£12.00 + P&P

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.

In stock

**** / **** BBC Music Magazine
FHR113 Categories: , ,


The Ghost in the Machine

Emily Baines
recorders, director
Holly Harman
Jim O’Toole
Alexis Bennett
Poppy Walshaw
Arngeir Hauksson
guitar, theorbo
Steven Devine
harpsichord, organ

George Frideric HANDEL (1685–1759)
1. Suite in D major, HWV 341, ‘The Famous Water Piece’: I. Overture
(soprano recorder, 2 violins, viola, cello, theorbo, harpsichord)
2. Saul, HWV 53: Act III: Dead March
(alto recorder, 2 violins, viola, cello, theorbo, organ)
3. Judas Maccabaeus, HWV 63: See the Conquering Hero Comes
(soprano recorder, 2 violins, viola, cello, theorbo, harpsichord)

Jacques HOTTETERRE LE ROMAIN (1673–1763)
4. Ornamented Airs and brunettes: L’amour, le seul amour
(voice flute, cello, theorbo, harpsichord)
5. Ornamented Airs and brunettes: L’autre jour ma Cloris
(voice flute, cello, theorbo)

George Frideric HANDEL
Organ Concerto No. 5 in F Major, Op. 4, No. 5, HWV 293
6. I. Larghetto
7. II. Allegro
8. III. Alla Siciliana
9. IV. Presto
(alto recorder, 2 violins, viola, cello, harpsichord)

10. Ottone, HWV 15, Act II: Alla fama, dimmi il vero
11. Arianna in Creta (Ariadne), HWV 32: Overture: Minuet
12. Scipione, HWV 20: Overture: Allegro
(alto recorder, organ)

13. Mr Reddin’s Ground
(alto recorder, guitar, cello)

Samuel ARNOLD (1740–1802)
14. The Favorite March in [Purcell’s] Bonduca
(soprano recorder, guitar, cello)

15. God Save the King
(soprano recorder, cello, theorbo, organ)

Thomas ARNE (1710–1778)
16. Rule, Britannia!
(soprano recorder, 2 violins, viola, cello, theorbo, harpsichord)

Francesco BARSANTI (1690–1775)
Recorder Sonata in G minor, Op. 1, No. 3
17. I. Adagio
18. II. Allegro
19. III. Largo
20. IV. Gavotta
21. V. Minuet
(alto recorder, cello, harpsichord)

22. The Lass of Patie’s Mill
(tenor recorder, theorbo, cello)

Francesco GEMINIANI (1687–1762)
23. A Treatise of Good Taste in the Art of Musick: Air No. 1, Auld Bob Morrice
(soprano recorder, tenor recorder, guitar, cello)

George Frideric HANDEL
24. Rinaldo, HWV 7: Overture: Largo (ornaments by Willliam BABELL (c.1690–1723)) – Allegro
(recorder, cello, harpsichord)
25. Rinaldo, HWV 7: Act II: Lascia ch’io pianga (ornaments by Willliam BABELL)
(recorder, theorbo)
26. Rodelinda, HWV 19: Minuet
(recorder, theorbo, cello, harpsichord)

John BASTON (1708–1739)
6 Recorder Concertos: No. 6 in D major
27. I. Allegro
28. II. Siciliana
29. III. Allegro
(soprano recorder, 2 violins, viola, cello, guitar, harpsichord)
(Première recording)

Tracks 1-3, 14-16, 22, 24-26 arranged by Emily Baines

Chiaro Music Recording and Production:
Producer: Tom Hammond
Engineer: John Croft
24bit, 96kHz hi-resolution recording and mastering

Press Quotes

“She [Emily Baines] shows us that familiar tunes being reduced to nubs or slots and then brought back to life by an artist can tune into gorgeous confections… highly original programme… Baines and Amyas brilliantly evoke the character of each clockwork version…” (PERFORMANCE **** RECORDING **** BBC Music Magazine)

“Whether or not you have an interest in 18th-century performing style or mechanical musical instruments, this is a delightful sequence of pieces, expertly played by Emily Baines and her colleagues in Amyas.” (

“The Ghost in the Machine’. Emily Baines rescues the ‘ghost’ from 18th C barrel organs & organ clocks in fascinating recorder transcriptions – playful, bright, & effortless ornamentation throughout, accompanied by the ensemble” (Classical Notes)

“Amyas play with lively rhythm and a twinkle in their eye…Baines is unobtrusively good, her sometimes complex passagework sounding effortlessly relaxed… delightful disc” (The Recorder Magazine)

“The musical realisation of Emily Baines’s research indeed brings about an immediacy and energy in her playing and that of the entire ensemble. This is a CD which both enlightens and entertains in equal measure; scholarship and inspired music-making brought together.” (The Consort)