So what happened in Brabant in 1653 then? The pertinent answer here is that Carmelites seeking refuge after the banning of Catholic worship throughout the United Provinces of the Netherlands founded a monastery in the friendly enclave of Boxmeer. It was the first to be established in Holland since the Reformation in 1568, and a photograph of its handsome red-brick gateway adorns the cover of the booklet to this release. And what does that mean musically? In this case a collection of Latin motets for voices and instruments by Dutch 17th-century composers rare on record, and to most people probably unknown.

Holland Baroque have researched well and come up with a satisfyingly made programme centring on works by Benedictus à Sancto Josepho (1642-1716), a sub-prior at Boxmeer and its organist from 1679. Sometimes known by his family name, Benedictus Buns, he is worthy of the passing spotlight, his music showing signs of well-absorbed influence from Italy in its exchanges of solo and ensemble voices and instruments, and perhaps from the likes of Lully and Lalande in its dignified melancholy and spacious opening sinfonias. Passions rarely rise high in these mostly Marian pieces, but the more declamatory Quis me territat? assumes a Monteverdian warlike swagger and Tantum ergo has an uplifting refrain. As well as the motets, there are Gregorian chants from a collection edited by Benedictus himself, to which Holland Baroque add simple organ accompaniments according to the apparent practice of the time.

The other composers include two smoothly late-Renaissance-style miniatures by Cornelis Verdonck, a cheerful if sometimes awkward solo motet by Carl Rosier and a solemn, chromatically drooping O vos omnes by Herman Hollanders. Holland Baroque have also commissioned a living Dutchman, Herman Finkers, to enter this warm Marian world with a short Ave Maria that seems to combine whimsical popular song with the wistful lyrical disjuncts reminiscent of Poulenc.

The performances by a consort of 10 singers and 16 players are lovingly and respectfully done, and create a sound to please the ear. The solo singing is a little uneven in quality, though soprano Julie Thyana Roset shows appealing clarity and focus. An album to please lovers of Baroque byways.