In search of authenticity

Orchestras of the Baroque period— Bach, Handel, Vivaldi, Purcell—were smaller than those of the Romantic era onwards and would have included the harpsichord and pipe organ, the natural horn (a precursor to the French horn), the natural trumpet (a valveless trumpet, requiring considerable lip dexterity), woodwind, such as the oboe da caccia, and viols (bass, tenor and treble)

The Academy of Ancient Music (right), which celebrated its 50th anniversary last year, was founded by Christopher Hogwood to make the first British recordings using old instruments; it claims to be the most listened-to period orchestra online. Its next concert is ‘The Art of the Italian Concerto’, in Cambridge on May 6 and Sherborne, Dorset, on May 7, followed by ‘Sons of England’ with countertenor Reginald Mobley (May 25–31, various venues; visit www.aam.co.uk)

The English Concert, directed by Harry Bicket from the harpsichord, has begun an ambitious project to record on film every single piece of music by Handel for a free online resource (www.englishconcert.co.uk)

Florilegium, a period-instrument ensemble, is playing at the Bedford Festival on April 27, at the York Early Music Festival on July 7 and with the Somerset Chamber Choir at Wells Cathedral on July 27 (www.florilegium.org)

The Orchestra of the Age of Enlightenment (OAE) plays music on instruments for which it was originally written. ‘The sound world we get is amazing,’ says Cecelia Bruggemeyer, who plays a double bass that is about 300 years old and has strings made of uncovered gut. The OAE is in concert at Snape Maltings, Suffolk, on April 21, and plays Mendelssohn symphonies at London’s Southbank on April 25–26 (www.oae.co.uk)