Tom Doyle directs the large, mixed-voice Fleischmann Choir in performances of Marc-Antoine Charpentier’s Te Deum, his best known work largely because of the great popularity of its prelude; Saint-Saëns recently rediscovered motet Super flumina Babylonis; and Schubert’s only setting of the Magnificat, a work divided into three distinct movements, forming a musical triptych. Soloists are Emma Nash and Sinéad Ní Mhurchú (sopranos), Ross Scanlon (tenor) and Brendan Collins (baritone).

The “Te Deum” (H 146) is unquestionably the best known composition of Marc-Antoine Charpentier (1643–1704), especially since its “Prélude en rondeau” was made the Eurovision signature tune. This brilliant and magnificent piece was frequently played at victory celebrations and other occasions of public jubilation during the 17th century. Even today it is still ideal for festive church services and concerts.

“Super flumina Babylonis”, is a recently rediscovered choral work by Camille Saint-Saëns. Psalm 137 “Super flumina Babylonis” also known as “By the rivers of Babylon” was an inspiration for many composers including Saint-Saëns. Originally composed in 1854 when he had taken up his first permanent appointment as organist at the Church of Saint-Merri in Paris, Saint-Saëns revised the work over a period of several decades, changing the motifs at the beginning, reworking the ending, eventually changing the instrumentation several times too and even – probably in the final stage – replacing the Latin text with an English one.

With a duration of about 10 minutes, Schubert’s Magnificat D 486 in C major is one of the more concise settings of the well-known Marian canticles, originally for the service of Vespers. It was composed in late summer 1815, and is therefore probably one of a series of church music works Schubert wrote in his youth for Lichtenthal Parish Church. The four-part choir contrasts with four soloists; this quartet sings the peaceful middle section of the three-section work.