sold' (1802), Dimond's 'Hero of the North' (1803), 'Love laughs at Locksmiths'; incidental music to 'Aladdin,' and Reynolds's 'Bridal King' (1810). He died at Battersea, June 24, 1824. (Dict. of Nat. Biog.)
CONRADI, August. Add day of birth, June 27, and correct day of death to May 26.CONSECUTIVE. The last sentence of the article is to be modified, since the 'later investigations' prove to be unreliable. There is ample evidence that the Organum was what it has been universally considered to be. [See Notation, ii. 469; Organum, etc.]
CONSERVATOIRE. P. 392 b, l. 4 from bottom, for Toulon read Tulou. (Corrected in late editions.)
CONSERVATORIO. The dates of the various Neapolitan Institutions are more correctly given under Naples, ii. 444–6. Line 10 of article, the date of the foundation of the first school by Tinctor is probably much earlier than 1496, as he left Italy in 1490. [See Tinctoris, iv. 128.]
CONTI, F. B. P. 395 b, l. 7, for Kritische read Historisch-kritische. Line 4 from end of article for Hof-scholar read Hof-compositeur.
CONVICT. The last two sentences of the article should run:—Its only claim to mention here is the fact that Schubert was educated for the Hof-Kapelle in the Convict at no. 45 in the Piaristen Gasse, Josephstadt, Vienna. That for the choristers of St. Stephen's is in the Stubenbastei, No. 2. (Corrected in late editions.)
COOKE, Benjamin, Mus. D. Add that he was an assistant director at the Handel Commemoration in 1784.
COOKE, Henry. Last line of article, for 1657 read 1656. Add that he composed all the special music for the coronation of Charles II, April 23, 1661.
COOKE, Robert. Add dates of birth and death, 1768 and Aug. 13, 1814.COOKE, T. S. P. 398 a, l. 6, add that in 1821 he was called 'director of the music at Drury Lane Theatre ' (Quarterly Musical Magazine), and that from 1828 to 1830 he was one of the musical managers of Vauxhall Gardens. L. 13, add that he relinquished his post at the Bavarian Embassy in 1838. To list of productions add 'Abu Hassan' (adapted from Weber), April, 1825; 'The White Lady' (from Boieldieu), Oct. 1826; 'Isidore de Merida' (from Storace), 1828; 'Acis and Galatea,' 1842; 'The Follies of a Night,' 1845. (Dict. of Nat. Biog.)
COOPER, George. Line 21 of article, for Sir George Smart read J. B. Sale (1856).
COPERARIO, JOHN. P. 399 a, l. 3, for 1612 read 1612–13. Line 9, for 1614 read 1613. L. 12, for in the same year read in 1613–14. He died in 1627.
COPPOLA, P. A. Line 1 of article, for in 1792 read Dec. 11, 1793. Line 13, add date of 'La bella Celeste,' 1837. Last line, for Nov. 14 read Nov. 13.
COPYRIGHT. The following changes have been made since the publication of the first volume:—
1. Domestic copyright. Certain speculators having bought up the copyright of popular songs with the object of levying penalties upon persons innocently singing them at charitable concerts and penny readings, an Act was passed in 1882 providing that the proprietor of any musical composition who shall be desirous of retaining in his own hands exclusively the right of public performance or representation of the same shall cause to be printed upon the title-page of every published copy a notice that this right is reserved.2. International Copyright. By the Convention of Berne, executed Sept. 9, 1886, the following States entered into an International Copyright Union:—Great Britain (including all the Colonies), Germany, Belgium, Spain, France, Haiti, Italy, Liberia, Switzerland, Tunis. This treaty will supersede all existing copyright-agreements between Great Britain and the States enumerated. The second article of the treaty is as follows:—'Authors of any of the countries of the Union shall enjoy in the other countries for the works, whether published in one of those countries or unpublished, the rights which the respective laws do now or may hereafter grant to natives.' The term of protection is not, however, in any case to exceed in length the term of protection in the country of origin. Thus, a German who has complied with the formalities and conditions required for copyright in Germany, will possess, in England, the same copyright privileges in his work as an Englishman; but these will not last longer than the term of protection which the law of his own country gives to his work. It is expressly stated that Article ii. applies to the public representation of dramatic or drnmatico-musical works, and to the public performance of unpublished musical works, and of published musical works in which the author has declared on the title-page that he forbids the public performance.
[ C. A. F. ]
COR ANGLAIS. The statement in the last sentence but one, as to Rossini's use of the instrument, is to be corrected by a reference to Oboe di Caccia, vol. ii. p. 489.
CORANTO. See Courante, vol. i. p. 410.CORBETT, William. Add that he made two journeys to Italy; the first, as stated in the Dictionary, about 1711, from which he returned and gave a concert at Hickford's Rooms in 1714 (April 28). It was at this time that he was appointed to the Royal band, his name appearing on the list of musicians from 1716 to 1747. He died March 7, 1747–8. The last sentence should run:—After his return he published 'Concertos, or Universal Bizzaries composed on all the new Gustos in his travels through Italy,' containing 36 concertos, in two books, the first in four parts, the second in seven, professing to exhibit, etc. (Dict. of Nat. Biog.)