Musical conversations and collisions across the centuries are the basis of British countertenor Iestyn Davies’ latest recital. In collaboration with the viol consort Fretwork, he brings together works by Purcell and Michael Nyman in intriguing and often confrontational juxtaposition. Davies isn’t, of course, the first to trace the instinctive kinship between baroque’s cycling ground basses and chugging arpeggios and minimalism’s mechanistic processes. So, does the program drive the conversation forwards?