The first notes that resonated through Christ Church Cathedral on Saturday were the tinny sounds of a mobile phone. But after this intrusive reminder of the 21st century we were swept back 200 years for the start of a musical journey that commemorated four composer-related anniversaries: the bicentenary of Haydn’s death and Mendelssohn’s birth; the 250th anniversary of Handel’s death and the 350th anniversary of Purcell’s birth. There have been numerous celebrations of these musical milestones this year, but few have brought all four together for such a joyous celebration.

Haydn’s Te Deum in C got things off to a rousing start, with the choir clearly in celebratory mood. Conductor John Padley ensured close attention to timing and dynamics in this glorious work, the singers responding with great energy and warmth. They achieved similar degrees of excellence in three motets by Mendelssohn, the child prodigy born in the year of Haydn’s death. Jauchzet dem Herrn, one of his two settings of Psalm 100, and Verlieh uns Frieden, his setting of a prayer by Martin Luther, were delivered with appropriate solemnity, while the Sanctus Heilig was a magnificent demonstration of double choir singing. Sandwiched between these two composers was Handel’s Organ Concerto in F, originally written as interval entertainment during his oratorio Deborah, but here given the prominence it deserves.

The second half was reserved for two of the most joyous pieces to have come from this quartet – Purcell’s graceful and light-hearted Come, Ye Sons of Art and Handel’s stirring Zadok the Priest. Four members of the choir – not, alas, credited individually in the programme – handled Purcell’s solo work with such impressive ease and fluidity that I found it hard to believe I wasn’t listening to professional singers, while the full choir produced a thrilling rendition of Handel’s most famous anthem, one of four written for the coronation of George II, to bring the evening to an uplifting finish.