YOM MeN czse-ns29) Five) The Chichester Concert lan Graham-JonesJohn Marsh, born in Dorking in 1752, was a man of wide interests who, in common with other noted amateur musicians, published articles and books not only on music (eg a Cathedral Chant Book in 1808) but on subjects as diverse as geometry, astronomy, campanology and religion. As a young man he was directed by his father towards a naval career, but Marsh thought otherwise having ‘a strong dislike for the service’ (The John Marsh Journals ed, Brian Robins, Stuyvesant, NY, 1998). He trained as a solicitor in Romsey and also studied the violin with a Gosport organist. As music began to occupy a greater proportion of his time, he taught himself to play several instruments with considerable proficiency. In 1776 he and his wife moved to Salisbury (her home town) where he set up a legal practice and became a pillar of the local thriving music scene, leading and composing music for the local orchestra and occasionally playing the organ at cathedral services, Having inherited Nethersole House near Canterbury he moved to Kent in 1783 and immediately set about reviving the local music scene there. The cost of keeping his Kentish estate became prohibitive (he had given up his legal career) and Marsh moved to Chichester in 1787. In Chichester Marsh found himself faced, as previously in Salisbury and Canterbury, with a stagnating musical milieu; local politics had had a devastating effect upon the standard of playing and the organisation of subscription concerts. Newspapers were quick to point out Marsh’s invaluable contribution to music in and around Chichester. He retired from leading and directing Chichester’s orchestra in 1813, spending more time with his family and travelling. He died in Chichester in 1828. Chichester was indeed fortunate, as had been Canterbury and Salisbury, to have a musician as enthusiastic and as tireless as John Marsh. A prolific composer, he composed about 40 symphonies, a substantial amount of keyboard music and much sacred and secular vocal music. Unfortunately many works have been lost, a result perhaps of his choosing not to publish his music in London; however interest in this little-known composer grew during the 250" anniversary celebrations of Marsh’s birth held in Chichester in 2002. . Despite the presence of Marsh’s Journals, experts have been unable to confirm the exact date of many of the surviving compositions. These world premiere recordings of five of the nine surviving symphonies were made in July 1998 and would appear to have been composed between c1770 and 1796. The earliest is probably the Symphony no. 3 in D (Marsh’s Journal mentions a Symphony in D composed in 1770 as being his first retained composition and in the sleeve note for the originalrelease Brian Robins states that stylistically this is the earliest of the works here recorded). Marsh clearly kept abreast of current musical trends and in his Symphony no. 1 in B flat (1783), in common with many notable composers of the period, he makes use of a Chasse (hunting) finale. He was however also keen to place his own imprint in his compositions: the Conversation Symphony for Two Orchestras (1778), although doubtless modelled upon the double symphonies of Johann Christian Bach (who was resident in London from 1762), contrasts the higher and lower instruments of the orchestra (Bach uses the same instruments within two orchestras). Most of Marsh’s symphonies would appear to be in three movements, but two of the symphonies presented here follow the ‘Mannheim’ formula, which includes a minuet movement placed between the slow movement and the finale. The final movement of one of these symphonies however (no. 4 in F major, composed c1788) is not included in this recording. The Symphony no. 6 in D major is scored for larger forces, including trumpets and timpani. Two possible dates have been given for the composition