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Scan 273
Grove's Dictionary of music and musicians, 1927
36 lines. Read by computer on 5 September 2026. Printed page 221. See the scan on archive.org.
1Bellini's first opera, 'Bianca e Ferdinando,' was written for Barbaja and produced at Naples. His second opera, 'Il pirata,' was also composed for Barbaja, and brought out at Milan. Several of Donizetti's works, and all Rossini's later works for the Italian stage, were first presented to the public by the famous impresario, who was destined one day himself to figure in an opera. Barbaja is at least introduced by name in 'La Sirène,' by Scribe and Auber. From his retirement till his death he resided on his property at Posilipo. He was very popular, and was followed to his grave by an immense concourse of people. C. F. P.
3BARBANDT, CARL (18th cent.), of German parentage, settled in London c. 1750, and appeared in public as a virtuoso on the oboe and the clarinet c. 1753–56. On the title-page of his 6 sonatas for 2 violins, 2 German flutes, or 2 'hoboys,' op. 1, published c. 1755, which are dedicated to the Princess of Wales, he calls himself 'Musician to His Majesty at Hanover.' Fétis says that in 1764 he was organist at the chapel of the Bavarian ambassador. In 1753–1763 he gave subscription concerts at the little theatre in the Haymarket, where oratorios were included in the programme, two being mentioned, 'The Universal Prayer,' words by Pope, and 'David and Jonathan.' It is said that Samuel Webbe was a pupil of his. He wrote a number of sonatas, duets and trios for various instruments; 'Hymni sacri,' 'Antiphonae,' etc. (1766), four favourite Italian songs, and also published 'Mr. B.'s yearly subscription of new music, to be deliver'd monthly' (1759–60). E. v. d. s.
5BARBARINO, BARTOLOMEO, 'da Fabriano, detto il Pesarino' (b. Fabriano, 16th/17th cent.). In 1606 he was in the service of the Bishop of Padua. He wrote a number of books of madrigals, motets, canzonets, sacred and secular songs, several books appearing in 3 or 4 editions between 1606 and 1617. E. v. d. s.
7BARBARINUS (BARBERINI), LUPUS MANFREDUS (b. Corregio, early 16th cent.). About 1550 he settled, probably at the invitation of the art-loving Prince-Abbot, Diethelm Blarer, at the Abbey of St. Gall, where 204 of his songs are preserved in two magnificent parchment codices. He wrote also: 'Symphoniae, seu insigniores aliquot ac dulcisonae 5 v. melodiae super D. Henr. Glareani Panegyrico de Helvet. tredecim urbium laudibus per . . .' (Basileae, 1558); 'Musice epitome . . .' (1559); 'Cantiones sacrae,' 4 v. (Aug. Vindel., 1560); and a number of pieces in various MS. collections. E. v. d. s.
9BARBELLA, EMANUELE (b. Naples, c. 1704; d. there, 1773), violinist.
11The following short account of his musical education was written by himself at the request of Dr. Burney, who gives it in his History (iii. 570):
13' Emanuele Barbella had the violin placed in his hand when he was only six and a half years old, by his father, Francesco Barbella. After his father's decease he took lessons of Angelo Zaga, till the arrival of Pasqualino Bini, a scholar of Tartini, in Naples, under whom he studied for a considerable time, and then worked by himself. His first instructor in counterpoint was Michele Gabbalone; but his master dying, he studied composition under the instructions of Leo, till the time of his death.'
15He adds,
17' Non per questo, Barbella è un vero asino che non sa niente'—'Yet, notwithstanding these advantages, Barbella is a mere ass, who knows nothing.'
19He wrote 9 trios for 2 violins and violoncello, 6 duets for violin and violoncello, several books of easy duets for 2 violins, 6 sonatas for violin, and 6 duos for violin and bass, adhering closely to the principles of Tartini. Burney gives an example of his composition, and says that his tone and manner were
21' marvellously sweet and pleasing, even without any other accompaniment than the drone-bass of an open string.'
23In 1753 an opera, 'Elmira generosa,' written in collaboration with Logroscino, was brought out at Naples. E. H. D.
25BARBERIJS (BARBERIO, BARBARIIS, BARBERIS), MELCHIORE DE, a 16th-century lutenist of Padua, who published 10 (?) books of pieces in lute tablature between 1546 and 1549, at Venice. E. v. d. s.
27BARBER OF BAGDAD, THE (Der Barbier von Bagdad); comic opera in 2 acts; words and music by Peter Cornelius; produced Weimar under LISZT (q.v.), Dec. 16,1 1858; in English, by the pupils of the R.C.M., Savoy Theatre, Dec. 9, 1891; Covent Garden, May 11, 1906.
29BARBER OF SEVILLE, THE. Operas of this name, founded on the celebrated play of Beaumarchais (1775), have been often produced. Two only can be noticed here: (1) that of Paisiello, produced St. Petersburg, 1780, and Paris, 1789—at the 'Théâtre de Monsieur,' in the Tuileries, July 12, and at the Théâtre Feydeau, July 22; (2) that of Rossini—libretto by Sterbini—produced Rome, Feb. 5, 1816; in London, King's Theatre, Jan. 27, 1818, in English, Covent Garden, Oct. 12, 1818; New York, Park Theatre (in English), May 3, 1819, in Italian, Nov. 29, 1825 (the first Italian opera given in the city); Paris, Salle Louvois, Oct. 26, 1819.
31BARBERS OF BASSORA, THE, a comic opera in 2 acts; words by Madison Morton; music by John Hullah, produced Covent Garden, Nov. 11, 1837.
33BARBETTA, GIULIO CESARE, a 16th-century lutenist of Padua who published 4 books of lute tablature between 1569 and 1603. Eight pieces from the 1st book, published 1569, have been republished in Chilesotti's 'The Lute-player.'
351 This date is given in the Leipzig Signale for Jan. 1859, but in Lina Ramann's Life of Liszt the day is given as the 15th.
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