'Erste stehende Deutsche Oper,' ii. 3–15; Reissmann, in his 'Allg. Geschichte der Musik,' iii. 54–73 and App. Nos. 7 and 8; and von Winterfeld in his 'Evangelische Kirchengesang,' vol. iii. Adam Hiller included an unaccompanied motet—'Kindlich gross'—in his 'Vierstimmige Motetten,' etc. vol. ii, and there is a fugue for 4 voices, 'Gott ist offenbaret,' in the 'Auswahl vorzüglicher musikwerke.'
[ A. M. ]
KÉLER BÉLA, whose real name is Albert von Kéler, was born at Bartfeld in Hungary, Feb. 13, 1820. After attempting both the law and farming he settled himself to music, and in 1845 began regular study at Vienna under Schlesinger and Sechter, playing the fiddle in the band of the Theater-an-der-Wien at the same time. May 7, 1854 he took the command of Gung'l's band in Berlin, and began his career as conductor, solo-player, and composer. After a few months in Berlin he returned to Vienna, and succeeded to Lanner's position at the head of that celebrated band. This again he left before long for an infantry regiment. As bandmaster to the latter he was called to Wiesbaden in 1863, and in 70 became Kapellmeister of the Kur orchestra there, a post which he resigned from ill health in 1872. He still resides in Wiesbaden, and celebrated his silver anniversary on May 7, 79. [App. p.689 "Add date of death, Nov. 20, 1882."] His works, which have reached op. 130, consist of overtures, dance music, and pieces for solo violin, all distinguished for showy brilliant style and clever orchestration. Among the most popular are his Hofnungssterne waltz, Hurrah-Sturm galop, and Friedrich-Karl march.
[ G. ]
KELLOGG, Clara Louise, though born in Sumterville, South Carolina, in July 1842, is of northern extraction. Her mother had considerable talent as a musician, and Clara was her only child. In 1856 they removed to New York, where 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 10 or 12 times. In 1867 (Nov. 2) she made her début in London at Her Majesty's as Margherita, sang constantly, and was re-engaged for the next year. From 1868 to 1872 she was touring in the United States. On May 11, 1872, she re-appeared in London at Drury Lane, Her Majesty's Opera, as Linda, and sang during that season also as Gilda. 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 scéne, the training of the singers, and the rehearsals of the chorus. Such was her devotion to the project, that in the winter of 74–75 she sang no fewer than 125 nights. It is satisfactory to hear that the scheme was successful. Miss Kellogg's musical gifts are great. She is said to be familiar with thirty-five operas. She has great conscientiousness as an artist, ardent enthusiasm, and a voice of great compass and purity. In addition to which she has a remarkable talent for business and is never so happy as when she is doing a good or benevolent action.
[ G. ]
KELLY, Michael, was born in Dublin about 1764, was taught singing by Passerini, Peretti, and St. Giorgio, and ultimately by Rauzzini, on whose advice his father sent him to Naples to study. Before quitting Dublin, however, a fortuitous circumstance led to his appearance on the stage as the Count in Piccinni's 'Buona Figliuola,' and that again to his performing the hero in Michael Arne's 'Cymon,' and Lionel in 'Lionel and Clarissa.' On May 1, 1779, he quitted Dublin, and arrived in Naples May 30. He placed himself under the tuition of Finaroli, head of the Conservatorio of La Madonna di Loreto. He subsequently studied under Aprile, with whom he visited Palermo, and then went successively to Leghorn, Florence, Bologna, and Venice, ultimately reaching Vienna, where he was engaged at the Court theatre. There he remained four years, enjoying the intimate friendship of Mozart, who on the production of his 'Nozze di Figaro' allotted to Kelly (whose name he spells 'Occhely ' in his MS. catalogue) the parts of Basilio and Don Curzio. Being anxious to visit England Kelly obtained leave of absence from the Emperor, and in Feb. 1787 quitted Vienna in company with Stephen Storace, his mother and sister—Signora Storace—and Attwood. He appeared at Drury Lane on April 20, in his old part of Lionel, and continued there as first tenor until he quitted the stage. He also sang at the Concert of Ancient Music, the Handel performances in Westminster Abbey, and in the provinces. In 1789 he made his first appearance as a composer by the production of the music to two pieces called 'False Appearances' and 'Fashionable Friends,' and from that date till 1820 furnished the music for 62 dramatic pieces, besides writing a considerable number of English, Italian and French single songs, etc. In 1793 he was engaged at the King's Theatre, of which he was for many years acting manager. On Jan. 1, 1802, he opened a music shop in Pall Mall adjoining the Opera House, but this promising speculation failed owing to his inattention, and in 1811 he was made a bankrupt. He also engaged in the wine trade, and this circumstance, combined with the suspicion that some of Kelly's compositions were derived from foreign sources, led Sheridan to propose that he should inscribe over his shop, Michael Kelly, Composer of Wines and Importer of Music.' On Sept. 5, 1811, at Dublin, Kelly made his last appearance on the stage. In 1826 he published his 'Reminiscences' in 2 vols. 8vo. This entertaining work, which reached a second edition in the same year, was written by Theodore Hook from materials furnished by Kelly. Its personal notices of Mozart are both interesting and important, and have been done justice to by Otto Jahn (2nd ed. ii. 242, etc.) Kelly died at Margate, Oct. 9, 1826. The following is a list of the pieces for which he composed the music:—
'False Appearances' and 'Fashionable Friends.' 1789; 'A Friend in need,' 'The Last of the Family,' 'The Chimney Corner,' and 'The Castle Spectre.' 1797; 'Blue Beard,' 'The Outlaws.' 'The Captive of Spielberg (with Dussek) and 'Aurelio and Miranda,' 1798; 'Feudal
