Joseph Boismortier (1689-1755) may be well represented on disc but it’s fair to say that his name rarely sets the pulse truly racing. In fact, although on the face of it he shares a huge amount in common with his German contemporary Georg Philipp Telemann, it’s hard to picture a world in which a Boismortier anniversary would be celebrated with as much enthusiasm as Telemann’s 250th is currently being. The Frenchman’s music just feels that little bit more obviously commercial and wallpapery; it’s best consumed within multi-composer programmes, and ideally through one of his more off-piste instrumental combinations so that at least there’s some timbral exoticism to get your teeth into.

All of which is to say that for Le Petit Trianon to have genuinely pulled off this all-Boismortier chamber programme is no mean feat, particularly with their thoroughly standard line-up of flute, violin, bassoon, cello and harpsichord. There’s some exceptionally elegant playing across the disc; gentle, light, expertly blended and with subtle but effective shading. There’s also an impressive amount of variety, the six trios drawn from three different opus collections (albeit all composed between 1732 and 1736), and punctuated with four rather sweet character pieces for harpsichord. There’s even the occasional more distinctive Boismortier moment; a highlight is the genuinely magical opening Affecttuoso of Sonata No 3 from Op 41, where hurdy-gurdy-esque drones hang in the air like meadow perfume as a softly pastoral flute lilts and coos above.

The trios aren’t entirely without their vaguely flashy moments either, such as the fast-flowing passagework of the Vivace of Sonata No 5 from Op 37; cellist Cyril Poulet deserves especial mention here for the delicacy he’s retained across his own racing figures, where rougher hands might have served up uncouth scrubbing.

This may not be repertoire guaranteed to hold your ears and brains captive; but, as uncomplicated yet beautiful music to let roll over you, this recording fits the bill.