JOHN MARSH AND PROVINCIAL MUSIC MAKING IN EIGHTEENTH-CENTURY ENGLAND

References

• Cambridge University Library, Add. MS 7757. It is no longer quite as incomplete: one of the missing volumes (No. 14) has recently come to light in New Zealand, where it was found in the possession of a distant descendant of Marsh's by marriage; it has now been given to Cambridge University Library.
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• ‘History of my Private Life’, Huntington Library MS 54457.
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• Huntington Library Quarterly, 58/4 (1997).
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• Mention must also be made of the pioneering work done by Charles Cud worth and Stanley Sadie in this field. In particular the latter's article ‘Concert Life in Eighteenth Century England’ (PRMA, 85 (1958), 17–30) made an early and important contribution to the subject.
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• ‘History’, v. 87–8. ‘Mrs M’ is Marsh's wife Elizabeth (née Brown); Marsh uses the, by then, old-fashioned term ‘ripieno’ frequently.
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• For an account of James Harris's musical activities in Salisbury see Clive T. Probyn, The Sociable Humanist (Oxford, 1991), 209–16.
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• See Trevor Fawcett, Music in Eighteenth-Century Norwich and Norfolk (Norwich, 1979) for an account of concert life in Norwich.
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• ‘History’, viii, 148.
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• ‘History’, ii, 126–7.
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• ‘History’ v, 82.
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• ‘History’, xi, 131.
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• ‘History’, vi, 124–5. ‘Mr Earle’ can be identified as William Benson Earle (1740–96), a wealthy amateur musician who took over management of both the festival and subscription concerts in Salisbury after the death of James Harris in 1780. Gabriele Piozzi (1740–1809) was an Italian music-master who had established himself in Bath, but is best remembered today as the man who married the widowed Mrs Thrale, an event which incurred the wrath of her long-standing friend, Dr Samuel Johnson. Tewksbury was a dancing-master from Wincanton in Somerset who led the Salisbury concerts for some years; he died in 1780.
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• ‘History’, xviii, 51.
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• ‘History’, vi, 79–80.
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• ‘History’, xxv, 85–6.
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• See the Appendix for other performances. Most of the other works included in this concert can be identified: ‘You gave me your heart’ by the elder Samuel Webbe won a Catch Club prize in 1776. ‘The Prince unable to Complain’ was one of four songs contributed by Thomas Arne to An Hospital for Fools, first produced at Drury Lane in 1739. The Corelli is the Concerto Grosso in D, Op. 6 No. 4. ‘Braghela’ (O strike the harp) was composed by R.J.S. Stevens in 1794 (Recollections of R.J.S. Stevens, ed. Mark Argent (London, 1992), 109–11). The tenor aria ‘But thou didst not leave’ (Messiah, Part II) was presumably transposed for treble. William Shield's successful ballad opera Rosina was first produced at Covent Garden in 1782; it included several popular songs for the eponymous heroine. ‘The Witches’ was a popular glee by Matthew Peter King (1733–1823).
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• ‘History’, xxx, 13.
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• ‘History’, ii, 66–7.
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• ‘History’, xii, 106–7.
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• Fawcett (op. cit., 49) has drawn attention to the remarkable ubiquity of Haydn's works in Norwich concert programmes during the 1780s.
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• ‘History’, vii, 178. The Haydn symphony is No. 44 in E minor ‘Trauersinfonie’.
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• ‘History’, xi, 143.
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• ‘History’, viii, 148–9. ‘Tenor’ refers to the viola; again Marsh is using the old-word, a practise he maintained throughout his life.
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• ‘History’, viii, 152–3.
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• ‘History’, xxiii, 91–2.
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• ‘History’, viii, 153–4. Henry Harington (1727–95), an MD and sometime mayor of Bath was also a highly successful composer of glees and catches.
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• ‘History’, xvi, 86–7.
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• Marsh makes it clear on a number of occasions that some of the gentlemen players were unquestionably of a calibre fully equal to their professional colleagues.
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• ‘History’, xii, 124.
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• ‘History’, xi, 132–3.
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• ‘History’, xv, 45.
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• ‘History’, xv, 48.
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• ‘History’, xix, 99.
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• Instructions and Progressive Lessons for the Tenor (Goulding, 1821). The above extract is abridged from an excerpt quoted in Charles Cudworth, ‘Notes and Queries’, Galpin Society Journal, 19 (1966), 133–4.
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