BARNBY, Joseph, born at York Aug. 12, 1838, a chorister in York Minster, and student at the Royal Academy of Music: was for nine years organist of St. Andrew's, Wells Street, London, and contributed much to the excellence of the services at that church. Conductor of 'Barnby's Choir,' of the 'Oratorio Concerts,' and of the Royal Albert Hall Choral Society; and appointed to the important post of succentor and director of musical instruction at Eton College, 1875. Mr. Barnby has published an oratorio, 'Rebekah,' which contains some charming modern music, and many other compositions, both sacred and secular. He edited the 'Hymnary' for Messrs. Novello, to which he contributed many tunes, justly admired for beauty of melody and harmony.
[ E. F. R. ]
[App. p.531 adds "the time of Mr. Barnby's tenure of St. Andrew's, Wells Street, was from 1863 to 1871, when he became organist of St. Anne's, Soho. Here be instituted the annual performances of Bach's 'Passion according to St. John,' which he had previously introduced to English audiences at the Hanover Square Rooms. At the formation of the London Musical Society [see that article in Appendix] he was appointed conductor, and in this capacity introduced Dvořák's 'Stabat Mater' and other important novelties. On Nov. 10, 1884 the Albert Hall Choral Society gave under his direction a remarkable performance of the music of Wagner's 'Parsifal,' in which the principal solo parts were sung by some of their greatest German representatives. In 1886 he succeeded Mr. Shakespeare as conductor at the Royal Academy of Music. Mention must be made of his psalm, 'The Lord is King,' produced with success at the Leeds Festival of 1883. (Died Jan. 28, 1896.)"]
[ M. ]
BARSANTI, Francesco, born at Lucca about 1690. In 1714 he accompanied Geminiani to England, which country henceforth became his own. He played both the flute and oboe, the latter for many years in the opera band. He held a lucrative situation in Scotland, and while there made and published 'A Collection of Old Scots' Tunes, with the Bass for Violoncello or Harpsichord,' etc. (Edinburgh, 1742). After his return to England about 1750, he played the viola at the opera in winter and Vauxhall in summer. At the close of his life he was dependent upon the exertions of his wife and his daughter, a singer and actress of considerable ability. His other publications include 'Twelve concertos for violins,' and Six 'Antifone' in the style of Palestrina.
[ M. C. C. ]
BARTEI, Girolamo, general of the Augustin order of monks at Rome in the beginning of the 17th century. From two somewhat obscure passages in Baini's 'Memorie' we gather that he published at Rome in 1618 some masses for eight voices, some ricercari for two voices, and two books of concerti for two voices. To these Fétis adds some 'Responsoria' for four equal voices, printed at Venice in 1607.
BARTHEL, Johann Christian, born at Plauen 1776, a musician from a very early age, in 1789 played at the house of Doles before Mozart, who praised him highly, and soon after entered the school of St. Thomas at Leipsic as a pupil of J. A. Hiller. At sixteen, on Hiller's recommendation, he was appointed concert-conductor to the court of Schöneburg, and some time afterwards occupied a similar post at Greitz. In 1806, on the death of J. G. Krebs, was appointed organist to the court of Altenburg, where he remained till his death in 1831.
[ M. C. C. ]
BARTHELEMON, François Hippolite, born at Bourdeaux July 37, 1741, was the son of a French government officer and an Irish lady. He commenced life as an officer in the Irish brigade, but being induced by the Earl of Kelly, a well-known amateur composer, to change his profession for that of music, he became one of the most distinguished violinists of his time. In 1765 he came to England, and was engaged as leader of the opera band. In 1766 he produced at the King's Theatre a serious opera called 'Pelopida,' and in the same year married Miss Mary Young, a niece of Mrs. Arne and Mrs. Lampe, and a favourite singer. In 1768 Garrick engaged him to compose the music for the burletta of 'Orpheus,' introduced in his farce 'A Peep behind the Curtain,' the great success of which led to his composing the music for other pieces brought out at the same theatre. In 1768 he went to Paris, and produced there a pastoral opera called 'Le fleuve Scamandre.' In 1770 Barthélémon became leader at Vauxhall Gardens [App. p.532 "Marylebone Gardens"]. In 1776 he left England with his wife for a professional tour through Germany, Italy, and France. At Florence Barthélémon, at the request of the Grand Duke of Tuscany, set to music the Abate Semplici's oratorio 'Jefte in Masfa.' He returned to England late in 1777. An acquaintance with the Rev. Jacob Duché, chaplain to the Female Orphan Asylum, led to his composing, about 1780, the well-known tune for the morning hymn 'Awake, my soul.' In 1784 Barthélémon and his wife made a professional visit to Dublin. In 1791–5 he contracted an intimacy with Haydn, then in London. On Sept. 20, 1799, Mrs. Barthélémon died. Besides the compositions above named Barthélémon wrote the music for the following dramatic pieces:—'The Enchanted Girdle'; 'The Judgment of Paris,' 1768; 'The Election,' 1774; 'The Maid of the Oaks,' 1774; 'Belphegor,' 1778; and several quartets for stringed instruments, concertos and duos for the violin, lessons for the pianoforte, and preludes for the organ. As a player he was distinguished by the firmness of his hand, the purity of his tone, and his admirable manner of executing an adagio. He died July 20, 1808.
[ W. H. H. ]
BARTHOLDY, Jacob Salomon, of a Jewish family, born at Berlin 1779, died in Rome 1825, a Prussian diplomatist, and author of an important article in the Berlin 'Musikalischer Zeitung' for 1805, 'Ueber den Volksgesang der Sicilianer.'
[ M. C. C. ]
BARTHOLOMEW, William, born in London 1793; died Aug. 18, 1867. A man of many accomplishments chemist, violin-player, and excellent flower-painter; but to the English public familiar as the translator or adapter of the words of most of Mendelssohn's vocal works. The English text of 'St. Paul' was adapted by Mr. W. Ball, but 'Antigone' (for which he received the gold medal of merit from the King of Prussia), 'Athalie,' 'Œdipus,' 'Lauda Sion,' the'Walpurgisnight,' the Finale to 'Loreley,' 'Elijah,' and the fragments of 'Christus,' with most of Mendelssohn's songs, were Mr. Bartholomew's work—not, as any one familiar with Mendelssohn's habits will believe, without constant suggestion and supervision from the composer. 'Hear my Prayer' was composed at Mr. Bartholomew's request for the concerts of Miss Mounsey, a lady whom he married in 1853. Besides the above, Mr.
