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Thomas Chilcot (1707-1766) - Organ Concerto in D, No.3 (1765)

★ Follow music ►   / reciclassicat   Composer: Thomas Chilcot (1707-1766) Work: Organ Concerto in D, No.3 (1765) Performers: Andrеw WiIson-Dickson (organ); WеIsh Baroque Orchestra Drawing: Thomas Malton Jr. (1748-1804) - Milsom Street in Bath (1784) Image in high resolution: https://flic.kr/p/2kSoojh Map: George Willdey (1676-1737) - Map of Great Britain and Ireland (1715) Image in high resolution: https://flic.kr/p/2mKuuDc Further info: https://www.amazon.co.uk/Thomas-Chilc... Listen free: https://open.spotify.com/album/4jP2tt... --- Thomas Chilcot (Bath?, 1707 - Bath, 24 November 1766) English composer and organist. He was educated at Bath Charity School, and was apprenticed in 1721 to Bath Abbey organist Josias Priest, on whose death in 1725 he became acting organist on full salary. In 1728, when his apprenticeship was due to end, his appointment was confirmed, and he remained in the post until his death, rarely travelling far from Bath. He married Elizabeth Mills of Bath in 1729 and had seven children, of whom four survived. Following Elizabeth's death, he married Anne Wrey, a member of a prominent West Country family, in 1749; Thomas and Anne are depicted on a memorial tablet in Tawstock Church, near Barnstaple. Chilcot was active in the concert life of Bath, rented out instruments, and was a freemason and a founder-member of the Society of Musicians. His large private library, including a collection of Handel manuscripts, was sold by auction in 1767 and again in 1774. His pupils included Thomas Linley. The 12 concertos are sophisticated, large-scale works. The meticulously planned first movements are cast in binary form (occasionally evoking sonata forms), but the relationship between solo and tutti resembles ritornello form. Like the early works of Domenico Scarlatti, the first set of concertos is full of hand crossings, several-octave arpeggios and leaping figures. The second set is more restrained and mature. The slow movements are galant in style: the D minor Adagio from the fifth concerto of the 1765 set, for instance, has long coloratura melodies without losing its sense of direction. Orchestral parts were published for the 1756 concertos, and a set once owned by William Boyce was catalogued in 1928, but all copies are now lost (except for a single violin part at GB-Gm). The second set of concertos was intended to be published in the early 1760s, but was not actually issued until early 1767, shortly after Chilcot's death. The title-page mentions ‘accompanyments’, but it is uncertain whether orchestral parts were ever issued.