A misty incantation, a swirl of sound with a whole-tone flavour: if it comes as a surprise to discover Joseph Jongen – creator of that fabulous Symphonie concertante for organ and orchestra – as a chamber composer, the French accent with which these beguiling works speak comes as no surprise at all. Jongen, a friend of Fauré, wasn’t the first or last Belgian composer to look to Paris. In the four pieces recorded here, each dating from around the early 1920s, he finds his own balance between Impressionist sensuality and neoclassical freshness.

And if you’ve ever wished that Ravel had written more pieces in the vein of his Introduction et Allegro, you’ll probably warm to the most substantial works here: the Rhapsodie for piano and winds and its successor, the Concert à cinq for flute, harp and string trio. The Brussels-based chamber group Oxalys certainly make a persuasive case; enthusiastically playing out, catching the swing of Jongen’s waltz and habanera rhythms, and pushing the music forwards brightly and expressively.

The recorded sound has enough bloom to create an atmosphere – perhaps a little congested in the louder tutti passages but generally vivid, and catching the full flavour of some distinctively Gallic woodwind tone. There’s some nicely sculpted quiet playing in the Danse lente and Deux Pièces en trio (the latter recorded over a decade ago, but not so you’d notice), but in the main this is spirited, open-hearted music. Jongen thinks on a big scale and these outsize, wide-eyed performances certainly don’t sell him short.