DICTIONARY OF MUSIC - El Atril

KELLXER KELLY 563
to 1874 ; then of Clarence Eddy
Ledochowski in Chicago for two years.
and N.
He went
now to Stuttgart, where he studied for four years
under Seifriz, Kriiger, Speidel, and Friedrich
Finck. Mr. Kelley spent much of his time
upon his return to America in California, acting
as organist in San Francisco and Oakland, and
as music critic, from 1893 to 1895, for the San
Francisco Examiner. While there he devoted
some attention to study of the music of the
Chinese, who dwell in large numbers on the
Pacific coast. The influence of tliese observations
is seen in his ' ' Aladdin suite, in which lie has
used Chinese motives. In 1890 he conducted
a comic operetta company in the eastern States,
and in 1892 he brouglrt out a comic operetta of
his own, entitled 'Puritania,' in Boston, where
it had a success that was denied to it in other
cities. Jlr. Kelley's compositions, Avhich are
chielly in manuscript, include, beside 'Puritania,'
op. 11, and 'Aladdin,' op. 10, incidental music
to ' Jlacbeth ' for orchestra and chorus, op. 7 ;
incidental music to the play of ' Ben Hur, ' op.
a pianoforte
17, for orchestra, solos, and chorus ;
quintet ; an original theme with variations for
string quartet, op. 1 ; a Wedding Ode for tenor
solo, male chorus, and orchestra, op. 4 ; and a
number of songs and pieces for the piano-
forte. R. A.
KELLXER, JoH.\NN Petee, born Sept. 24,
1705, at Grafenrode in Thuringia, received his
musical instruction chiefly from J. 0. Schmidt,
the organist of Zella St. Blasii, by whom he
was early introduced to the works of Sebastian
Bach, for whicli he ever afterwards had tlie
greatest admiration. In 1725 he obtained the
post of cantor at Frankenhain, but exchanged
it in 1728 for a similar post at his birthplace,
where, in spjite of many tempting offers elsewhere,
he remained till his death in 1788. It was
the pride of the old man in his later days to
recall his piersonal acquaintance with Bach and
Handel. For them and their works he always
expressed the utmost veneration, and we owe
the preservation of some of Bach's works to
copies made by him. We are also told that
once when Bach happened to come into the
church where Kellner was playing, Kellner improvised
in a masterly way a fugue on the theme
b-a-c-h. From Kellner's manuscrijit of 1738
Spitta has printed Bach's Vorschriften uoui
Grunclsatze mm vierstimmigen Spielen des
Geiieral-Bass oder accompagnement fur seine
Schohi.rcn in der Mitsik (see Appendix xii.
Spitta's Bach, Eng. trans, vol. iii. pp. 315 ff.).
Kellner's own published works are, 1. Certamcn
Musicu'iii Icsteliend aus Priilndicn, Fugcn, AUcmanden,
etc., in six Suites, Arnstadt, 1739-49.
Another edition in eight Suites, 1749-56. 2.
Manipulus Musices oder eine Hand roll Jcurz-
weiliger Zeitvertrcih vors Clavier, Arnstadt,
1753-56, fourpieces partly Suites, partly Sonatas.
3. Two Choralhearbeitungen for two Clav. and
Pedal. Other organ works and church Cantatas
exist in MS. SeiH'ert {Gcschichle der Klavicr-
'iiiusil:, Bd. I. pp. 361 tf.) expresses the opinion
that Kellner's Clavier works have been most
undeservedly neglected by modern collectors and
editors of the older music. He reckons the
Suites, more especially, as among the best of
those produced after the form had been perfected
by Muffat and Bach. Naturally, various reminiscences
of Bach and Handel occur in
Kellner's works. J. E. M.
KELLOGG, CLAE.i Louise, though born in
Sumterville, Soutlr Carolina, in July 1842, is of
northern exti'action. Her mother had considerable
talent as a musician, and Clara was her
only child. In 1856 they removed to New
York, w'here she received the whole of her
musical education. She made her first appearance
there, at the Academy of Music (Opera),
as Gilda in 'Rigoletto,' in 1861, and sang that
season ten or twelve times. On Nov. 2, 1867,
she made her debut in London at Her Majesty's
as Marglrerita, [and sang also as Violetta, Linda,
I\lartha, and Zerlina ('Don Giovanni'), apipearing
in the last-named part on tlie night before the
theatre was burnt down, Dec. 6. In 1868 slie
sang, with tlie company of Her Majesty's
Theatre, at Drury Lane. Here she appeared in
the ' Sonnambula,' ' Gazza Ladra,' ' Figlia del
Reggimento, ' and 'Figaro' (Susanna). She
sang at various important concerts in the same
season, and at the Handel Festival.] From
1868 to 1872 slie was touring in the United
States. On May 11, 1872, she reappeared in
London at Drury Lane, Her Majesty's Opera, as
Linda, and sang during that season also in
some of the parts mentioned, and in 'Lucia.'
On her return to the United States she continued
to sing in Italian opera till 1874, when she
organised an English troupe, herself superintending
the translation of the words, the mise
en scene, the training of the singers, and the
rehearsals of the chorus. Such was her devotion
to the jiroject, that in tlie winter of 1874-75
she sang no fewer than 125 niglits. It is satisfactory
to hear tliat the scheme was successful.
[She reappeared at the rebuilt Her Majesty's
Theatre in 1879, as Aida, and Pliilinein ' Mignon.'
In 1881 she returned to America, singing
principally in concerts. She married her
manager, Carl Strakosoh, in 1887, and soon
afterwards retired.] Her musical gifts are great.
She is said to be familiar with forty operas. She
has great conscientiousness as an artist, ardent
enthusiasm, and a voice of great compass and
purity. G. ; additions by a. o.
KELLY, Michael, was born in Dublin [at
Christmastideof the yearl762, the sonof Thomas
Kelly, wine merchant and dancing- master,
of Mary Street, Dublin. When a lad he took
part in tlie Fantoccini organised by Kane O'Hara
at the theatre in Capel Street, and he was taught
the piano by Morland (1770-72') and by Michael