Artists
- Iestyn Daviescountertenor
- Richard Egarrharpsichord
- Pamela Thorbyrecorder
- Tabea Debusrecorder
- Bojan Čičićviolin
- Stephen Pedderviolin
- Julia Kuhnviola, violin
- Mark Levyviola da gamba
- William Cartertheorbo, baroque guitar
Archived Event
Arise My Muse
Iestyn Davies countertenor; Richard Egarr harpsichord; Pamela Thorby recorder; Tabea Debus recorder; Bojan Čičić violin; Stephen Pedder violin; Julia Kuhn viola, violin; Mark Levy viola da gamba; William Carter theorbo, baroque guitar
- Date
- Wed 27 Feb 2013, 7.30pm
- Duration
- This concert will be approximately 2 hours in duration, including an interval
- Availability
Programme
- Henry Purcell1659-1695
- Arise, my muse Z320:
- No. 2 Arise, my muse
- Come, ye sons of art, away Z323:
- Strike the viol, touch the lute
- Welcome to all the pleasures (Ode for St Cecilia's Day) Z339:
- Here the Deities approve
- Of old, when heroes thought it base Z333:
- The Pale and the Purple Rose
- Giovanni Gabrielic.1554-1612
- Sonata for 3 violins
- Johann Pachelbel1653-1706
- Canon in D
- Henry Purcell1659-1695
- Three Parts upon a Ground Z731
- Hail, bright Cecilia Z328:
- 'Tis Nature's Voice; thro' all the moving Wood
- Celebrate this Festival (Birthday Ode for Queen Mary) Z321:
- No. 1 Crown the Altar, Deck the Shrine
- If music be the food of love Z379c
Interval
- Jeremiah Clarkec.1674-1707
- The Glory of the Arcadian Groves
- John Blow1648-1708
- Amphion Anglicus:
- Poor Celadon, he sighs in vain
- William Croft1678-1727
- Ye tuneful numbers
- John Blow1648-1708
- Suite from Venus and Adonis
- Pelham Humfrey1647-1674
- Wilt thou forgive that sin (A Hymne to God the Father)
- Henry Purcell1659-1695
- O solitude, my sweetest choice Z406
Overview
Iestyn Davies here follows in the repertoire steps of Alfred Deller, godfather of British countertenors and a pioneer in the revival of music from the time of the Restoration and the Glorious Revolution.
This programme contains songs guaranteed to show why Davies is in such high demand at the world's most prestigious venues, as he reaches back to the Restoration Court to reveal the wealth of musical riches of late 17th-century London.
Supported by the Iestyn Davies Syndicate