Duets for high tenor seem to have been something of a Blow speciality…and in Samuel Boden and Thomas Walker, director Jonathan Cohen has harnessed a quintessentially English sound whose lyricism fits the vocal writing like a glove…Throughout, the instrumental contribution is a joy; Cohen’s direction a model of stylish empathy and suavely-negotiated gear changes.

Superb recording quality, clarity and balance, effervescent singing and playing, combine in these vivid, agile, spirited performances of glorious emotional range. Wondrously expressive, compelling and communicative singing, especially from a brace of elegantly eloquent high tenors, blew (sorry!) this listener away. As harmoniously detailed as a Grinling Gibbons carving and as affectionately polished, Purcell’s close friend and colleague could surely wish for no finer tribute.

For many, getting to know these pieces will be persuasion enough, but the performances complete the seduction with their expert playing and singing, vigorous but tastefully realised sense of style and – despite being mostly one-to-a-part – firmly shaped contours and effective illustrative touches...With a recording that is wonderfully clear and alive, everything seems to be going right for Jonathan Cohen at present.

Purcell’s premature death in 1695 inspired this masterpiece, sung exquisitely by Boden and Walker. Hardly less poignant is the birthday song for the eight-year-old William, son of Princess (later Queen) Anne, who died three years later.

There is so much to enjoy in this superb collection of John Blow’s odes and instrumental music: fine solo and ensemble singing, beautifully articulated strings, crisp and tangy theorbos, punchy baroque guitar, all driven by the abundantly talented Jonathan Cohen at the harpsichord and chamber organ.