351:
136:
29:
466:
550:(containing his best-known song, "I'll sing thee songs of Araby" and also "Still this golden lull"), was given successfully at the Brighton Festival in 1877, and was later performed elsewhere in Britain and the US. Clay found a lack of opportunity in Britain and moved to the US in 1877. He met with only mixed success there and returned to London in 1881. His last stage works were two collaborations with the librettist
342:. By about 1865 Clay became engaged to Scott Russell's youngest daughter, Alice May, and Sullivan wooed the middle daughter, Rachel. The Scott Russells welcomed the engagement of Alice and Clay, but it was broken off, for unknown reasons. Alice married another suitor in 1869; Clay remained single all his life.
614:
In all his works Clay showed a natural gift of graceful melody and a feeling for rich harmonic colouring. Although highly successful in the treatment of dramatic music, it is probable that his songs will give him the most lasting fame. "She wandered down the mountain side", "Long ago", and "The Sands
542:
commented that the piece had not appealed to audiences in 1876, "accustomed to a more broadly humorous style of extravaganza" and hoped that by 1881 public taste had become more cultivated under the influence of
Gilbert's other comic operas. Nonetheless, the revival ran for only 65 performances.
533:
s later comment that the piece was "probably surpassed by no modern
English work of the kind for gaiety and melodious charm" was not generally shared: a recurring theme in reviews was that Clay's music was musicianly and pleasing but not strikingly original or memorable. At its first London
368:
was performed in London, conducted by
Sullivan. It was politely received, but the composer's "talent and good taste" did not, in the opinion of one reviewer, result in "much originality of character". In 1869 came Clay's first substantial theatrical success, the "operatic entertainment"
484:
government after the party's election victory in
February 1874, Clay resigned from the Treasury. A legacy from his father, who died in September 1873, left him financially independent and able to devote his energies to full-time composition.
201:. Both parents were musical: Clay's mother was the daughter of a leading opera singer, and his father was an amateur composer. Clay was educated at home in London by private tutors, and studied piano and violin, and later composition under
117:
has called Clay "the first significant composer of the modern era of
British musical theatre", but even his most successful stage works were soon eclipsed by those of Gilbert and Sullivan. During his lifetime he was best known for his
39:(3 August 1838 – 24 November 1889) was an English composer known principally for songs and his music written for the stage. Although from a musical family, for 16 years Clay made his living as a civil servant in
642:, and his music was widely regarded as musicianly and pleasing but not particularly original or memorable, in Gänzl's view he was "the first significant composer of the modern era of British musical theatre".
294:
commented on the second of these: "The composer is an amateur, but he has shown a dramatic power and a skill in instrumentation that would justify him in entering the lists with professional musicians".
457:(1872). The last of these, given at Covent Garden was a spectacular production that ran for some eight months and attracted highly favourable notices for Clay and his fellow composer, Jules Rivière.
1616:
585:
in
December 1883 he suffered a stroke that paralysed him and cut short his productive life. In 1889 at the age of 51, he was found drowned in his bath at the home of his sisters in
634:. Successful though he was, he never really broke away from the drawing-room ballad and, lacking Sullivan’s sense of fun and powers of invention, remained largely in his shadow.
1412:
and then by the Polish army. The music ... was noted as being promising if rather light and, after being performed eighteen times as a curtain-raiser … it sank into obscurity."
1456:
Clay asked
Robertson to write the libretto for the piece, but the latter was too busy and gave Clay an introduction to "a better man than I shall ever be", namely Gilbert.
1421:
The Scott
Russells forbade the relationship between Sullivan and Rachel, because Sullivan had uncertain financial prospects, although Rachel continued to see him covertly.
264:
in Paris, he was enthused by "the strength of vocal declamation in the one work and the delight of musical comedy in the other". In his free time he studied music with
391:
as "an enormous success", ran for 350 performances during its first run, and was revived several times. The first production was in a double bill with
Sullivan's
574:, which had been burned to the ground the year before. These shows were both successful and, in Gänzl's view, showed an artistic advance on Clay's earlier work.
414:
ideas the librettist was to develop in his later collaborations with
Sullivan and others. The premiere was enthusiastically received – in a favourable review
272:, and composed what his biographer Christopher Knowles calls "songs and light operas for the drawing rooms of high society". With his fellow Treasury clerk
2367:
1480:
Like his friend Sullivan, Clay was an inveterate gambler, and he eventually lost the money his father left him and had to rely on his earnings from music.
507:, with a libretto by Reece. This successfully toured the provinces, with the composer conducting and Santley starring as Pincione; it was given at the
1613:
122:, which were familiar throughout Britain. Clay's music was widely regarded as not particularly original or memorable, but musicianly and pleasing.
