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 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 at All Hallows, Bread Street, and was succeeded by John Stanley. He wrote numerous keyboard arrangements of arias from popular operas of his time. These were published in France, the Netherlands and Germany as well as in England, and formed the basis of his musical reputation. His style was strongly influenced by his close acquaintance with Handel. Johann Mattheson thought he surpassed Handel as an organ virtuoso, but music historianCharles Burney criticised his manner of playing arrangements, charging that he: Despite Burney's criticism, fellow music historian Sir John Hawkins thought 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's transcription of arias from Handel's operaRinaldo includes 'Vo' far guerra', which Handel intended as a showpiece for his harpsichord playing and is quite remarkable in its virtuosity; Babell's transcription was made from his memory of how Handel improvised in performances. In 1894, Friedrich Chrysander published Babell's arrangement of 'Vo' far guerra' in the Händel-Gesellschaft volume 48. Babell also wrote original sonatas for violin or oboe and continuo, concertos and other miscellaneous works, most notably an Ode for St. Cecelia's day now lost. His slow movements are thought to show valuable insight into early 18th-century practices of ornamentation and extemporization. His early death was attributed to 'intemperate habits’. He died in Canonbury, Islington and was buried in All Hallows Church, Bread Street.
Printed works
The 3rd Book of the Ladys Entertainment, or Banquet of Musick
The 4th Book of the Ladys Entertainment
Suits of the Most Celebrated Lessons , reprinted as Suits of Harpsichord and Spinnet Lessons
The Harpsichord Master Improved … with a Choice Collection of Newest and Most Air'y Lessons
Trios de diefferents autheurs choises & mis en ordre par Mr Babel
XII Solos … with Proper Graces Adapted to Each Adagio, book 1
XII Solos … with Proper Graces Adapted to Each Adagio, book 2
Concertos in 7 Parts for violins and small flute, or sixth flute, op. 3
Mariana's Charms Wound my Heart. A new Song for the Spinnet by W. B.
Would You I the Thing Discover. A Song. Design'd to be Sung... in the third Act of the Play called 'Tis well if it Takes, the words by Mr. Theobald, etc.
Works in manuscript
Overture in A major, for two solo violins, solo violoncello, orchestra and continuo, with a cembalo solo part in the last movement.
Add. MS 71209, which contains original and arranged music for harpsichord in Babell's own hand. Among the pieces are an arrangement of the allegro from Handel's Il Pastor Fido with indications for string accompaniment, and two aria arrangements each with an original prelude. The first aria being Caro bene from the pasticcio Clotilda and the second being an early version of Babell's arrangement of Handel's aria Vo' far guerra from Rinaldo found in Suits of the Most Celebrated Lessons.
GB-Lfom, Coke 1257; contains a collection of preludes and arrangements similar to Babell's Suits of the Most Celebrated Lessons with several having original preludes unique to this collection.
I-BGi, Ms XIV 8751 H.1 contains eleven toccatas, two suites, seven preludes, a single allemande and a fragmentary arrangement of Henry Carey's 'Sally in our alley'. Several concordances suggest Babell’s authorship of most if not all of the music in the manuscript.
Scores
- the transcriptions from Handel in the complete Handel edition.
