Em Marshall
Managing & Artistic Director
The
English Music Festival
Em Marshall read Classics at Oxford,
and currently devotes all her energies
to making the EMF a successful enterprise.
With considerable festival experience
gained through work with both the Three
Choirs Festival and the Aldeburgh Festival,
Em also spent over six years with Thames
Publishing, and was later Concert Assistant
for the concert promoter firm, Music
at Oxford. When not working on the EMF,
Em’s attachment to English Music
continues through her roles of Secretary
for the Association of English Singers
& Speakers, Secretary of the Peter
Warlock Society, Head of Publicity for
the Elgar Society and Trustee of the
Vaughan Williams Society. She is the
editor of the AESS Journal and is regularly
in print, primarily as a reviewer and
freelance programme-note writer. She
has been involved in the promotion of
English music since the age of 15 and
is determined to see it fully appreciated.
England is fortunate in
having a great legacy of characterful and brilliant
composers whose inspiration and craftsmanship never fail to surprise
and delight. These composers have produced a corpus of works that
lends themselves to dramatic performances, and contain some of the
most beautiful and exciting pieces ever composed.
Although Elgar's great symphonies and Britten's powerful operas are
well represented in the concert hall and opera house, the exquisitely
crafted songs of Quilter or Warlock, Vaughan Williams' delightful
chamber music and the choral masterpieces of Holst, Bantock and Howells,
equal in stature, remain unjustly neglected and give way to works
by foreign composers of lesser merit. For example, in ten years of
Promenade concerts from 1992 to 2001 more time has been allocated
by the British Broadcasting Corporation to the music of Kurt Weill
than to the music of Stanford, Parry, Delius, Walton, Bax, Moeran,
Purcell and Holst put together.
The English Music Festival will rectify this great injustice and will
bring to light the richness and ingenuity of our musical heritage.
It will bring back to the repertoire pieces that should never have
fallen from favour and that can be argued to be far more exciting,
inspired and uplifting than much that is played in the concert hall
today.
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