November 1882) 1885 – Prospero, concert overture, Op.14 (Crystal Palace, London, 24 October 1885) 1886 – The Tempest, orchestral scenes, Op.15 (Crystal Palace, London, 2 April 1887) 1887 – Roumanian Suite, Op.18 (Philharmonic Society, St James's Hall, London, 19 May 1887) 1892 – Nordisa, overture (Crystal Palace, London, 17 December 1892) 1897 – Pippa Passes, orchestral scena drammatica, Op.24 (Philharmonic Society, Queen's Hall, London, 28 April 1898) 1901 – Tragic Overture (Winter Gardens, Bournemouth, 16 January 1902) 1901 – Scene d'Amour (Winter Gardens, Bournemouth, 16 January 1902) 1908 – Elegy for Twenty-four Violins and Organ In memoriam Victor Harris, Op.28 (Queen's Hall, London, 18 November 1908) Galliard for Katherine and Petruccio Instrumental soloist and orchestra Concerto for cornet and orchestra Choral and vocal 1879 – The Triumph of Spring, masque (Crystal Palace, London, 8 February 1879) 1881 – The Cyclops, cantata, Op.6 1883 – Dreamland, symphonic ode for chorus and orchestra, Op.10 1886 – The Bridal of Triermain, cantata, Op.16 (Wolverhampton Festival, 17 September 1886) 1888 – The Minstrel's Curse, ballad for reciter and orchestra, Op.19 (Crystal Palace, London, 10 March 1888) 1889 – The Sword of Argantyr, cantata, Op.20 (Leeds Festival, 9 October 1889 ) 1893 – Margaret: The Blind Girl of Castel-Cuillé, for female voices and piano, Op.21 1895 – True Thomas, musical recitation, Op.23 1902 – The Witch's Song, musical recitation, Op.27 1912 – Sing unto God, motet in fifty parts for female voices, organ, harps, trumpets and drums, Op.29 (Royal Academy of Music, London, 22 June 1912) 1922 – A Wreath of a Hundred Roses [The R.A.M. Masque], Section 4: Quodlibet (Royal Academy of Music, London, 17 July 1922) Sweet day so cool! for voices and orchestra The Mother, lament for soprano solo, female choir, strings and harp (or piano) Romance and Play, two partsongs for female voices (in canon) and orchestra Vocal soloist and orchestra Greenford Lane, a modern folksong for baritone and orchestra Chamber music Peace, nocturne for four horns and two harps Scores and manuscripts Several works by Corder were published but the large majority of his autograph scores do not survive. Novello, Ewer & Co., London, published full orchestral scores of Prospero and the Elegy for Twenty-four Violins and Organ together with a vocal score of The Bridal of Triermain. Joseph Williams, London, issued a vocal score of Margaret: The Blind Girl of Castel-Cuillé. Forsyth Brothers, Manchester, published vocal scores of Nordisa