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

18th century music inspired and informed by period mechanical musical instruments.

This recording is the culmination of 10 years of research by Dr Emily Baines, and it brings to dazzling life the fascinating and effervescent performance style found in eighteenth-century mechanical musical instruments. It contains never before heard transcriptions of music, found in eighteenth-century barrel organs and musical clocks.

Dr Emily Baines is a recorder player, lecturer and musical director working throughout Europe, also specialising in a wide variety of historical woodwinds. She trained at the University of Hull, the Koninklijk Conservatorium (The Hague) and the Guildhall School of Music and Drama where she wrote her doctoral thesis on the role of mechanical musical instruments as sources for 18th-century performance practice.

Baines performs regularly for many period instrument ensembles, contemporary groups, music festivals and theatres across Europe. Theatre work has included musician and musical director roles for Jericho House, English Touring Theatre, Barbican BITE, the RSC, the National Theatre and Shakespeare's Globe, including the Globe's premire Broadway transfers of Twelfth Night and Richard III in 2013 starring Mark Rylance and Stephen Fry. Her playing is regularly featured on Radio, TV and Film.

In addition to her performing schedule, Baines is a lecturer in Music at Brunel University London, Guildhall School of Music & Drama and Shakespeare's Globe Higher Education department, and is regularly invited to other H.E. institutions for guest lectures and practical workshops.

Amyas Ensemble
Emily Baines, recorders, director

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