The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1902-11-23

theme are heard, developing into orchestral
fullness as the light increases in its in
tensity. 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 to be born whom they seek and would
worship. This melody is composed 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 Jerusalem. and
the promise Of the delight of the world,
corGing to the demands of the dialogue
To this is added. on the appearance of Ben
Hur. the theme which is subsequently in
troduced In the forms of suggestions of
grief over the loss of home. and revenge.
This theme is heard in the galley scene.
and from time TO time throughout the
drama. 1t takes the form of suggestion of
revenge on the downfall of Messiah, and
in the parting with Iras in the last act.
The music in the second act has move
ment which suggests the rowing of the
galley slaves, the swash of the sea and the
moaning OF the wind through the unseen
cordage. In the third act the music is
more elaborate Here occur the scenes in
the Grove of Daphne In the composition
for the scenes, Mr.. Kelley has made spe-
cial study of the ancient music of Greece.
His interest in ancient Grecian music be-
gan in studies of Chinese music in Cali
fornia. 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 Phrygian. He
has also introduced certain harmonic pro-
gressions which have for some centuries
been prohibited by European theorists, but
which the latest investigators of ancient
Greek music have proved to their salts
faction were undoubtedly used by the
Greeks, although they seem strange to our
ears 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 instead of
two and four-irregular instead of regular.
Occasionally, in the orchestration for the
third act, he has endeavored to suggest
certain old Greek instruments. For in
stance in the entrance of the jewellers into
the temple of Apollo at the end of the pro-
cessional music. is a passage intended to
suggest the old Greek aulo, or flute, the
music of which. IL is said, was at times
varied and brilliant. The most elaborate
effect is in the final chorus, which suggests
the spinning of a web TO tangle mems
souls by Arachne
'In the music in the first tableau in the
fourth act. the dowar of Sheik Ilderim, the
old Arabian scale is employed. and the
wild life OF the Arab is suggested. In the
barge scene between Ben-Hun and Iras the
song she sings is unaccompanied. but the
air is afterwards repeated by the orchestra,
and the solo by Iras IS given an Egyptian
coloring. The fifth act music opens with
a march suggesting the power and dignity
of Rome. Then follows music suggesting the
speeding OF the horses in the chariot race
and the downfall Of Messiah, and revenge.
ending with a triumphant march for the
victor In the sixth act the music is very
impressive. The theme from the prelude.