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Scan 144
Cyclopedia of music and musicians, 1888
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1there in 1773. Violinist; pupil of his father Francesco Barbella, of Angelo Zaga, and of Pasqualino Bini, a pupil of Tartini in Naples; instructed in counterpoint by Michele Gabbalone and Leo. He had Raimondi for his pupil. Works: 6 duets for 2 violins and 6 sonatas for violin (London); 6 duets for violin; 6 duets for 'cello, op. 4 (Paris). Burney, in his History of Music, gives, Tinna Tonna, per prender sonno, a charming piece for double string, by Barbella.—Fétis; Schilling.
3BARBEREAU, (MATHURIN AUGUSTE) BALTHAZAR, born in Paris, Nov. 14, 1799, died there, July 18, 1879. Instrumental composer, pupil of Reicha at the Conservatoire. He won the grand prix in 1824, visited Italy and Germany, was for some years chef d'orchestre at the Théâtre des Nouveautés, and at the Théâtre Français, then devoted himself for many years to historical studies and teaching, and in 1872 became professor at the Conservatoire. Works: Agnes Sorel, cantata (grand prix, 1824); Several overtures for orchestra; Part of the music to the lyrical drama Les Sybarites de Florence, given at the Théâtre des Nouveautés, 1831. He wrote a treatise on composition (1845, unfinished); and "Études sur l'origine du système musical" (1852, do.).—Fétis; do., Supplément, i. 42.
5BARBERS OF BASSORA, THE, English comic opera in two acts, text by Madison Morton, music by John Hullah, represented at Covent Garden, London, Nov. 11, 1837.
7BARBIER, FRÉDÉRIC ÉTIENNE, born in Metz, Nov. 15, 1829, still living, 1888. Dramatic composer, pupil of Darondeau, organist at Bourges. He was destined for the army or the law by his family, but a little opéra-comique which he produced at Bourges, Le Mariage de Colombine, decided his career and enabled him to devote himself to the study of music. He went to Paris, was presented to Sévestre, director at the Lyrique, and made the acquaintance of Adolphe Adam, who gave him lessons in composition and helped him to bring out at the Lyrique, in 1855, Une nuit à Séville, which was favourably received. Two months after he produced Rose et Narcisse (1855), and since that time he has had his operas played on all the lyric stages of France and in all the cafés-chantants of Paris. He has written more than sixty opéras-comiques, opérettes, and ballets, besides three hundred duets, romances, mélodies, chansonnnettes, and dance music. He was chef d'orchestre of the Théâtre International in 1867, and has been director at the Alcazar for some years. He has been musical critic and has written for many musical sheets. Besides operas mentioned, the following have been given in Paris, at the Folies Nouvelles: Le Pacha, Francaster, Le Page de Mme Malbrough, Le Faux Faust, 1858; Le Docteur Tam-Tam, 1859. At the Théâtre Déjazet: Monsieur Deschalumeaux, Le grand Roi d'Yvetot, 1859; Le loup et l'agneau, 1862; Simon Terre-Neuve, 1863; Deux permissions de dix heures, 1864; Panne aux airs. At the Théâtre du Chalet des Îles: Les amours d'un Shah, Flamberge au vent, 1861. At the Folies Marigny: Versez, Marquis, La cigale et la fourmi, 1862; La gamine du village, Les trois Normandes, 1863; Achille chez Chiron, 1864. Théâtre Saint-Germain: La bouquetière de Trianon, 1864. Bouffes Parisiens: Mme Pygmalion, 1863; Un congrès de modistes, 1865; Une femme qui a perdu sa clef, 1866. Théâtre International: Gervaise, 1867. Fantaisies Parisiennes: Les oreilles de Midas, 1866; Les légendes de Gavarni, 1867; Le soldat malgré lui, 1868. Folies Bergère: Mam'zelle Pierrot, 1869. Variétés: Mam'zelle Rose, 1874. At the Concert de l'Eldorado: Le souper d'Arlequin; Balladine et Casquenfer; Un mariage au gros sel; Don Ferocio; Le beau chasseur; Fermé le dimanche; Un procès en séparation; On demande un prêtre; Un souper chez la Constat; L'acteur Omnibus; Un lendemain de noce; La bonne de ma tante; Une cause
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