A weekly ‘concert’ taken from the finest recordings in the extensive Academy of Ancient Music catalogue: join us each Sunday at 3pm on Spotify as we unveil a new playlist of music, personally chosen by AAM players, directors, soloists and guests.
On 28 June 2020, former AAM Associate Conductor Paul Goodwin takes the reins, compiling a programme of his favourite AAM recordings on Spotify. Spanning over 350 years of composition, including works by Purcell, Handel, Bach and Beethoven to name but a few, Goodwin’s playlist makes for a treasure trove of Baroque and Classical music, performed by your favourite AAM soloists, players and directors.
To find out more about Paul and his time with AAM, visit his website here.
‘I have chosen this selection of tracks to show the extraordinary talent that has been on stage with the AAM through the many decades, and for me, what a privilege it has been to grow up musically with these inspirational musicians. Many of the tracks I have chosen show not only what a virtuosic and groundbreaking orchestra the AAM is and was, but also what a sensitive accompanying orchestra it has always been.’
Schutz: Geistliche Chor Musik – A Christmas Collection I. Ein Kind ist uns geboren SWV 384, II. Francesco Usper : Sonata à 8.
Paul Goodwin, The Choir of AAM
‘I start off with some of the earliest music in the AAM catalogue. I was lucky that the AAM’s trombone players were also expert on the sackbut and some of the natural trumpet players also spun a good tune on the cornett. We all sat in a semi circle in the middle of St John’s Smith Square in London and enjoyed the generous acoustic.’
Purcell: Evening Hymn, Z.193
Emma Kirkby, Anthony Rooley, Christopher Hogwood
‘There is only one Emma Kirkby – beauty and purity of sound, simplicity and moving musicianship allied with such a sympathetic colleague. I learnt so much from listening and working with her.’
JS Bach: Concerto for 4 Harpsichords, Strings, and Continuo in A minor, BWV 1065 – I. Allegro
Christopher Hogwood, Davitt Moroney, Christophe Roulett, Colin Tilney
‘It is often overlooked that Chris Hogwood was a very fine keyboard soloist as well as director. Here it is revealing to hear the famous 4 harpsichord concerto on Spotify, where you can truly hear every note of the score as would have been heard at Zimmermann’s coffee house in Leipzig rather than having to strain one’s neck in a modern concert hall to hear what’s going on!’
Handel: Brockes-Passion, HWV 48: No. I, Symphonia
Richard Egarr, The Choir of AAM, Tim Mead, Elizabeth Watts, Cody Quattlebaum, Robert Murray, Gwilym Bowen, Morgan Pearse, Ruby Hughes, Rachael Lloyd, Nicky Spence
‘Chris Hogwood had been a great supporter of mine throughout my musical career from my very first recording with the AAM in 2018 to more recent projects conducting the orchestra. The new energy that Richard Egarr has brought to the AAM though is exciting and palpable. This is a piece that I have long admired as being wrongfully neglected and I was thrilled to see the AAM recording appear.’
Handel: Concerto a due cori No.2, HWV 333 – V. Allegro ma non troppo – Adagio
‘Here my wind colleagues (myself included) are heard in full throttle playing over the top of one of Handel’s greatest repeated bass lines. It’s toe tapping stuff!’
Albinoni: Concerto a 5 in D minor, Op.9, No.2 for Oboe. Mvt II. Adagio
Frank de Bruine, Christopher Hogwood
‘One of the most sublime oboe tunes in the world played with great beauty and humanity by my oboe colleague Frank de Bruine. His ornamentation is artfully crafted.’
Pergolesi: Stabat Mater – I. Stabat Mater
Emma Kirkby, James Bowman
‘James Bowman taught me more than anyone the art of “musical timing”. Just when to caress that note for maximum emotional effect.’
CPE Bach: Sinfonia in B flat, Wq 182 No.2 – I. Allegro di molto
‘One of the first recordings of these exciting and experimental pieces, pushing everyone’s techniques to the limit! They opened my eyes to the wildness of this transitional musical period.’
Mozart: Horn Concerto No.3 in E flat, K.447 – II. Romanze (Larghetto)
Anthony Halstead, Christopher Hogwood
‘The king of early horn players and famed teacher of following generations, Tony Halstead, showing his signature beauty of tone and elegance.’
Mozart: Clarinet Concerto in A Major, K. 622 – III. Rondo (Allegro)
Antony Pay, Christopher Hogwood
‘There is no comparison when you hear this piece played with such charm and technique on an original basset clarinet with it’s distinctly nutty low register.’
Mozart: Mass in C Minor, K.427 “Grosse Messe” – Et incarnatus est
Arleen Augér, Lynne Dawson, John Mark Ainsley, David Thomas, Winchester Cathedral Choir, Christopher Hogwood
‘This was one of the most magical moments of my recording career, playing around and within the sounds of my colleagues Lisa Beznosiuk and Andrew Watts on an equal footing with one of the greatest sopranos of the time, Arleen Augér.’
Haydn: The Creation, Hob.XXI:2 / Pt. I – Scene I – Overture – The Representation Of Chaos
Emma Kirkby, Anthony Rolfe Johnson, Michael George, Choir of New College, Oxford, Christopher Hogwood.
‘There were two [oratorios] that Chris Hogwood conducted that galvanised me with their power and the intensity of the soloists – Messiah and The Creation. Here we hear limpid winds and the full snarl of an early instrument orchestra.’
Haydn: L’Anima del Filosofo (Orfeo ed Euridice) , Hob: XXVIII:13 / Act III. – ‘Al tuo seno fortunato’
Cecilia Bartoli, Christopher Hogwood
‘I have conducted this opera many times now and have always been grateful to Chris Hogwood for bringing it to pubic attention. The virtuosic Genio aria here is a stand out, as it was originally intended, sung with extraordinary instrumental technique by Cecilia Bartoli.’
Beethoven: Symphony No.9 in D minor, Op.125 – “Choral” – I. Allegro ma non troppo
Arleen Augér, Catherine Robbin, Anthony Rolfe Johnson, Gregory Reinhart, Christopher Hogwood
‘This was the first time I was involved in a Beethoven 9 in the large scale version that had double winds. The raw wildness of the full sound in contrast to the sweet solo winds and a tight recording schedule meant that it sounds spontaneous and exciting.’
Tavener : Eternity’s Sunrise (1999)
Patricia Rozario, Paul Goodwin
‘The final, “left field”, track demonstrates the AAM’s flexibility in responding to the needs of a modern day composer. During the recording sessions we were all changing the music and adapting it to our instruments, with the lute part completely improvised.
John Tavener is rather a “marmite” composer, but I loved the serenity of his music and his personal sincerity. It suited the colours of early instruments well and he loved working with the orchestra. I will always remember him insisting that every evening after the recording sessions we should retire to the nearest pub to drink copious glasses of champagne!’