The Ghost in the Machine Amyas & Emily Baines

• George Frideric Handel (1685 - 1759):
• 1 Handel: Suite in D Major, HWV 341: I. Overture (Arr. E. Baines for Chamber Ensemble) 01:50
• 2 Handel: Saul, HWV 53: Dead March (Arr. E. Baines for Chamber Ensemble) 02:15
• 3 Handel: Judas Maccabaeus, HWV 63: See the Conquering Hero Comes (Arr. E. Baines for Chamber Ensemble) 02:11
• Jacques-Martin Hotteterre (1673 - 1763):
• 4 Hotteterre: Ornamented Airs & Brunettes: No. 9, L'amour, le seul amour 02:00
• 5 Hotteterre: Ornamented Airs & Brunettes: No. 7, L'autre jour ma Cloris 02:13
• George Frideric Handel:
• 6 Handel: Organ Concerto No. 5 in F Major, Op. 4 No. 5, HWV 293 (Arr. for Recorder & Orchestra): I. Larghetto 02:14
• 7 Handel: Organ Concerto No. 5 in F Major, Op. 4 No. 5, HWV 293 (Arr. for Recorder & Orchestra): II. Allegro 02:34
• 8 Handel: Organ Concerto No. 5 in F Major, Op. 4 No. 5, HWV 293 (Arr. for Recorder & Orchestra): III. Alla siciliana 01:38
• 9 Handel: Organ Concerto No. 5 in F Major, Op. 4 No. 5, HWV 293 (Arr. for Recorder & Orchestra): IV. Presto 02:30
• 10 Handel: Ottone, HWV 15: Alla fama, dimmi il vero (Arr. for Recorder & Organ) 02:17
• 11 Handel: Arianna in Creta, HWV 32: Overture (Arr. for Recorder & Organ) 01:56
• 12 Handel: Scipione, HWV 20: Overture (Arr. for Recorder & Organ) 01:12
• Anonymous:
• 13 Mr. Reddin's Ground 02:19
• Samuel Arnold (1740 - 1802):
• 14 Arnold: Macbeth: The Favorite March in Purcell's "Bonduca" (Arr. E. Baines for Chamber Ensemble) 01:16
• Anonymous:
• 15 God Save the King (Arr. E. Baines for Chamber Ensemble) 00:52
• Thomas Arne (1710 - 1778):
• 16 Arne: Rule, Britannia! (Arr. E. Baines for Chamber Ensemble) 02:22
• Francesco Barsanti (1690 - 1775):
• 17 Barsanti: Recorder Sonata in G Minor, Op. 1 No. 3: I. Adagio 02:06
• 18 Barsanti: Recorder Sonata in G Minor, Op. 1 No. 3: II. Allegro 03:45
• 19 Barsanti: Recorder Sonata in G Minor, Op. 1 No. 3: III. Largo 02:10
• 20 Barsanti: Recorder Sonata in G Minor, Op. 1 No. 3: IV. Gavotta 02:21
• 21 Barsanti: Recorder Sonata in G Minor, Op. 1 No. 3: V. Minuet 01:17
• Traditional:
• 22 The Lass of Patie's Mill (Arr. E. Baines for Chamber Ensemble) 02:06
• Francesco Geminiani (1687 - 1762):
• 23 Geminiani: A Treatise of Good Taste in the Art of Musick: Air No. 1, Auld Bob Morrice (Arr. for Chamber Ensemble) 02:24
• George Frideric Handel:
• 24 Handel: Rinaldo, HWV 7b (Excerpts): Overture [Arr. E. Baines for Chamber Ensemble] 02:56
• 25 Handel: Rinaldo, HWV 7b (Excerpts): Lascia ch'io pianga [Arr. E. Baines for Recorder & Theorbo] 04:08
• 26 Handel: Rodelinda, HWV 19: Minuet (Arr. E. Baines for Chamber Ensemble) 02:17
• John Baston (1708 - 1739):
• 27 Baston: 6 Recorder Concertos, No. 6 in D Major: I. Allegro 01:50
• 28 Baston: 6 Recorder Concertos, No. 6 in D Major: II. Siciliana 01:41
• 29 Baston: 6 Recorder Concertos, No. 6 in D Major: III. Allegro 01:51
• Total Runtime 01:02:31

