Free press. [volume] (Hays, Kan.) 1888-1908, 1902-06-21
IN ANCIENT GREEK SCALES.

! t2I1on OF Ken HUT.
In the prelude, The Wise Men in
the Deser," the music is both orches-
trai and choral For the latter there
were selected passages from the pro-
ehecies or Isaiah concerning the com
ing OF the Messiah, where Christ is re-
terred to as The light to tighten the
sarkness of the people" The music
Of this number begins with the theme
d che prophecy, trurpets and from
sones, and is built upon the ancient
musical scale peculiar to the Semitic
eeoples = Arabs and Hebrews-in
which the interval Of the augmented
second is prominent feature
This is taken Up by the invisible
male cAorus, announcing the vision of
Isaiah. Following is heard sugges-
ton OF The Star OF Bethlehem" theme
at the words Arise, then, for the glory
Of the Lord is upon tn-a!''
After somber pass re, For, be-
aold, the darkness shall cover the
earth, the orchestra takes up the
theme of the star while the chorus
chants the text: The Lord shall rise
upon theH, ana His glory shall be seen
1pen thee, and Gentiles shall come to
thy light and kings to the brightness
If thy rising"
The curtain rises on the opening tab
Ie2u showing the wise men in the de-
sert beside their kneeIing camels
awaiting the appearance of the star in
he East. AS the first sninmering of
lie stars light becomes visible, sug-
sestions OF the star theme are heard,
developing into orchestra fullness as
the light increases in intensity.
AS this incident Of the drama closes
The tread Of the camel is simulated by
the orchestra, suggesting the journey
Of the wise men over the arid waste OF
sand to the city of David, where the
child is 10 be born whom they seek and
would worship. This melody is COM
posed in an ancient scale common to
the Egyptians and Greeks 1900 years
ago.
The music of the first act consists
chiefly of illusions to the themes in
the prelude which are associated with
the prophecy, the beauties of Jerusa-
lem, and the promise of the delight of
the world, according to the demands of
the dialogue.
To this is added, on the appearance
Of Ben IZpr, the theme which is al
ways associated with him in the play,
love Of home and family, which is
subsequently introduced n the form OF
suggestions OF grief over loss Of home,
and revenge. This theme is heard in
the galley scene, and from time to
time Throughout the drama. Il takes
TIE form Of SUGGESTIONS of revenge on
the downfall OF MESSIAH, and in the
parting with Iras in the hast act.
The music of the seconu act has a
movement which suggests the roaring
q 41,.o 1Ie-y e1a cfa Of he
sea AID the moaning of the wind
through the unseen cordage.
In the third act the music is the
most elaborate. Here occurs the scenes
ia the grove Of Daphne. IN. compost
tons foY the scenes Prof. Kelley has
employed features which have never
been used in modern music. He has
made a special study Of the ancient
music of Greece. His interest in an
Gent Gfecian music began in studies
Of Chinese music IL California.
In the music of the scenes in the
grove he has employed the ancient
Greek scales, at least two thousand
years old, especially the Dorian and
Phryglan. He has also introduced Ger
tain harmonic progressions watch have
for some centuries been prohibited by
modern European theorists. but which
the latest investigators Of ancient
Greek music have proved to their sat
isfaction were undoubtedly used by
the Greeks, although it seems some
what strange to our ears. Prof Kelley
has somewhat slnoothea this apparent
crudfty over the employment OF mod
ern orchestral devices.
In the construction Of the phrases he
has employed some Of the meters Pc
culiar to the Greeks, such as division
OF measures into groups of three in
stead Of two and four-irregular IN
stead of regular.
Occasionally in the orchestration for
the third act he has endeavored to sug-
gest certain old Greek instrumnts. For
instance, in the entrance of the revel-
lers into the temple of Apollo, at the
end of the professional music, in pas
sage intended to suggest the old Greek
auloi or fut, the music uf which 1T is
said was at times varied and brilliant.
The most elaborate effort is in the
final chorus, which suggests the spin
ming of the web to entangle mems
souls by Arachne.
In the music in the first tableau OF
the fourth act the dowar of SheiA
Ildefi1n, the old Arabian scale is en-
ployed, and the wild life of the Arab
is suggested. In the barge scene be-
tween Ben Hur and Iras the song she
sings is unaccompanied, but the air Is
afterward repeated by the orchestra;
the solo by Iras is given an Egyptian
coloring.
The fifth act music opens with
march suggesting the power and dig
nitV OF Rome. Then follows music
suggesting the speeding OF the horses
in the chariot race and Il 7ETnfail on
MESSIAH, and revenge. en- with
triun phant march Of the tor
In the sixth act the music is very
impressive. The theme from the pre-
lude. s"The City of Jerusalem" Is
heard as the curtain rises, and the
themes are introduced at appropriate
times. The particular theme is This
Is Jesus of Nazareth
In the scene Of the vale of Hinnon
there is a movement suggesting the
misery OF the lepers, broken in G
when Amrah speaks of the COMING Q.
the Messiah, when is heard the grand
theme of the chorus, 'Hosannah, IN
treduced by the orchestra.
When the tableau vision CT the
sleeps the chorus sings Blessed Be the
King, Who Cometh in me Name OF tnt
Lord" and also Jesus OF Nazareth
~ in TN1n n