William Babell
William Babell (or Babel) (1689/1690 - 23 September 1723) was an English mu… Read Full Bio ↴William Babell (or Babel) (1689/1690 - 23 September 1723) was an English musician, composer and prolific arranger of vocal music for harpsichord. He received his musical training from his father, Charles Babel, a bassoonist in the Drury Lane orchestra, Johann Christoph Pepusch and possibly George Frideric Handel. He played the violin in the private band of George I, and appeared as a harpsichordist from 1711, often appearing with William Corbett, James Paisible and later Matthew Dubourg. He was associated with Lincoln's Inn Fields Theatre. From November 1718 until his death, he was organist of All Hallows, Bread Street, where he was succeeded by John Stanley.
He wrote numerous keyboard arrangements of arias from the popular operas of his time. These were published in France, The Netherlands and Germany, as well as in England, and they became the basis of his musical reputation. His style was strongly influenced by his close acquaintance with Handel. Johann Mattheson considered he surpassed Handel as an organist virtuoso, though musical historian Charles Burney criticised his manner of playing arrangements, charging that he:
“ acquired great celebrity by wire-drawing the favourite songs of the opera of Rinaldo, and others of the same period, into showy and brilliant lessons, which by mere rapidity of finger in playing single sounds, without the assistance of taste, expression, harmony or modulation, enabled the performer to astonish ignorance, and acquire the reputation of a great player at a small expence … Mr Babel … at once gratifies idleness and vanity. ”
Babell's transcription of some of arias from Handel's opera Rinaldo are of an extreme virtuosity and claimed by him to be an accurate record of how Handel played and improvised in performances.[1][2] Despite Burney's criticism, fellow musical historian Sir John Hawkins thought that they 'succeeded so well … as to make from it a book of lessons which few could play but himself, and which has long been deservedly celebrated.' Babell also wrote original sonatas for flute, violin and continuo, concertos and a few other things. His slow movements are considered a valuable insight into early 18th-century practices of ornamentation and extemporization. His early death was attributed to 'intemperate habits’. He was buried in All Hallows Church, Canonbury, Islington.
[edit] Printed works
* The 3rd Book of the Ladys Entertainment, or Banquet of Musick [harpsichord arrangements] (1709)
* The 4th Book of the Ladys Entertainment [harpsichord arrangements] (1716)
* Suits of the Most Celebrated Lessons [harpsichord arrangements of Handel, some original material] (1717), reprinted as Suits of Harpsichord and Spinnet Lessons (1718)
* The Harpsichord Master Improved … with a Choice Collection of Newest and Most Air'y Lessons (1718)
* Trios de diefferents autheurs choises & mis en ordre par Mr Babel [harpsichord arrangements] (1720)
* XII Solos … with Proper Graces Adapted to Each Adagio, book 1 (violin/oboe, harpsichord) (c.1725)
* XII Solos … with Proper Graces Adapted to Each Adagio, book 2 (violin/oboe/flute, harpsichord)
* Concertos in 7 Parts for violins and small flute, or sixth flute (soprano recorder in D), op.3 (c.1726)
Other works for solo harpsichord survive in manuscript.
He wrote numerous keyboard arrangements of arias from the popular operas of his time. These were published in France, The Netherlands and Germany, as well as in England, and they became the basis of his musical reputation. His style was strongly influenced by his close acquaintance with Handel. Johann Mattheson considered he surpassed Handel as an organist virtuoso, though musical historian Charles Burney criticised his manner of playing arrangements, charging that he:
“ acquired great celebrity by wire-drawing the favourite songs of the opera of Rinaldo, and others of the same period, into showy and brilliant lessons, which by mere rapidity of finger in playing single sounds, without the assistance of taste, expression, harmony or modulation, enabled the performer to astonish ignorance, and acquire the reputation of a great player at a small expence … Mr Babel … at once gratifies idleness and vanity. ”
Babell's transcription of some of arias from Handel's opera Rinaldo are of an extreme virtuosity and claimed by him to be an accurate record of how Handel played and improvised in performances.[1][2] Despite Burney's criticism, fellow musical historian Sir John Hawkins thought that they 'succeeded so well … as to make from it a book of lessons which few could play but himself, and which has long been deservedly celebrated.' Babell also wrote original sonatas for flute, violin and continuo, concertos and a few other things. His slow movements are considered a valuable insight into early 18th-century practices of ornamentation and extemporization. His early death was attributed to 'intemperate habits’. He was buried in All Hallows Church, Canonbury, Islington.
[edit] Printed works
* The 3rd Book of the Ladys Entertainment, or Banquet of Musick [harpsichord arrangements] (1709)
* The 4th Book of the Ladys Entertainment [harpsichord arrangements] (1716)
* Suits of the Most Celebrated Lessons [harpsichord arrangements of Handel, some original material] (1717), reprinted as Suits of Harpsichord and Spinnet Lessons (1718)
* The Harpsichord Master Improved … with a Choice Collection of Newest and Most Air'y Lessons (1718)
* Trios de diefferents autheurs choises & mis en ordre par Mr Babel [harpsichord arrangements] (1720)
* XII Solos … with Proper Graces Adapted to Each Adagio, book 1 (violin/oboe, harpsichord) (c.1725)
* XII Solos … with Proper Graces Adapted to Each Adagio, book 2 (violin/oboe/flute, harpsichord)
* Concertos in 7 Parts for violins and small flute, or sixth flute (soprano recorder in D), op.3 (c.1726)
Other works for solo harpsichord survive in manuscript.
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01Suits of the Most Celebrated Lessons, Set 1: Rinaldo: Lascia ch'io pianga (arr. for harp)William BabellWilliam Babell
04Concerto in Seven Parts, mvmt. III. Allegro (Franz Bruggen, Bruggen Consort)William BabellWilliam Babell
10Sonata in E Minor, Op. 5, No. 8 (arr. W. Babell): II. Allemanda: AllegroWilliam BabellWilliam Babell
12Concerto No. II for sixth flute in D Major, Op. 3: I. Adagio - AllegroWilliam BabellWilliam Babell
13Sonata in E Minor, Op. 5, No. 8 (arr. W. Babell): IV. Giga: Allegro (arr. W. Babell)William BabellWilliam Babell
15Sonata in C Major, Op. 5, No. 10 (arr. W. Babell and M. Blavet): IV. Giga: Allegro (arr. W. Babell)William BabellWilliam Babell
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