Complete Encyclopaedia of Music/B/Barnett, John
Barnett, John, is the eldest son of Mr. Barnett Barnett, a respectable jeweller and diamond merchant, residing in London ; he was born at Bedford in 1802. When only two years of age, he discovered so strong a genius for music, that he could, after once having heard an air, sing it with an exactness truly astonishing ; besides which, he could sing a part of a glee, or form ex-act harmony to any theme that happened to be sung, of course without any. knowledge of notes. We cannot here resist the desire of introducing an anecdote respecting him at this time. His mother lulled him to rest with a German nation-al air, (her own native music,) which he soon learned by the frequent hearing of it, and actually sang in the cradle ; the same will be found among his piano-forte works, arranged as a fantasia. From the age of eight he became passionately fond of singing and declamation, and composed the melodies of many little songs for him-self and his brothers, which he taught them from memory, not yet having a knowledge in music, nor any means of writing down his effusions. At ten years old his voice became peculiarly powerful, and distinctly different from the generality of juvenile voices, being a contralto, a species of voice never before known in a boy; possessing at the same time the compass and quality of the tenore, contralto, and soprano. At this time he was able to sing the most difficult songs of Braham without the least knowledge of music. In 1813, he was introduced to Mr. S. J. Arnold, (proprietor of the English Opera, and then manager of Drury Lane,) who, upon hearing him, was so much astonished, that he immediately entered into articles of agreement with Mr. Barnett, sen., to take his son under his direction for five years, and provide him with proper instructors in music, &c. He brought him before the public on the 2d of July, 1813, (after giving him but a very few days' time to study his part,) at the English Opera, in the "Shipwreck," which made a considerable impression upon the audience. The ensuing winter, 1813-14, Mr. Arnold brought him out at Drury Lane, where he sang in one piece thirty successive nights or upwards, and was, the same season and three following, engaged as principal singer at the oratorios. Mr. Arnold behaved in the kindest manner towards him ; but being much occupied with his management of Drury Lane, and the rebuilding of the English Opera, which had recently been pulled down, he did not attend to his musical studies, but intrusted his tuition to a master, who took advantage of Mr. Arnold's occupations by not instructing young Barnett at all on the piano, and endeavoring to teach him composition from an abstruse work of Gasper Heck, to understand the elaborate rules of which required a course of study of at least three years. In consequence of this, Barnett gained but little knowledge during the five years, at least from the instructions of his teacher. At this period, however, he exercised his natural talents for composition, and printed several things (which are now to be seen) as by "Master Barnett ; " one of which, entitled "The Groves of Pomona," a scena, is peculiarly noticed and highly spoken of in the Musical Quarterly Review, No. IX. In 1815, Barnett appeared at Covent Garden, at which theatre he was engaged for two years, or a longer period, at the discretion of the proprietors. His voice changing about the close of that season, he received his discharge, as though he had been regularly engaged for one season only; upon which occasion a lawsuit ensued, and Mr. Barnett, sen., recovered damages to a satisfactory amount. Having now been long without instruction in any branch of music whatever, Barnett felt compelled to pursue his studies from the perusal of works only, depending much on his own natural talent for any improvement he might make. Having, however, contracted numerous bad habits in piano-forte playing, he was placed by his father under the celebrated Ferdinand Ries, who improved him considerably on the piano, and also in the German school of composition. The following is a list of Barnett's principal works. All those which are in manuscript are intended for publication. Vocal : "Grand Mass," No. 1, in G. min. ; "Grand Mass," No. 2, in C ; "Russian Melodies, with Words," one vol. ; "Cantata for four voices, with Solos and Chorus. es, including Storm Chorus ; " "Three Glees," one set ; "Shadows fly hence," madrigal ; "Can-on for three Voices, for Miss Paton;' "Three Catches ; " "Abraham on the Altar of Isaac."
scena; "The horn hath called," scena; "Death of Moore," scena ; "Groves of Pomona," scena ; "The Dart of Isdabel," cantata, one voice ; "Comforts lasting," cantata, in ancient style ; "Bower of Love," song, in ancient style; " Serenades, 1, 2, and 3, in the Spanish Style ; " "Love wakes and weeps," serenade ; " Lady, the silver moon," serenade ; "Six Italian Songs," set one ; "Three Italian Duettos," set one ; "Non Teener," duetto sop. and bass ; "Ebben Lauretta," duetto, sop. and bass ; " Primavera," canzonetta ; "Knight of St. Edward," romance; "Alphonso and Leonore," romance; "Land of my birth," romance; "A Farewell, in the Scottish Style;" "Ronald," scena ; songs, "A Bard's Song ; " "Dear sainted form ; " "Spirit of the sunny brow ; " "Hide, O, hide those ebon tresses ; " "Sun's last Rays ; " "Twilight's Invitation to Cupid ; " "There's a magic in thine eye ; " "Smiles and Tears ; " "Beam brightly ; " "Book of Love ; " "When Clara touched the fairy string ; " "Poor Rose ; " "'Tis sweet to hear ; " "No dearer moments." Orchestral : "Overture in C ; " " Overture in A ; " "Mozart's Fantasia, in C min. as a Quintetto ; " "Fugue for two Voices, ten. and bass." Piano-forte : "Sonata in E flat ; " "Sonata in C min. ; " "Sonata in G, with Violin Oblig. ; " "Fantasia Duetto, on a Theme of Mozart ;" "Fantasia and Fugue on a German Air ; " "Fugue Canon ; " "Introduction and Rondo on an Air from Beggar's Opera ; " "Fantasia on an Air from Rosina; " "Three Waltzes, brilliant." Violin ; "Fantasia, in which are introduced two Airs Russes, Piano-forte ace." Flute : "Fantasia on an Air from Mozart ; " "Solo, in which is introduced an Air in the Tyrolian Style," &c., &c.