Info for The Ghost in the Machine

Musik des 18. Jahrhunderts, die von mechanischen Musikinstrumenten der damaligen Zeit inspiriert und geprägt ist. Diese Aufnahme ist der Höhepunkt der 10-jährigen Forschungsarbeit von Dr. Emily Baines und erweckt den faszinierenden und spritzigen Spielstil der mechanischen Musikinstrumente des 18. Jahrhunderts. Es enthält noch nie gehörte Transkriptionen von Musik, die in Drehorgeln und Spieluhren des achtzehnten Jahrhunderts gefunden wurde. Dr. Emily Baines ist eine in ganz Europa tätige Blockflötistin, Dozentin und musikalische Leiterin, die sich auch auf eine Vielzahl von historischen Holzblasinstrumenten spezialisiert hat. Sie wurde an der Universität von Hull, am Koninklijk Conservatorium (Den Haag) und an der Guildhall School of Music and Drama ausgebildet, wo sie ihre Doktorarbeit über die Rolle mechanischer Musikinstrumente als Quellen für die Aufführungspraxis des 18. Baines tritt regelmäßig in zahlreichen Ensembles für historische Instrumente, zeitgenössischen Gruppen, Musikfestivals und Theatern in ganz Europa auf. Am Theater war sie als Musikerin und musikalische Leiterin für Jericho House, das English Touring Theatre, Barbican BITE, das RSC, das National Theatre und Shakespeare's Globe tätig, unter anderem bei der Broadway-Premiere von Twelfth Night und Richard III im Jahr 2013 mit Mark Rylance und Stephen Fry in den Hauptrollen. Ihr Spiel ist regelmäßig in Radio, Fernsehen und Film zu hören. Neben ihrer Konzerttätigkeit ist Baines Dozentin für Musik an der Brunel University London, der Guildhall School of Music & Drama und der Shakespeare's Globe Higher Education Abteilung und wird regelmäßig zu Gastvorträgen und praktischen Workshops an andere Hochschulen eingeladen.

Amyas Ensemble
Emily Baines, Blockflöten, Leitung

Emily Baines
is one of the most exciting and versatile musicians working in the UK today. A specialist recorder player, she is also a skilled multi-instrumentalist performing worldwide on shawms, bagpipes and other early reed instruments.

Emily’s work as a performer involves a myriad different roles, from concerto soloist and chamber musician to theatre band and actor/musician roles.

As a musical director Emily is in increasing demand, her main work is currently in drama from the medieval, renaissance and baroque eras using both period and more contemporary musical styles.

As a researcher Emily is predominantly interested in the performance of historical music. Her current research is investigating the style of playing found in eighteenth-century mechanical musical instruments and how that might influence contemporary attitudes to playing eighteenth century music. However research plays an important role in all avenues of Emily’s professional life from leading foot-tapping ensembles to scoring bloodthirsty Jacobean theatre.

Amyas
are a period instrument group specialising in exuberant performances of historical repertoire. The core members are Emily Baines and Arngeir Hauksson. All performers are specialists in the historically informed performance, with many leading the way in cutting-edge research into earlier practices. The group are committed to an understanding of history but also to embracing the 21st century and new possibilities for performance spaces and techniques. Similarly, they are passionate both about discovering unknown early sources and also improvisation and composition. Their performances range from the well-loved classics of the eighteenth century (imbued with their typical flair of course!) to electronic manipulation of medieval songs and dances – and everything in between!

Booklet for The Ghost in the Machine