmaster at the Brussels collegiate church, Ste Gudule; he died, aged 38, in 1741. His music is clearly that of a generation younger than Vivaldi, with whom he is sometimes compared, in its fluent, galant manner and its melodic figuration, and although it is unmistakably Italian (Fiocco’s father had come to Brussels from Venice) there are occasional echoes in the solo numbers of the French grand motet of Lalande’s era.

The Missa solemnis recorded here is not in fact very solemn in mood. It starts off perkily, with light, skipping rhythms and spirited trumpet figures in the Kyrie, with a graceful ‘Christe’ from the soprano. There is attractive duetting for the soprano and countertenor in the Gloria, and some slightly surprising treatment of the text – for example, a reflective ‘Domine Deus’, with mournful flutes and a solo for the bass, followed by a cheerful trumpety setting of ‘Qui tollis peccata mundi’; then more warbling in thirds from the soloists in the ‘Quoniam’ and a brief fugue to round off. The Credo is more conventional, a slow choral setting of ‘Et incarnatus’, a sombre trio of basses and dark orchestral colours for the ‘Crucifixus’, a lively ‘Et resurrexit’. The Sanctus is extraordinarily perfunctory: including the ‘Benedictus’, just 0'36". Perhaps there was some special reason for that in the Ste Gudule liturgy.

The music falls easily and pleasantly on the ear. It doesn’t have many arresting or highly original ideas, but it is skilfully and very professionally written. The Ave Maria, done with soprano and solo strings, is a beguiling little minuet-like piece, delightfully sung by Greta De Reyghere; the Homo quidem is a four-movement choral piece, tuneful and spirited. Patrick Peire directs his choir and his band (on modern instruments, regrettably) in lively fashion and with good feeling for the character of each movement, and the recording, perhaps a little light in the bass, makes agreeable listening.