Peter Cornelius Author(s): A. J. J. Source: The Musical Times, Vol. 47, No. 763 (Sep. 1, 1906), pp. 609-611 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/903482 Accessed: 02-03-2016 05:21 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 128.6.218.72 on Wed, 02 Mar 2016 05:21:28 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.--SEPTEMBER I, 190o6. 609 scarcely possible to conceive. The soloists were Orchestral compositions are represented by- Miss Kate Cherry, Miss Edith Nutter, and Messrs. Symphony in C minor (Brahm r); Symphonic poems J. Reed and J. E. Farrington. The main interest, Don Juan and Tod und Verklairung; Overtures Le however, centred in the small choir of twenty-four Carnaval Romain, Tannhiiuser, and Flying Dutchman; voices. Thanks to the goodwill of the singers and and Violin concertos (soloist, Mischa Elman) by Beethoven and Tchaikovsky. the Handelian enthusiasm of Dr. Mann the choruses Dr. Hans Richter occupies his accustomed place as were admirably sung, with point, freshness and intelligence. The orchestra consisted of twenty conductor, Mr. R. H. Wilson is the chorus-master, and Mr. C. W. Perkins is the organist, while the strings, four oboes, four bassoons, one trumpet, soloists are twelve in number. two horns and drums. Thus the instrumentalists outnumbered the chorus singers, whereas nowadays the reverse is the case. The effects of the orchestral High falutinism finds favour in the Antipodes. parts were most interesting: Handel knew the value This is the strain in which a Sydney newspaper of contrasts and, after the manner of his time, obtained described an organ recital given by Mr. Edwin (not them. His colouring, too, showed the hand of a Edward) H. Lemare : master. In conclusion, Dr. Mann may be warmly He sits down in front of the key-board, and at once congratulated on the result of his experiment. there is a mighty rushing tidal wave of sound. Edward, with the curly moustache, stands beside it-turns it with one hand from one ocean into another ; pats it smooth ; puts a white, fat palm on it, and squashes it flat and Sir Charles Brett has been presented with a still; lifts it up with two fingers, and wipes the spray congratulatory address by the Belfast Philharmonic off it with a third; gives it a little shove, till all the Society on the occasion of the recent honour of roaring, screaming, spouting, trumpeting, hooting Knighthood conferred upon him by the King. Since monsters in creation are rolling along its crest; then the formation of the Society in 1874 he has taken a suddenly he puts a thumb in front of it, and stops it leading part in its affairs, having been one of the dead, so that one foolish little bird in a rose garden may honorary secretaries since I883, and it is in no small begin to twitter. measure due to his untiring energy and whole-hearted Then Edward, with the same plump, placid face, enthusiasm that this organization has taken the fore- drops the tidal wave down into a gulf of silence, and most place in the musical life of Ireland. In the you go away to consider what a fearsome monster the organ is, and how many things might happen if it broke course of his reply to the address, Sir Charles said : loose and ran amok, with torn music hanging from its I need not attempt to point out the advantages of jaws and a froth of wild sound dripping from its mouth. music as a recreation. In a busy life I have found it productive of the very greatest rest and change for a tired brain. Music was a divine art, and had gone on An addition to the vocabulary of musical terms with the growth of civilization from the earliest times to comes to us from Barmouth in an assertive yellow the present. He hoped and believed that it would poster which, in black letters four inches high, is continue to do so long after golf and bridge had gone headed: out of fashion. HANDELORIAN ORGAN The Hovingham Musical Festival-the thirteenth RECITALS. of the series-is announced to be held on October 17 But if Handel's star was in the ascendent at those and 18. The outline programme forecasts perform- performances, why not Handelorion ? ances of the following works : Choral: The Black Knight (Elgar); Te Deum (Dvordk); Kubla Khan (Coleridge-Taylor); Spring PETER CORNELIUS. (Haydn); and Sleepers, wake (Bach.) A good, lovable man, a sterling, upright character Instrumental: Concerto for violin and violoncello was Peter Cornelius, whom, after perusing these two (Brahms) ; Jupiter Symphony (Mozart) ; Ballet portly volumes,': we seem to know as intimately as if he Egyptian (Luigini); Irish Rhapsody, No. I (Stanford) ; were a dear, life-long friend. His is the usual story Violin concerto (Beethoven) ; and Violoncello concerto of a genius-gifted composer's struggle for recognition (Saint-SaEns). which refused to come, or at any rate to provide the In addition to the above a chamber concert will be wherewithal of an independent existence until given by the Kruse Quartet. The honorary conductor Cornelius had reached the middle-age period of his of the Festival is Mr. T. T. Noble, organist of York life. He had to rely upon his brothers and friends to Minster, but the Rev. Canon Pemberton, founder and provide him with money whenever he was unable former conductor of this interesting Yorkshire music- to obtain pupils, or when such work as translating making, will take charge of the Jupiter symphony and essays, poems and operatic libretti for Liszt, Haydn's ' Spring.' Berlioz and Rubinstein was not forthcoming. Most of his compositions-chiefly collections of songs, now prized as little masterpieces-went the round of many The preliminary prospectus of the Birmingham publishers' offices only to be returned or forgotten; Musical Festival-October 2, 3, 4, 5-announces the indeed, many were not published until after his following quartet of new works, all by native com- death ! Even his masterpiece, the delightful 'Barber posers. The order of performance is as hereunder of Bagdad,' which in his lifetime enjoyed one single stated : performance only, brought him in a tantimne of five Oratorio-The Kingdom - Edward Elgar. double Louis d'or. Cornelius was one of those artists The Bells (for chorus and orchestra) Jose~ph Holb ooke. who, knowing in what direction their strength lies, Sinfonietta in G minor -- -- Pe-rcy Pitt. spend the greater part of their lives waiting for Omar Khayyam - - - - Granville Bantock. something to turn up which shall enable them to Choral works, other than the above novelties, include exercise their particular gifts to their own fullest the following : artistic satisfaction, and meanwhile refuse to turn Elijah; The Apostles ; Sing ye to the Lord (Bach) ; * Peter Cornelius, Ausgewiihlte Briefe nebst Tagebuchblittern und Messiah; Mass in D (Beethoven); The Revenge; and Gelegenheitsgedichten. Herausgegeben von seinem Sohne Carl Hymn of Praise. Maria Cornelius. Two vols. Leipzig: Breitkopf und Hartel. This content downloaded from 128.6.218.72 on Wed, 02 Mar 2016 05:21:28 UTC All use subject to JSTOR Terms and Conditions 6Io THE MUSICAL TIMES.-SEPTEMBER I, 1906. their hand to some other work-uncongenial perhaps, (afterwards conductor at the Vienna Court Opera), but neither difficult nor degrading-which would who 'is a Brummbar (grumbling bear), always wanting secure for them something like independence. Thus originality ; but I fear this early striving after we see poor Cornelius continually urged by relatives originality is not wise; it is the greatest fault of the and friends to obtain some fixed appointment as modern composers.' And then the seventeen-year-old conductor, organist, or teacher. Once or twice he wiseacre adds the very sage and true remark: 'of tries, unsuccessfully; but generally he argues that course it is best if the compositions are spontaneously he is unfit for the post, that he wants liberty, which original.' True, O wise, young judge, for thus we get of course means liberty to wait for something better, a Schubert, Berlioz, Dvorak, or Cornelius ! In 1845 something more suited to his hyper-sensitive, he is in Berlin, the guest of his 'swell' relative independent nature. There is no doubt that he (always called uncle by him) 'Geheimrath' Peter von might have gained a better position for himself, both Cornelius, the painter, where he meets many as man and as creative artist, if he had been more distinguished men of the day. energetic, more a man of the world who knows how The old gentleman seems to have been kind enough to embrace an opportunity when it presents itself. to his struggling young relative, but he was evidently But even this weakness in his character fails to spoil a man to be esteemed rather than loved. 'He is the fascinating character-picture drawn by the man surrounded,' writes Peter to his favourite sister, 'by a himself in these 700 letters, poems and extracts from host of sycophants, admirers, and patronizing diaries, totalling no less than i,6oo pages.