Page:A Dictionary of Music and Musicians vol 4.djvu/614

598 CORDER,, at this date (1888) one of the foremost of our rising young composers. Born in London, Jan. 26, 1852, he showed from infancy a strong aptitude for music, which he was, however, not allowed to indulge, being at the age of 18 made to go into business. From his first situation he was unexpectedly released by the pecuniary embarrassments of his employers, and he then persuaded his parents to let him enter the Royal Academy of Music, where his talent for original composition was quickly recognised. He only remained there a year and a half, as, on being elected to the Mendelssohn Scholarship, he was sent to Cologne, where he studied hard for four years under Dr. Ferdinand Hiller. Shortly after his return to England he was appointed conductor at the Brighton Aquarium, where by his talents and energy he raised the musical entertainments from the very low level at which he found them, and brought the orchestra to its present state of efficiency. Mr. Corder's gifts and culture are wide and varied. During the years when music proved unremunerative—as for years it must do to all young composers of high aim and uncompromising temper—he supported himself mainly by literary work, in much of which he had the co-operation and help of his accomplished wife. His musical star seems now in the ascendant. Several of his orchestral works have been performed at the Crystal Palace, the Philharmonic concerts and elsewhere. His romantic opera 'Nordisa,' written for the Carl Rosa company, was produced on Jan. 26, 1887, at the Royal Court Theatre, Liverpool, with brilliant success. It has since been performed in several provincial towns, and was brought out at Drury Lane, May 4, 1887. Subjoined is a complete list of Mr. Corder's compositions. The words of all the vocal works but the two last are his own. The works marked with an asterisk have been published. 1. Evening on the Sea-shore. Idyll for Orchestra. 1876.  2. Im Schwarzwald. Suite. 1876.  3. Morte d'Arthur. Grand Opera. 4 acts. 1877–8.  4. Philomel. Operatic Satire, 1 act. 1880.  5. A Storm in a Teacup. Operetta. 1880.  6. The Cyclops, Cantata. 1881. * 7. River Songs. Trios for Female voices. 1881.  8. Overture. Ossian (written for the Philharmonic Society). 1882.  9. Nocturne for Orchestra. 1882. 10. Dreamland. Ode for Chorus and Orchestra. 1883. *11. Roumanian Dances. Violin and Piano. 1883. 12. The Nabob's Pickle. Operetta. 1883. 13. The Noble Savage. Do. 1885. *14. Overture. 'Prospero.' 1885. 15. Orchestral scenes for The Tempest. 1886. *16. The Bridal of Triermain. Cantata (Wolverhampton Festival). 1886. *17. 'Nordisa.' Romantic Opera. 1886. 18. Roumanian Suite for Orchestra. 1887. *19. 'The Minstrel's Curse.' Ballad for declamation, with orchestral accompaniment. Crystal Palace, March 10. 1888. *20. Song, 'O sun, that wakenest all' (Tennyson). [ F. A. M. ]

CORFE,. Line 4 of article, for 1782 read 1783, and add that he sang in the Handel Commemoration. Line 9, for Cathedral read Church. Line 10, for eight read eleven. Add that A. T. Corfe organized a successful festival at Salisbury on Aug. 19–22, 1828. Last line, for is read was, from 1846 to 1883; and add dates of birth and death, 1814, and Dec. 16, 1883.

Another of his sons,, born 1804, was for many years organist of Bristol Cathedral, and died in Jan. 1876. [ M. ]

CORNELIUS. Correct date of death to Oct. 26, and add that on Oct. 28, 1887, his opera, 'Der Barbier von Bagdad,' was reproduced with success at Coburg.

CORNELYS,, born at Venice in 1723, was the daughter of an actor named Imer. She was the mistress of a senator Malipiero at the age of seventeen, and in 1753 bore the same relation to the Margrave of Baireuth, being then married to a singer named Pompeati. About the same period she was nominated director of the theatres in the Austrian Netherlands. She came to England and sang as second woman on the first rendering of Gluck's opera 'La caduta de' Giganti' at the Haymarket, Jan. 7, 1746. She sang at Amsterdam as Mme. Trenti, and took the name of Cornelys from that of a gentleman at Amsterdam, M. Cornells de Rigerboos. Returning to England, she bought Carlisle House, Soho Square, in 1760, in order to give a series of public entertainments, to which a number of ladies and gentlemen subscribed under the name of 'The Society.' On Feb. 26, 1761, she sang as Mme. Pompeati in the Music Room in Dean Street for the benefit of a Signor Siprutini. Her eleventh entertainment was advertised to take place on May 5, 1763. The first 'grand concert of vocal and instrumental music' took place on Friday, Feb. 24, 1764, and the first 'morning subscription music' on April 6 of the same year. In spite of opposition and quarrels her rooms became very popular. Bach and Abel directed her concerts in 1765; they appear to have been connected with Carlisle House down to 1773, and perhaps later. In April 1768 Mrs. Cornelys was honoured with the presence of some of the Royal Family, and in August of the same year the King of Denmark visited her rooms. In 1769 she gave a festival and grand concert under the direction of Guadagni. Galas, concerts, and masked balls followed each other in rapid succession, but the proprietors of the Italian Opera House felt that the 'Harmonic meetings' were becoming dangerous rivals to their own attractions. Mrs. Cornelys and Guadagni were fined at Bow Street, and she was indicted before the Grand Jury, Feb. 34, 1771, for keeping 'a common disorderly house.' Goldsmith's 'Threnodia Augustalis' for the death of the Princess of Wales, with music by Vento, was given at the rooms Feb. 20, 1772. Her fashionable supporters began to leave her house for the Pantheon, and in the 'London Gazette' for Nov. 1772 appeared the name of 'Teresa Cornelys, dealer.' In the following month Carlisle House and its contents were sold by auction. On several occasions between 1775 and 1777 Mrs. Cornelys is to be heard of as giving concerts and balls at Carlisle House, but after the latter date she remained in retirement under the name of Mrs. Smith, and