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CARL See also: German musician and poet, son of an actor at See also: Wiesbaden, See also: grandson of the engraver Ignaz
.
Cornelius, and See also: nephew of Cornelius the painter, was See also: born at See also: Mainz on the 24th of See also: December 1824
.
In his childhood his bent was towards See also: languages, but his • musical gifts were carefully cultivated and he learned to sing and to See also: play the See also: violin
.
Cornelius the elder, anxious for his son to become an actor, himself taught the boy the elements of the See also: art
.
These theatrical studies, however, were interrupted early by a visit paid by See also: Peter Cornelius to See also: England as second violin in the Mainz orchestra
.
On returning home See also: young Cornelius made his stage debut as See also: John
See also: Cook in See also: Kean
.
But after two more appearances, as the See also: lover in the See also: comedy Daswar Ich and as Perin in Moreto's Donna See also: Diana, he practically abandoned the stage for, See also: music, his idea being to become a comic See also: opera composer
.
In 1843 his See also: father died
.
Hitherto Cornelius's musical studies had been unsystematic
.
Now opportunity served to remedy this, for his relative, Cornelius the painter, summoned him in 1844 to Berlin, and enabled him a See also: year later to become a pupil of Siegfried Wilhelm Dehn (1799—1858), counterpoint and theory generally being worked at laboriously
.
After leaving Dehn, Cornelius proved his independence by writing a trio in A minor, a quartet in C, as well as two comic opera texts
.
• In 1847 he returned to Dehn and immediately composed an enormous mass of music, including a second trio, 30 vocal canons, several sonatas, a Mass, a Stabat Mater; he also wrote a number of See also: translations of old French poems, which are See also: classics of their kind
.
In 1852 he first came in touch withSee also: Liszt, through his See also: uncle's instrumentality
.
At See also: Weimar, whither he went in 1852, he heard See also: Berlioz's delightful Benvenuto See also: Cellini, a See also: work which ultimately exercised See also: great influence over him
..
For the See also: time, however, he devoted himself, on Liszt's advice, to further
.
See also: Church compositions, the influence of the Church on him at that time being so great that he applied, but vainly, for a place in a Jesuit
See also: college
.
Still his mind was bent on the production of a comic opera, but the composition was long delayed by the work of translating the prefaces for Liszt's symphonic poems and the texts of See also: works by Berlioz and Rubinstein
.
Between See also: October 1855 and See also: September in the following year, Cornelius wrote the See also: book of the Barbier von See also: Bagdad, and on December 15, 1858, the opera was produced at Weimar under Liszt, and hissed off the stage
.
Thereupon Liszt resigned his See also: post, and shortly afterwards Cornelius went to Vienna and See also: Munich, and still later came very much under Wagner's influence
.
Cornelius's See also: Cid was completed and produced at Weimar in 1865
.
For the last nine years of his See also: life (1865—1874)
the first which was hissed off the stage
.
There is a monograph, See also: Thomas Corneille, sa
See also: vie et ses ouvrages (1892, by G
.
Reynier
.
See also the Fragments inedits de critique sur See also: Pierre et Thomas Corneille of See also: Alfred de See also: Vigny, published in 1905
.
(G . SA.) Cornelius was occupied with his opera Gunlod and other compositions, besides writing ably and abundantly on Wagner's music-dramas . In 1867 he became teacher of rhetoric and harmony at the Musikschule, Munich, and married BertheSee also: Jung
.
He died on the 26th of October 1874
.
Not the least of Cornelius's many claims to fame was his remarkable versatility
.
Many of his See also: original poems, as well as his translations from the French, See also: rank high
.
Among his songs, See also: special mention may be made of the lovely " Weihnachtslieder," and of the " Vatergruft," an unaccompanied vocal work for baritone See also: solo and choir
.
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