Concerto in G Major, Op. 13, No. 4

Matthew Camidge (1758-1844) became Organist of York Minster when he succeeded his father, John I (1735-1803), who was a pupil of James Nares, Maurice Greene and G.F. Handel.

Matthew was first a chorister at York, but transferred to the Chapel Royal, where he too became a pupil of Nares. He became a favorite of King George III. He composed cathedral music, many chants (for the psalms) as well as "Six Concertos fpr the Organ or Grand Pianoforte". accompanied by the ingenious note declaring that "the Author in this work has Endeavoured to imitate the aprticular Style of Music which has been so much Admired namely that of Handel & Corelli, this Acknowledgement will he hopes secure him from the Critics Censure". Now THAT'S the way to do it!!! ;-)

When Matthew resigned from York in 1842, his son, John II, became organist, remaining until his death in 1859.

This "Concerto in G Major" is probably the most well-known of the group. The G-minor being a "close rival".

Considering the time of compostion, the music seems VERY "old-fashioned" in its "Baroque-like feeling."

In this performace, I did not strive for real "historical accuracy". Instead, I played the piece in a way that was they "style" in the 60's and 70's, based on recordings of the period.

The first movement, "Introduction (Larghetto) begins in the "typical voluntary style" using the Diapsons, with some solo figurations on the Swell Hautboy. This is followed by a lively "Fugue" which uses the full chorus (with tierces) in a dialogue bewteen "Full" and "Solo"

Next comes the "Larghettow" which is a stately movement in E minor, using the diapasons in various combinations.

The work ends with a "March" which is more "modern" in it's style and approach. Originally intended to be played without pedals, I've used them to good effect, making the sound grander.