of this latter symphony ~ 1784 and 1796 although the use of ‘military’ instruments in the Symphony no 6 might indicate that 1796 is the more likely. Orchestras lacking trumpet and timpani players often called upon the services of the local military and, with the threat of a possible French invasion, the Chichester Volunteers were formed in 1795. Marsh, who had turned down a naval career, had been appalled at the carnage and loss of innocent life during the French Revolution; he enlisted with the Chichester Volunteers at the earliest opportunity and served with them for 13 years, becoming a major in 1805, a time when the threat of French invasion was at its greatest, In his Journal Marsh paints a picture of England’s somewhat haphazard home front defences and his man-management skills were doubtlessly severely tested: the men were enthusiastic enough when it came to drilling and target practice but had little respect for army professionals. They created an almighty fuss over their ill-fitting uniforms, three of them choosing ‘to behave riotously...and marching back (from Hunston Common) towards Chichester” (18 July 1808). The Chichester Concert is augmented from The Consort of Twelve, an ensemble formed in 1982, made of musicians from Sussex and Hampshire who specialise in lesser-known music from the Baroque and Classical periods including Zelenka, Biber, Roman as well as composers often featuredJohn Marsh (1752-1828): Five Symphonies The Chichester Concert Director: Ian Graham-Jones Leader: Paul Denley Symphony No.1 in Bb (10:13) [1] Allegro 4:23 [2] Andante Sill [3] Allegro 2:38 Symphony No.3 in D (9:14) [4] Allegro 4:07 [5] Andante 2:35 [6] Presto 2:29 Symphony No.4inF (11:21) [7] Allegro 4:10 [8] Larghetto 4:01 [9] Minuetto 3:08 Symphony No.6in D (20:11) [10] Largo maestoso - Allegro spiritoso 6:34 [11] Andante [12] Minuetto 3:45 [13] Allegro scherzando 4:09 A Conversation Symphony for Two Orchestras _ (13:27) [14] Allegro maestoso 7:00 [15] Andante - Adagio 2:30 [16] Allegretto 3553) All symphonies edited Ian Graham-Jones except No. I (ed. Brian Robins) Rec: Chichester July 1989 / Recording Engineer: Antony Howell, Producer: Jackie Warrender; Associate Producer: Arthur J. Cook Licensed from Francis A. Wilson Mastered for alto by Paul Arden Taylor (www.dinmore-records.co.uk) TOTAL TIME 64:24in Marsh’s concerts in the late eighteenth / early nineteenth century. Since 1982 they have given over 100 concerts and they have performed with artists of the calibre of Emma Kirkby, Evelyn Tubb, Paul Esswood and Sophie Yates. They are currently led by Judy Tarling. Both groups were founded by Ian Graham-Jones, who trained at the Royal Academy of Music. Graham-Jones lived for some years in Cornwall where he was elected a Bard of the Cornish Gorsedd and he has been a long-standing Associate Lecturer in musie for the Open University. A highly accomplished musician, he plays not only harpsichord and piano, but also the cello and viol. Since moving to Sussex, Ian Graham-Jones has edited the nine surviving symphonies of John Marsh, published in a two volume set by A-R Editions. Another research interest for him is the music of Alice Mary Smith (1839 84), the first English woman symphonist. The first leader of The Chichester Concert and its co-founder was Paul Denley who studied violin at the Royal Academy of Music and who now plays many different stringed instruments. In huge demand as an instrument maker (a trade learnt in Cremona, renowned as the first great centre of violin making), Denley also regularly performs with, and supplied instruments for, the Parley of Instruments. ©2007 James Murray (www.kernowclassics.co.uk)alto =a label of Musical Concepts: www.musicalconcepts.net (43-40 Thirty-Fourth St., Long Island City, NY 11101 (USA) Cover image: “We’re up here” by Myles Birkett (1825-99) courtesy www. fineartphotolibrary.com Design produced by Imergent Images Ltd (info@imergent.co.uk) Project Co-ordinator: Robin Vaughan (musicalmerit@blueyonder.co.uk) Others available: (Baroque Bohemia and beyond series by Czech Chamber Philharmonic): ALC 1001 (Benda, Barta, Richter, Stamic, Vaihal) ALC 1002 (Vaithal, Dusek, Brixi, Vranicky) ALC 1003 (Linek, KoZeluh, Brixi, Rejcha) ALC 1014 (Mysliveéek; Gallina; Vent; Barta; Fiala) ALC 1004 Medieval Christmas (Tavern & Tabernacle!) by Pro Cantione Antiqua ALC 1005 Shostakovich & Tchaikovsky Piano Trios / Rosamunde Trio (new rec.) ALC 1006 Festive Mass in Vienna, 1648 / Yorks Bach Choir/ top soloists/ Seymour ALC 1007 Jussi Bjrling: In Concert (Camegie Hall) plus great duets ALC 1008 Elisabeth Schwarzkopf sings Strauss and Mozart inel. Four Last Songs ALC 1009 Puccini Love Duets: de los Angeles/ Callas/ Tebaldi/ di Stefano/ del Monaco ALC 1010 Sonatas with Richter: Haydn, Mozart, Beethoven (also Oleg Kagan) ALC 1011 Liszt: Piano Concertos 1,2 / Sonata B minor / Mephisto Waltz/ Jorge Bolet ALC 1012 MacDowell: Pno Cones 1.2 /'To a Wild Rose/New England Sketches/ Donna Amato ALC 1013 Holst: Planets / Brook Green / St. Paul’s Suite / RPO/ Handley/ Wordsworth ALC 1015 Music for Tudor Kings (Henry VII & VII) / Hilliard Ensembie ALC 1016 Beethoven “named” Piano Sons: Moonlight, Pathetique, Appassionata ete / Brendel ALC 1018 The Art of Alfred Deller / highlights from his classic Vanguard recordings ALC 1019 Khachaturian: Widow of Valencia/ Battle of Stalingrad/ Masquerade/ Armenian PO ALC 1020 La Boheme highlights / Maria Callas/ Di Stefano / Panerai / Karajan ALC 1021 Myaskovsky: Symphonies 15, 27 / Russian Academic F.O/ Svetlanov ALC 1022 Myaskovsky: Symphonies 16, 19 / Russian Academic F.O/ Svetlanov) ALC 1023 Myaskovsky: Symphonies 17, 21, Salutatory Ovt /Russian Academic F.O/ Svetlanov ALC 1025 Vaughan-Williams On Wenlock Edge (Maran !)/ Serenade (Wood) Old King Cole ALC 1026 Walton: Fagade (Sitwell/Pears) / Henry V Music / Orb & Sceptre march (Sargent) ALC 1027 Sacred Brass (Gabrielis, J S Bach, Clarke ete arr Erie Crees / LSO Brass / Crees ALC 2001 Puccini: Manon Lescaut / Bjorling / Albanese/ Perlea (2CD) ALC 2002 Handel: Judas Maceabeus/ Harper’ Watts/ Shirley-Quirk/ ECO /Somary (2CD) ALC 2003 Handel: Semele / Armstrong / Watts / Diaz./ Tear / Palmer! ECO / Somary (2CD) ALC 2004 Verdi: Il Trovatore / Callas / Di Stefano / Herbert von Karajan (2CD)John Marsh (1752-1828): Five Symphonies ALC 1017 = i t The Chichester Concer a l t 0 = = ie alto Director: Ian Graham-Jones Leader: Paul Denley “local enterprise, to be sure, but one which deserves nationwide or indeed international dissemination....John Marsh ...spent 40 years of his life at Chichester in Sussex...The | five symphonies were written between about 1770 and 1788. The spirit of Handel is | apparent, as is the influence of J. C. Bach ... But Marsh was more than a mere provin« al | amateur. His work has strength and a very pleasant, engaging and individual person the quality of invention is high, and the craftsmanship is skilled, steady and Marsh deserves much more than local posthumous esteem, for there were | composers of international fame who wrote much less appealing music Chichester Concert, on copies of 18th-century instruments, are an accor and lan Graham-Jones directs stylish, lively performances. The p! an attractive, quite spacious acoustic and the quality is first rate.” © [1-3] Symphony No.1 in Bb (10:13) [4-6] Symphony No.3 in D (9:14) [7-9] Symphony No.4 in F (11:21) [10-13] Symphony No.6 in D (20:11) [14-16] Conversation Symphonie for Two Orchestras (13:27) < All symphonies edited Ian Graham-Jones except No. I (ed. Brian Rol Ree: Chichester July 1989 / Recording Engineer: Antony Howell, Producer: Jackie Warrender; Associate Producer: Arthur J. Cook Licensed from Francis A. Wilson Previously OCD 400 alto: a label of Musical Concepts www.musicalconcepts.net John Marsh Five Symphonies Chichester Concert ALC 1017