The pilgrim's progress; a musical miracle play for soli, chorus & orchestra;
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Words and Music of Klaw and Erlanger's Production of Gen. Lew Wallace's Ben-Hur (Classic Reprint)
(Excerpt from Words and Music of Klaw and Erlanger's Produ...)
Excerpt from Words and Music of Klaw and Erlanger's Production of Gen. Lew Wallace's Ben-Hur
Allegro con fuoco. C) ben-hur: Oh, Lord, in the hour of thy vengeance mine be the hand to put it upon him!
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Chopin the composer; his structural art and its influence on contemporaneous music
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Edgar Stillman Kelley was an American composer, conductor, educator, and author. He served as a head of the music theory department at the Cincinnati Conservatory of Music from 1911 to 1934.
Background
Edgar Stillman Kelley was born on April 14, 1857 in Sparta, Wisconsin, United States, the older of two sons of Hiram Edgar Kelley, a merchant, afterward a newspaper editor and federal revenue officer, and Mary Clarinda (Bingham) Kelley. His father was a native of Connecticut, his mother of Vermont. On his father's side the boy was descended from William Kelley, a Rhode Islander who served in the Revolutionary War; on his mother's, from Thomas Bingham, an English settler in Connecticut in 1642.
Education
Kelley began his musical education at the age of eight, when his mother, an accomplished musician, gave him his first piano lessons. Stimulated by hearing a concert by the African-American prodigy "Blind Tom" (Thomas Greene Bethune), he began serious study of the piano and during the period 1870-1874 worked under Farwell W. Merriam. A visit to Chicago to hear performances by the pianist Anton Rubinstein and the violinist Henri Wieniawski, playing with the orchestra of Theodore Thomas, strengthened Kelley's resolve to make music his career, and in 1874 he moved to that city and for two years studied piano with Napoleon Ledochowski, director of the Chicago Conservatory of Music, and harmony and counterpoint with Clarence Eddy. Wishing to perfect his musical skills in Germany, Kelley in 1876 enrolled as a student in the Stuttgart Conservatory, where his teachers were Max Seifriz (composition), Wilhelm Krüger (piano), and Friedrich Finck (organ); in 1878 he transferred to the conservatory of Wilhelm Speidel, with whom he studied piano. After graduating from Speidel's conservatory in 1880, Kelley returned to the United States. He received honorary degrees from Miami University (1916) and the University of Cincinnati (1917).
Career
During his early years in California, Kelley earned his living as a music teacher and church organist and intensified his efforts to compose. He first came to national attention on August 3, 1883, when Theodore Thomas's orchestra performed his Macbeth overture in Chicago. Kelley's incidental music to the play was a factor in its successful San Francisco production in 1885. An interval as a light-opera conductor led to one of the biggest triumphs of his career: his Puritania, or The Earl and the Maid of Salem, with libretto by C. M. S. McLellan; produced by the Pauline Hall Opera Company, it opened in Boston on June 6, 1892, and ran for a hundred consecutive performances before going on tour. Kelley's "Aladdin" suite, based on his study of Chinese music in San Francisco, was first performed in that city on February 9, 1894. He also composed the incidental music for William Young's dramatization of the Lew Wallace novel Ben Hur, first performed in New York City on November 27, 1899, which remained a popular favorite for more than two decades.
While continuing his composing, Kelley held a variety of positions: music critic (San Francisco Examiner, 1893-1895), teacher (New York College of Music, 1891-1892; Yale, 1901-1902), and lecturer (extension department of the University of the State of New York, 1896-1900). He returned to Germany in 1902 and for eight years taught piano and composition in Berlin, where his Piano Quintet (Opus 20) was first performed in December 1905.
In 1910 he left Berlin to accept positions at Western College for Women in Oxford, Ohio, where he became lecturer in music theory. In 1911 he accepted a concurrent appointment as head of the music theory department at the Cincinnati Conservatory of Music, where he usually spent one day a week teaching; he remained active in both positions until his retirement in 1934. During this very productive period Kelley composed his Second or New England Symphony, first performed at Norfolk, Connecticut, June 13, 1913; an oratorio, Pilgrim's Progress; and his "Alice in Wonderland" suite. His tone poem "The Pit and the Pendulum" was first performed at the May Festival in Cincinnati on May 9, 1925. His First Symphony, Gulliver in Lilliput, begun as early as 1893, was not completed until 1936 and was first presented in Cincinnati on April 9, 1937; it was given a nationwide radio performance later that month by Walter Damrosch and the NBC Symphony Orchestra in honor of Kelley's eightieth birthday.
Kelley was also the author of two books, Chopin the Composer (1913) and Musical Instruments (1925). After 1934 Kelley made his home in New York City, though he paid occasional visits to Cincinnati.
Kelley was a composer of refinement and taste, with a bent for humor and the exotic. His compositions were mildly nationalistic in intent, though Teutonic in sound and technique; many were intended as musical representations of events in American history or tales by American writers such as Irving and Poe. He appears to have been strongly influenced by the music of Richard Strauss (of which he was a fervent admirer) and by Strauss's theories of program music. Kelley displayed great ingenuity in using music to suggest the sounds of battle, the galloping of horses, or the humorous spectacle of Gulliver falling asleep, but his work lacked the forward-looking elements found in such exceptional contemporaries as Igor Stravinsky and Charles Ives.
On July 23, 1891, Kelley married Jessie M. Gregg of San Francisco, one of his piano pupils and a talented musician; they had no children. Mrs. Kelley served as director of music at Western College for Women in Oxford, Ohio.