| Dowland, John (1563-1626) | Lachrymae Antiquae Pavan | |
| Purcell, Henry (1659-1695) | Ground in D minor | |
| Purcell, Henry (1659-1695) | King Arthur Z 628: Chaconne | |
| Arne, Thomas (1710-1778) | Sweetest Bard | |
| Cesare Morelli / Samuel Pepys | Go, perjured man | |
| Cesare Morelli / Samuel Pepys | Phoebus God, beloved by men | |
| Cesare Morelli / Samuel Pepys | Beauty retire | |
| Geminiani, Francesco (1687-1762) | Concerto grosso en ré mineur « La follia », Op.5 no. 12 | |
| Loeillet, Jean-Baptiste (1680-1730) | Sonata in A minor for flute and continuo, Op.3 no.4 | |
| Haendel, Georg Friedrich (1685-1759) | Concerto en sol majeur; 2 mouvements, HWV 487 | |
| Haendel, Georg Friedrich (1685-1759) | Mi palpita il cor, HWV 132c | |
| Sancho, Ignatius (1729-1780) | Suite of Songs and Dances | |
| Williams, Roderick (n. 1965) | From Ignatius Sancho (World premiere) |
| Reginald Mobley | Contre-ténor |
| Academy of Ancient Music | |
| Laurence Cummings | Direction musicale |
Countertenor Reginald Mobley and AAM explore a different vision of the English baroque: in which the music of Purcell, Handel and Ignatius Sancho redefined the culture of a nation.
Baroque England was a nation turned inside out: a fledgling democracy that could also be profoundly unjust, a culture convinced of its own uniqueness but which welcomed genius from all lands. Tonight, Academy of Ancient Music explores an era that’s never felt more current.
So, the music of the London-born Purcell sits alongside masterpieces by Handel – a German who became English by choice – and Ignatius Sancho, who was born into slavery but found freedom and musical success in Georgian England. Curated by American countertenor Reginald Mobley, Sons of England weaves music and words to explore alternative histories of the English baroque, culminating in a Sancho-inspired new commission by composer Roderick Williams: musical history shaping a shared future.
A free pre-concert talk will take place in the auditorium at 6.30pm.