“Inspirations and imaginings, evolving, changing English usage, landscapes, friendships and passings lie behind this album... Loosely, the songs we’ve selected embrace multiple interpre- tations and nuances of ‘divine’. As well as, I could argue, that sentiment of English song and English speaking composers embodying the [Blake/Parry] ‘Jerusalem-Builded-Here’ trope. The world I came from (singing in choir stalls), along with how countertenors are perceived generally, has been hard to escape. So here perhaps I’m taking on the challenge. As well as an opportunity to include songs written for me that for some while I’ve been needing to put down on disc.” (Iestyn Davies) ‘Divine Music’ marks Iestyn Davies’ third recital album on Signum Classics. The ‘Four Songs’ (Purcell/ Adès), Spoons Aria (Adès), Four Traditional Songs and Old Bones (Muhly) are world premiere recordings. Muhly’s Four Traditional Songs were also written dedicated to Iestyn Davies.

REVIEW:

It’s lovely to hear Butterworth’s Shropshire Lad songs in this pairing, a countertenor voice adding a wan fragility to ‘Is my team ploughing?’ and a wistful sense of perpetual youth and innocence to ‘The lads in their hundreds’.

-- Gramophone

Renowned countertenor Iestyn Davies and pianist Joseph Middleton perform Schubert's tragic song-cycle Die schöne Müllerin (The Beautiful Maid of the Mill). Adapting poetry by Wilhelm Müller, the song cycle, D. 795, marks the beginning of the end of Schubert's life.

Released under the house label of St John's College, Cambridge, this recording acts as a celebration of Iestyn Davies's formative period at the college; beginning there as a 7-year-old probationer in 1987, he progressed to become Head Chorister, ultimately returning to study as a choral scholar. Alongside full texts and translations, the booklet includes a background on the work by noted Lieder expert Susan Youens, as well as reflections on Iestyn's time at St John's from the College's past and present Directors of Music – Christopher Robinson and Andrew Nethsingha.

Shortlisted for the Gramophone Awards!

Counter-tenor Iestyn Davies and and the viol consort Fretwork present a new recording of works for viol consort and voice drawn from 17th-century Germany, following their critically-praised 2019 album of works by Michael Nyman and Henry Purcell. Featuring performances from organist Silas Wollston and counter-tenor Hugh Cutting, the recital ranges widely over the 17th century – from the early years with three curiously similar sounding friends: Schein, Scheidt and Schütz, to the most significant member of the Bach family before Johann Sebastian, Johann Christoph Bach. From their they travel down North Sea to the foothills of the Alps, including Buxtehude’s predecessor at the Marienkirche in Lübeck – Franz Tunder (whose daughter Buxtehude was to marry) and another north German composer who worked in Copenhagen, Christian Geist. Giovanni Felice Sances is an outlier here: he was born in Rome, but spent the second part of his life working for three successive Emperors in Vienna, where viol playing was still very much in vogue. In 2021, Fretwork celebrates its 35th anniversary. In the past three and a half decades they have explored the core repertory of great English consort music, from Taverner to Purcell, and made classic recordings against which others are judged. In addition to this, Fretwork have become known as pioneers of contemporary music for viols, having commissioned over 40 new works. Iestyn Davies is a British countertenor widely recognised as one of the world’s finest singers celebrated for the beauty and technical dexterity of his voice and intelligent musicianship. Critical recognition of Iestyn’s work can be seen in two Gramophone Awards, a Grammy Award, a RPS Award for Young Singer of the Year, the Critics’ Circle Award and recently an Olivier Award Nomination. He was awarded the MBE in the Queen’s New Year’s Honours List 2017 for services to music.

When Michael Nyman started reinventing the English baroque back in the 1980s, one critic described the result as “pump- action Purcell”. This recording combines these two singular musical styles through the stunning voice of countertenor Iestyn Davies and viol consort Fretwork, serving as the bridge across three centuries. The programme combines bold harmonies, wondrous inventions, and melodies that will haunt your dreams – whether from the 17th century or the 21st. Recorded following a concert tour of the programme, the release includes the premiere recording of a new commission from Michael Nyman, Music after a While – based upon Purcell’s song, or more particularly upon its strikingly original bass-line, with its insidious rising chromatics. This was a near-perfect concert, contrasting two composers whose links are stronger than many people might think and performed by musicians at the top of their profession.” Early Music Reviews, following a concert of the programme.