Frederick Corder (1852-1932) - catalogue

[albion]

As there is no adequate list in Grove, here are Corder's principal works:

1876 - Evening on the Sea-Shore, idyll for orchestra, Op.1 (St James's Hall, London, 25th November 1886)
1876-79 - In the Black Forest, suite, Op.2 (Crystal Palace, London, 20th March 1880), second movement performed as The Brooklet, rondo scherzoso for orchestra (St James's Hall, London, 17th December 1878)
1877-78 - Mort d'Arthur, grand opera, Op.3 (Brighton, 1879)
1879 - The Triumph of Spring, masque (Crystal Palace, London, 8th February 1879)
1880 - Philomel, operatic satire, Op.4
           A Storm in a Teacup, operetta, Op.5 (Aquarium, Brighton, 18th February 1882)
1881 - The Cyclops, cantata, Op.6
           River Songs, trios for female voices, Op.7
1882 - Ossian, concert overture, Op.8 (Philharmonic Society, London, 9th March 1882)
           Nocturne, for orchestra, Op.9 (Brighton Festival, 1882)
1883 - Dreamland, symphonic ode for chorus and orchestra, Op.10
           Roumanian Dances for violin and piano, Op.11
           The Nabob's Pickle, operetta, Op.12 (Aquarium, Great Yarmouth, 9th July 1883)
1884 - Autumn is Come Again, partsong
1885 - The Noble Savage, operetta, Op.13 (Brighton, 3rd October 1885)
           Prospero, concert overture, Op.14 (Crystal Palace, London, 24th October 1885)
1886 - The Tempest, orchestral scenes, Op.15
           The Bridal of Triermain, cantata, Op.16 (Wolverhampton Festival, 17th September 1886)
           As I Saw Clora, partsong
1887 - Nordisa, romantic opera, Op.17 (Royal Court Theatre, Liverpool, 26th January 1887)
           Roumanian Suite, for orchestra, Op.18 (Philharmonic Society, London, 19th May 1887)
1888 - The Minstrel's Curse, ballad for reciter and orchestra, Op.19 (Crystal Palace, London, 10th March 1888)
           O Sun, that Wakenest All, song
           The Lover's Plaint, partsong
1889 - The Sword of Argantyr, cantata, Op.20 (Leeds Festival, 9th October 1889)
           I Love the Jocund Dance, partsong
1892 - The Fairy Dance, partsong
           Nordisa, overture (Crystal Palace, London, 17th December 1892)
1893 - Margaret: The Blind Girl of Castel-Cuillé, cantata for female voices with piano accompaniment, Op.21
           At the Foot of the Mountain, partsong
1895 - True Thomas, musical recitation, Op.23
1897 - Pippa Passes, orchestral scena drammatica, Op.24 (Philharmonic Society, London, 28th April 1898)
1898 - The Termagant, overture and incidental music, Op.25 (Her Majesty's Theatre, London, 1st September 1898)
1899 - Tragic Overture in C minor (Bournemouth, January 1902)
           The Black Tulip, overture and incidental music, Op.26 (Haymarket Theatre, London, 21st October 1899)
1902 - The Witch's Song, musical recitation, Op.27
           24 Characteristic Pieces for Pianoforte to accompany Czerny's Introduction to Velocity
1906 - Invocation, madrigal for six female voices
1907 - Springtime, vocal waltz for six female voices
1910 - Elegy for Twenty-four Violins and Organ In memoriam Victor Harris, Op.28
1911 - The Rain, partsong for female voices
           The Sunshine, partsong for female voices
1912 - Sing unto God, motet in fifty parts for female voices, organ, harps, trumpets and drums, Op.29 (Royal Academy of Music, London, 22nd June 1912)
1914 - The Grand Panjandrum, chorus
1922 - A Wreath of a Hundred Roses [The R.A.M. Masque], Section 4: Quodlibet (Royal Academy of Music, London, 17th July 1922)

Other -

Katherine & Petruchio, galliard
Forest Songs
Sunset (from "Ossian") for soprano and alto soli, chorus and orchestra
The Mother, lament for soprano solo and female choir with strings and harp or piano
Peace, nocturne for four horns and two harps
Scene d'Amour for orchestra (Bournemouth, January 1902)

Commercial recording:

Prospero, concert overture (Hyperion Helios CDH55088)

Download:

Nordisa, opera (excerpt)

[Jimfin]

Thank you, Albion. I do hope we shall one day get to hear a little more of this composer. I really like the only two things I know: the 'Prospero' overture and the extract from 'Nordisa'. He seems to have been second only to Stanford in his list of impressive pupils.

[Christo]

Obviously, what Corder lacks is a recorder. 

[albion]

Obviously, what Corder lacks is a recorder. 

Unfortunately what is also lacking is a repository of autograph full scores. Of the larger-scale works only Prospero and the Elegy were published in full score (by Novello), otherwise there appears to be a gaping hole: likewise, several of the prominent choral works (Dreamland, The Bridal of Triermain, The Sword of Argantyr and Margaret) were published in vocal score as was Nordisa but the whereabouts of the full scores (if they indeed survive) is at present unknown.

Perhaps they were also a casualty of Corder's daughter Dolly, who destroyed many manuscripts by Frederick's composer-son Paul (1879-1942) after his death.