CARL See also:

• AUGUST (originally Sextilis)

AUGUST See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

PETER See also:

• CORNELIUS
• CARL AUGUST PETER CORNELIUS (1824-1874)
• CORNELIUS, PETER VON (1784–1867)

CORNELIUS (1824-1874)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German musician and poet, son of an actor at See also:

• WIESBADEN

Wiesbaden, See also:

• GRANDSON (Ger. Grandsee)

grandson of the engraver Ignaz . See also:

• CORNELIUS
• CORNELIUS, CARL AUGUST PETER (1824-1874)
• CORNELIUS, PETER VON (1784–1867)

Cornelius, and See also:

• NEPHEW

nephew of Cornelius the painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• MAINZ (Fr. Mayence)

Mainz on the 24th of See also:

• DECEMBER (Lat. decent, ten)

December 1824 . In his childhood his See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent was towards See also:

• LANGUAGES

languages, but his • musical gifts were carefully cultivated and he learned to sing and to See also:

• PLAY

play the See also:

• VIOLIN

violin . Cornelius the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder, anxious for his son to become an actor, himself taught the boy the elements of the See also:

• ART

art . These theatrical studies, however, were interrupted See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early by a visit paid by See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter Cornelius to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England as second violin in the Mainz See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra . On returning See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young Cornelius made his See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage debut as See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• COOK
• COOK, ALBERT STANBURROUGH (1853– )
• COOK, EDWARD DUTTON (1829–1883)
• COOK, ELIZA (1818–1889)
• COOK, JAMES (1728-1779)
• COOK, THOMAS (1808-1892)

Cook in See also:

• KEAN, EDMUND (1787–1833)

Kean . But after two more appearances, as the See also:

• LOVER, SAMUEL (1797-1868)

lover in the See also:

• COMEDY

comedy Daswar Ich and as Perin in Moreto's Donna See also:

• DIANA

Diana, he practically abandoned the stage for, See also:

• MUSIC

music, his See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea being to become a comic See also:

• OPERA (Italian for " work ")

opera composer . In 1843 his See also:

• FATHER

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 See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, and enabled him a See also:

• YEAR

year later to become a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of Siegfried Wilhelm Dehn (1799—1858), See also:

• COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

counterpoint and theory generally being worked at laboriously . After leaving Dehn, Cornelius proved his See also:

• INDEPENDENCE
• INDEPENDENCE, DECLARATION OF
• INDEPENDENCE, WAR OF

independence by See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing a trio in A See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor, a quartet in C, as well as two comic opera texts . • In 1847 he returned to Dehn and immediately composed an enormous See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

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

translations of old See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French poems, which are See also:

• CLASSICS

classics of their See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind .

In 1852 he first came in See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch with See also:

• LISZT, FRANZ (1811-1886)

Liszt, through his See also:

• UNCLE

uncle's instrumentality . At See also:

• WEIMAR

Weimar, whither he went in 1852, he heard See also:

• BERLIOZ, HECTOR (1803-1869)

Berlioz's delightful Benvenuto See also:

• CELLINI, BENVENUTO (1500-1571)

Cellini, a See also:

• WORK

work which ultimately exercised See also:

• GREAT

great See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence over him .. For the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, however, he devoted himself, on Liszt's See also:

• ADVICE (Fr. avis, from Lat. ad, to, and visum, viewed)

advice, to further . See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

Church compositions, the influence of the Church on him at that time being so great that he applied, but vainly, for a See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in a Jesuit See also:

• COLLEGE (Collegium)

college . Still his mind was bent on the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of a comic opera, but the See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition was See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long delayed by the work of translating the prefaces for Liszt's symphonic poems and the texts of See also:

• WORKS

works by Berlioz and See also:

• RUBINSTEIN, ANTON GRIGOROVICH (1829-1894)

Rubinstein . Between See also:

• OCTOBER

October 1855 and See also:

• SEPTEMBER (Lat. septem, seven)

September in the following year, Cornelius wrote the See also:

• BOOK

book of the See also:

• BARBIER, ANTOINE ALEXANDRE (1765–1825)
• BARBIER, HENRI AUGUSTE (1805-1882)
• BARBIER, LOUIS

Barbier von See also:

• BAGDAD, or BAGHDAD

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

post, and shortly afterwards Cornelius went to See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna and See also:

• MUNICH (Ger. Munchen)

Munich, and still later came very much under See also:

• WAGNER, ADOLF (1835- )
• WAGNER, RUDOLPH (1805-1864)
• WAGNER, WILHELM RICHARD (1813-1883)

Wagner's influence . Cornelius's See also:

• CID, THE

Cid was completed and produced at Weimar in 1865 . For the last nine years of his See also:

• LIFE

life (1865—1874) the first which was hissed off the stage . There is a monograph, See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas See also:

• CORNEILLE, PIERRE (1606–1684)
• CORNEILLE, THOMAS (1625-1709)

Corneille, sa See also:

• VIE

vie et ses ouvrages (1892, by G . Reynier . See also the Fragments inedits de critique sur See also:

• PIERRE

Pierre et Thomas Corneille of See also:

• ALFRED

Alfred de See also:

• VIGNY, ALFRED DE (1797-1863)

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 See also:

• RHETORIC (Gr. psroperctj TEXvq, the art of the orator)

rhetoric and See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony at the Musikschule, Munich, and married Berthe See also:

• JUNG, JOHANN HEINRICH (1740-1817)

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

original poems, as well as his translations from the French, See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank high . Among his songs, See also:

• SPECIAL

special mention may be made of the lovely " Weihnachtslieder," and of the " Vatergruft," an unaccompanied vocal work for baritone See also:

• SOLO, OR SOLO WHIST

solo and See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir .