200l.' But this large sum, no doubt, included gratuities to his brethren in the Chapel. In 1504 Cornyshe, being confined in the Fleet prison, upon, as he informs us, some false information given by an enemy, wrote a poem entitled, 'A Treatise between Trouth and Informacion,' some extracts from which are given in Hawkins's History of Music. The real cause of his incarceration is unknown, but it has been conjectured that he had allowed his pen greater freedom than was agreeable to some persons. However in 1508 we again find him taking part in a court play, as appears by a payment 'To Mr. Kite, Cornishe, and other of the Chapell that played affore the King at Richmonte, 6l. 13s. 4d.' The date of Cornyshe's death is uncertain, but it was before 1526, in which year the name of William Crane occurs as master of the children. [App. p.599 "he went with the king to the Field of the Cloth of Gold, where he devised the pageants at the banquet. He died before November, 1524. For further information the reader is referred to the Dict. of Nat. Biog."]
CORNYSHE, William, junior, son of the preceding, was a composer in the early part of the sixteenth century. Three part-songs by him are contained in a manuscript volume compiled by Dr. Robert Fayrfax, and now in the library of the British Museum (Add. MSS. 5465.) Two of those songs were printed by Hawkins in his History of Music.
CORRI, Domenico, born in Naples 1744 [App. p.600 "Oct. 4 in Rome"], died in London about 1826 [App. p.600 "May 22, 1825"]; studied under Porpora from 1763 to 67. In 74 settled in London, producing there 'Alessandro nell' Indie' (1774), and some years later 'The Travellers' [App. p.600 "Jan. 22, 1806"], his best work; but devoted himself chiefly to teaching singing. [App. p.600 "in 1771 he was invited to Edinburgh to conduct the concerts of the Musical Society, and settled there as a publisher and singing-master. He went to London, as stated in the Dictionary, in 1774, but did not again visit England till 1787, when he joined Mazzinghi and Storace in writing additional music to Paisiello's 'Re Teodoro.'"] His daughter, a singer and harpist of merit, married Dussek, with whom Corri entered into partnership as music-seller and publisher (1797), but the speculation failed. His compositions include, besides the operas above named, a quantity of songs to English, French, and Italian words; sonatas, airs, and rondos; 'The Art of Fingering' (London 1799); and 'The Singer's Preceptor' (ditto 1798) [App. p.600 "1810, contains an autobiographical preface"]; also a 'Musical Dictionary' (London 1798) and a 'Musical Grammar.' He left three sons, Antonio, who settled in America [App. p.600 "Philip Antony one of the original promotors of the Philharmonic Society (Dict. of Nat. Biog.)"]; Montagu, dramatic composer; and Haydn, a teacher in Dublin.
CORRI-PALTONI, Mdme. Frances, daughter of Natale Corri, and niece of Domenico, born in Edinburgh 1801, a dramatic singer of ability; studied under Catalani in 1815 and 16. She sang in London (1820); in Germany; in Italy, where she married Paltoni, a singer; in Madrid (1827); and with Lablache in Milan (1828). In 1830 she returned to Germany. Her voice was a fine mezzo-soprano, with a brilliant shake.
CORTECCIA, Francesco di Bernardo, born early in the 16th century at Arezzo, died in Florence 1571; in 1531 organist of S. Lorenzo in Florence, and in 42 chapel-master to Cosmo I; also a Canon of S. Lorenzo. His compositions include nine pieces for 4, 6, and 8 voices with various instruments, in a rare work called 'Musiche fatte nelle nozze, etc.' (Venice, Gardano, 1533); 'Madrigali a quattro voci,' lib. 1 and 2 (Ib. 1545 and 1547); 'Primo libro de' Madrigali a 5 e 6 voci' (Ib. 1547); 'Responsoria et lectiones hebdomadae sanctae' (Ib. 1570); 'Residuum cantici Zacchariae' (Ib. 1570); and 'Canticorum liber primus' (Ib. 1571), published a few months after his death. A copy of the madrigals is in the Library of Christ Church, Oxford. The Library of S. Lorenzo also contains 32 hymns in 4-part counterpoint. Corteccia, with Striggio, composed music for Cini's intermezzo 'Psichè e l'Amorino,' for the marriage of Francesco de' Medici and Joanna of Austria in 1565.
CORTELLINI, Camillo, a composer of church music, who lived at the commencement of the 17th century, and was in the service of the municipality of Bologna. From his proficiency on the violin he went by the name of Il Violino. Vincenti of Venice published several volumes of his works, consisting of Psalms, Litanies, Masses, and other sacred pieces. The preface to one of these volumes, intituled 'Messe concertate a otto voci,' is interesting because it gives a hint of the manner in which in those early times the instrumental and vocal parts were combined in church music. The passage alluded to is as follows: 'La Messa In Domino confido ha la Gloria concertata; e dove saranno le lettere grandi, il cantore cantera solo; e dove saranno le linee, i tromboni e altri simili stromenti soneranno soli.'
CORYPHÆUS (κορωφαιος, chorus-leader). An officer on Dr. Heather's foundation at Oxford, intended by the founder to take the lead in the musical exercises conducted by the Choragus. The duties of the Coryphæus have long been imaginary: his salary was never more than nominal.
COSI FAN TUTTE, ossia La scuola degli amanti. An opera buffa in two acts, commanded by the Emperor, libretto by Da Ponte, music by Mozart; produced at Vienna Jan. 26, 1790; London, King's Theatre, May 9, 1811. The libretto is so bad and the music so good that various attempts have been made to fit the opera with new words, as 'Le Laboureur Chinois' (1807), 'Peines d'amour perdues' (Barbier & Carré, 1863). Otto Jahn possessed a MS. Mass made up from it. In England it was translated as 'Tit for Tat.' [App. p.600 "it was also produced as 'The Retaliation' at the Theatre Royal, English Opera House (Lyceum), April 14, 1841. 'Tit for tat' was produced at the English Opera House, July 29, 1828."] The German version is entitled Weibertreue.
COSSMANN, Bernhard, an eminent violon-cellist, son of a Jewish merchant; born at Dessau May 17, 1822. His first instructors on the cello were Espenhahn and Karl Drechsler at Brunswick, Theodor Müller (of the Müller-quartet) and Kummer at Dresden. After completing his studies, Cossmann went to Paris, where he played in the orchestra of the Grand Opéra, and thence to London (1841), in the then palmy days of Italian opera. In 1843 he was an acknowledged master of his instrument in Germany. Mendelssohn secured him in 1847 for the Gewandhaus concerts, and he utilised his stay in Leipsic by studying under Hauptmann. His appointment as first cello under Liszt at Weimar, in 1852, exercised an important influence on his career.
