Minor Baroque composers don’t come much more obscure than the Bohemian Antonín Reichenauer. Even his date and place of birth remain a mystery. Virtually all we know about his shadowy career is that he succeeded Johann Fasch as house composer to Count Wenzel Morzin in Prague about 1722 (Haydn wrote his earliest symphonies for a member of the same family), and died in his mid-thirties in the provincial town of Jindrichuv Hradec in 1730.

On the evidence of the assorted concertos and “overtures” (ie orchestral suites) on these two discs, Reichenhauer’s was a fluent, likeable, if not specially distinctive talent. The concertos he wrote for the virtuoso players in Morzin’s crack ensemble emerge as Vivaldi-lite, with hints of the emerging gallant style: bustling, neatly crafted, but without the Italian’s coruscating energy, waywardness and genius for the striking gesture. Fast movements too often rely on the same clichéd sequences, though Reichenauer can tap an affecting vein of doleful sentiment in minor-key slow movements like that in the G major Oboe Concerto. Perhaps the most fetching music comes in the two Gallic-flavoured dance suites, especially the serene – and decidedly gallant – oboe-led Andante and lusty final Minuet in the suite performed by Musica Florea.

Although bass lines are not always ideally buoyant, both Prague period bands are lively and personable. Musica Florea’s rather rawer, earthier sonority is well heard in the sturdy D minor Cello Concerto and the G major Violin Concerto, with its rustic drones. All the soloists play with skill and spirit, notably violinist Jana Chytilová, bold and athletic in the G major Concerto, oboist Xenia Löffler, eloquent in Reichenauer’s melancholy adagios, and bassoonist Sergio Azzolini, excelling as acrobat and poet alike. Recorded sound on both discs is pleasantly reverberant, though I was initially disconcerted by the prominent tinkle of the Collegium 1704 harpsichord. Anyone who enjoys, say, the concertos of Fasch and Heinichen should find plenty of agreeable listening here.