From the 17th and 18th centuries we know some composers who presented
themselves as 'amateurs'. This means they didn't compose for
a living, mostly because they belonged to the upper echelons
of society and either didn't need to work at all or worked in
public service. The English composer John Marsh was also an amateur,
but of a different kind. His father was captain in the Royal
Navy, and wanted his son to follow in his footsteps. But Marsh
was more interested in music, and he persuaded his father to
allow him to undertake legal training and he became an apprentice
of a solicitor in Romsey. Meanwhile he learned to play the violin
and several other instruments. Marsh set up practice in Romsey
and he founded a series of subscription concerts for which he
himself wrote some compositions. In 1776 he moved to Salisbury
where he entered into a partnership. Here he also played an important
role in musical life. He played the violin in the subscription
concert series of which he became leader in 1780. He wrote symphonies
which were performed during the subscription concerts as well
as during the Salisbury Festival.
In 1783 he moved to Kent and immediately became involved in the
Canterbury Concert which he transformed into a successful organisation.
In 1787 he and his family moved to Chichester where he was to
remain for the rest of his life. Here again he was able to bring
the subscription concerts at a higher level as their manager
and leader. During his career he also wrote about music and in
1808 he published the Cathedral Chant Book, laying the foundations
for the reform of Anglican psalm chanting.
For an amateur this biography is quite impressive. Unfortunately
a considerable number of his compositions have been lost. His
output comprised, among others, 40 symphonies. Of these only
the 'Eight Favorite Symphonies' which were published between
1784 and 1800 and 'A Conversation Symphony' have survived. Four
of the 'Favorite Symphonies' are performed here. Marsh's symphonies
are written in early classical style, and there is clearly some
influence of Johann Christian Bach. That is in particular the
case in the 'Conversation Symphony' which is written for two
orchestras, like several of Johann Christian's symphonies. The
two groups, one for high and the other for low instruments, conduct
a dialogue which explains the symphony's name. Interesting is
also the Symphony No. 6 from the set of eight: the first movement
begins with a slow introduction, just like the symphonies by
Haydn. This symphony can be considered a homage to Haydn whose
music Marsh greatly admired.
This is one of the two symphonies on this disc which has four
movements: the third movements of this symphony and of the Symphony
No 4 are menuets. It is rather odd that in this recording the
closing movement of the latter symphony is left out. The booklet
doesn't tell whether the first release was on vinyl; this could
explain the omission of this movement. These compositions are
definitely worth to be performed and recorded, and from that
perspective this reissue can be welcomed. But I seriously doubt
whether the interpretation does Marsh a favour.
The performances are sympathetic and certainly not bad. But they
are not up to today's standards, and even in 1989, when this
recording was originally made, there were orchestras which performed
technically better and provided better interpretations. Technically
these performances are not top-notch: there are a number of passages
where the intonation leaves something to be desired and the playing
is less sophisticated and less polished than one may wish. I
also think the tutti passages are a bit massive and lack clarity.
But it is also the interpretation which doesn't do real justice
to Marsh's compositions. The dynamics are too flat: more dynamic
contrasts between notes and dynamic shades on single notes as
well as the use of crescendi and diminuendi would have made these
performances much more expressive and captivating. The two menuets
are rather ponderous and their rhythm isn't very well exposed.
It is really important that these symphonies are recorded, and
this disc has aroused my curiosity about other works by John
Marsh. Therefore I hope some first-rate orchestra
is going to record at least some of his orchestral works. Only
such
performances
could convince the sceptical music lover that the music of this
amateur is really worthwhile.
Johan van Veen
Editor' Note: John Sheppard
was more impressed by the Chandos recording of Marsh's symphonies,
including the 'Conversation' and No. 6, by the London Mozart Players
conducted by Matthias Bamert
(see
review).
The Chichester Concert/Ian Graham-Jones 
