In Mr. North’s Memoirs of Music we have a more minute account of these performances:—“Banister having procured a large room in White Fryers near the Temple Back Gate, and erected an elevated box or gallery for the musicians, whose modesty required curtains, the rest of the room was fitted with seats and small tables, alehouse fashion. One shilling, which was the price of admission, entitled the audience to call for what they pleased! There was very good music, for Banister found means to procure the best hands in London, and some voices, to assist him, and there wanted no variety, for Banister, besides playing on the violin, did wonders on the flageolet to a thro’ base, and several other masters likewise played solos.”
Banister had his first lessons from his father, who was one of the waits in the parish of St. Giles-in-the-Fields. He left behind him a son, John, who became an excellent performer on the violin, and was one of King William’s band, and also played first violin at Drury Lane when operas were first performed there.
Thomas Britton, the Musical Coalman
In 1678, a year before the decease of the elder Banister, a club for the practice of chamber music, established by Thomas Britton, the celebrated small-coal man, had its beginning, and continued until 1714. Britton[7] (1651-1714) was born in Northamptonshire, and apprenticed to a London coal-dealer; he afterwards carried on business in Aylesbury Street, at the corner of Jerusalem Passage, Clerkenwell, as a small coal (probably charcoal) dealer. He seems to have been a man of progressive mind, and to have cultivated an extensive knowledge of many subjects, including both theoretical and practical music. His learning indeed seems to have led to his being regarded with suspicion on the part of certain narrow-minded and superstitious people, who attributed to him even so strange a mixture as atheism, Jesuitry, and magic.
MVSICA MORTALES DIVOSQVE OBLECTAT ET ORNAT.
A GROUP OF MUSICIANS.
There does not, however, seem to be any foundation for the imputations which were made against him, for he appears to have been a sincere, plain man, but endowed with fine natural tastes, which raised him so far above his class that he had to pay the usual penalty for such superiority.
Britton’s Concerts
As a result of his study of music he established the club to which reference has been made. Here weekly concerts were held in a large room over his place of business in Clerkenwell, and these became exceedingly fashionable. The performers were drawn from among the most distinguished musicians, professional and amateur, such as Pepusch, Wollaston (the painter), John Banister, John Hughes (the poet), and Abel Whichello. It is also said that Handel frequently played the harpsichord, but the records do not entirely agree on this point. These concerts, which seem to have been due to Britton’s personal influence, together with the mutual love for bibliographical and other studies held by many of his audience, were at first free, but afterwards a subscription was levied. There appears to be no doubt that many learned and titled people, such as the Earls of Oxford, Pembroke, Winchelsea, and Sunderland, were subscribers, and that they fully appreciated and acknowledged the high conversational powers and book learning of the musical small-coal man.
Britton’s books were sold after his death, and the catalogue was issued as “The Library of Mr. Thomas Britton, small-coal man, deceased, who at his own charge kept up a consort of musick above forty years in his little cottage. Being a curious collection of Books in Divinity, History, Physick, and Chimistry, in all volumes.”