Charpentier Te Deum in D

The Te Deum, which dates from about 1692, was probably written for the great Jesuit church of St Paul in Rue St Antoine, when he was Maitre de Musique. Its brilliance and powerful dramatic impact suggest that it must have been written in celebration of some special occasion, such as the recent French victory at Steinkerque on 3 August 1692.

Charpentier uses a much larger instrumental band than any previous French composer of church music and he exploits to its fullest advantage the customary Baroque technique of contrasting full orchestral and choral forces with solo voices accompanied by just a few instruments. Most significantly, Charpentier has a remarkable ability to fuse the conflicting elements of drama and devotion into a unified whole, coupled with an instinctive feel for ceremonial brilliance. These qualities strike one most in this wonderful work, and it seems extraordinary that it is not more widely performed.

Those of you who watch the Eurovision Song Contest will recognise the theme from the opening prelude, which for many years has been the signature tune for that competition. (John Bawde)

Bach Orchestral Suite No 2 in B minor

This suite of seven movements is a vibrant and fast-paced work, leaning towards the entertainment side of pure music. One of four such works that the composer wrote in his lifetime, it is written for the transverse flute which was just coming into fashion, the final movement of which has become a show-piece for flautists due to its speed and virtuosity.

Vivaldi Double Trumpet Concerto in C RV 537

This popular concerto is remarkable in that it is among Vivaldi’s best-known creations and yet we know practically nothing about it. The source of this concerto is a single manuscript located in the Renzo Giordano Collection at the National Library of Turin, and it is Vivaldi’s only concerto for 2 trumpets.

Handel Dixit Dominus

This setting of Psalm 110 was completed in April 1707 while Handel was resident in Italy. The piece, resplendent with bright color, vocal virtuosity, expansive structure, and driving energy, was clearly designed by Handel to demonstrate his ability to write in the Italian style, and has marked resonances with the choral works of Vivaldi.