EDGAR STILLMAN KELLEY.
While his name is known wherever American music is known in its better aspects, yet, like many another American, his real art can be discovered only from his manuscripts. In these he shows a very munificence of enthusiasm, scholarship, invention, humor, and originality.
Kelley is as thorough an American by descent as one could ask for, his maternal ancestors having settled in this country in 1630, his paternal progenitors in 1640, A.D. Indeed, one of the ancestors of his father made the dies for the pine-tree shilling, and a great-great-grandfather fought in the Revolution.
Kelley began his terrestrial career April 14, 1857, in Wisconsin. His father was a revenue officer; his mother a skilled musician, who taught him the piano from his eighth year to his seventeenth, when he went to Chicago and studied harmony and counterpoint under Clarence Eddy, and the piano under Ledochowski. It is interesting to note that Kelley was diverted into music from painting by hearing "Blind Tom" play Liszt's transcription of Mendelssohn's "Midsummer Night's Dream" music. I imagine that this idiot-genius had very little other influence of this sort in his picturesque career.
After two years in Chicago, Kelley went to Germany, where, in Stuttgart, he studied the piano with Kruger and Speidel, organ with Finck, composition and orchestration with Seiffritz. While in Germany, Kelley wrote a brilliant and highly successful concert polonaise for four hands, and a composition for strings.
In 1880 he was back in America and settled in San Francisco, with whose musical life he was long and prominently identified as a teacher and critic. Here he wrote his first large work, the well-known melodramatic music to "Macbeth." A local benefactor, John Parrot, paid the expenses of a public performance, the great success of which persuaded McKee Rankin, the actor, to make an elaborate production of both play and music. This ran for three weeks in San Francisco to crowded houses, which is a remarkable record for many reasons. A shabby New York production at an ill-chosen theatre failed to give the work an advantageous hearing; but it has been played by orchestras several times since, and William H. Sherwood has made transcriptions of parts of it for piano solo.
The "Macbeth" music is of such solid value that it reaches the dignity of a flowing commentary. Beyond and above this it is an interpretation, making vivid and awesome the deep import of the play, till even the least imaginative auditor must feel its thrill.