1402:
was written to a rather 'heavy' libretto. ... It was a tale of love and patriotism set in Poland under the Russians – something of a Polish
43:, composing in his spare time, until a legacy in 1873 enabled him to become a full-time composer. He had his first big stage success with
206:
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1937:
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to Sullivan; at a rehearsal of the piece, probably in 1870, Gilbert met Sullivan for the first time, introduced by Clay.
1585:
626:
His melodies are always fresh and graceful; his harmonic treatment, though sometimes strikingly original, owes much to
438:) all had short London runs. Clay contributed some of the music for other London shows in these years, including the
1037:
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Numerous, including "She Wandered Down the Mountainside", "The Sands of Dee", and "'Tis Better Not to Know".
577:
Clay had been in precarious health during the year, and had been obliged to abandon work on a third cantata,
380:
538:
ran for less than a month. A New York production fared still worse. When it was revived in London in 1881
2183:
1004:
420:
noted that almost every number was encored – but the piece ran for only 26 performances. The next three,
256:
2262:
The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961
376:
1183:
615:
of Dee", among others, are poems of great tenderness and beauty, and not likely to be soon forgotten.
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324:
152:
77:
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481:
236:
At the age of 20 Clay experienced what he called the "opening up" of his musical senses: hearing
54:
102:
and numerous individual songs. His last two works were both successful operas composed in 1883,
942:
406:
1447:. The composer conducted, with Sullivan at the organ, a choir of 200 and an orchestra of 80.
331:, it was favourably reviewed in the press, but did not remain in the theatrical repertoire.
2377:
2372:
2313:
Sullivan, Arthur (1911) . "Clay, Frederic". In George Grove; J. A. Fuller Maitland (eds.).
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in 1859. Under a later administration Clay undertook confidential missions on behalf of
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85:
495:(1874) to which Clay contributed some of the music, was followed by a commission from
110:. He then suffered a stroke that paralysed him at the age of 44 and ended his career.
57:; it ran well and was repeatedly revived. Clay, a great friend of his fellow composer
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1408:, but with a happy ending when the hero and heroine are rescued first by a singing
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581:, commissioned for the Leeds Festival. After conducting the second performance of
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Over the next four years Clay composed four further operatic pieces. The first,
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The final collaboration between Clay and Gilbert was a three-act comic opera,
68:
In addition to Gilbert, Clay's librettists during his 24-year career included
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Although even his most successful stage works were soon eclipsed by those of
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90:
50:
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Slonimsky, Nicholas; Laura Kuhn; Dennis McIntire (2001). "Clay, Frederic".
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242:
81:
20:
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40:
19:"Fred Clay" redirects here. For the Aboriginal Australian activist, see
2222:
Knowles, Christopher (1992). "Clay, Frederic". In Stanley Sadie (ed.).
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Between the 1876 and 1881 productions Gilbert and Sullivan had written
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796:
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551:
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73:
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1465:
The opera shared a French plot source with the 1866 American musical
605:
Sullivan wrote the article about his friend in the early editions of
526:
320:
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The revival was the first production at the Opera Comique after the
28:
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356:
45:
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593:'s verdict was suicide while of unsound mind. Clay was buried in
590:
524:
it attracted mixed notices, both for the libretto and the score.
311:
269:
99:
334:
In the mid-1860s, Clay and his close friend and fellow musician
465:
1404:
315:. A second one-act piece for Covent Garden followed in 1865:
276:
as librettist he wrote three one-act operettas for amateurs:
198:
298:
Clay had a modest operatic success with a one-act operetta,
1627:, Oxford University Press, 2001. Retrieved 6 February 2021
1596:, Oxford University Press, 2004. Retrieved 6 February 2021
520:, (1876), another vehicle for Santley. On tour and in the
306:, produced at Covent Garden in 1862 as an after-piece to
1950:
Gänzl (2001), p. 389; and "Advertisements and Notices",
1443:
In 1871 a revised version was presented under the title
570:(1883). The latter was written for the reopening of the
354:
The picture gallery comes to life in Clay and Gilbert's
197:
and was also well known as a player of and authority on
1992:, 14 December 1879, p. 7; and "The Drama in America",
1534:, which totalled 578 performances at the two theatres.
182:
Clay was born in Paris, the fourth of six children of
2259:
1747:, 24 January 1865, p. 3; and "Royal English Opera",
98:and in New York. Clay's other compositions include
61:, introduced the latter to Gilbert, leading to the
2354:
1743:, 24 January 1865, p. 2; "Royal English Opera",
1376:
1358:(London, 1871, revision of the 1866 work, above)
491:, a "musical improbability", with a libretto by
480:Foreseeing, and not relishing, a long period of
511:, London, during the winter season of 1874–75.
139:Librettists for Clay: clockwise from top left:
88:. The last of his four pieces with Gilbert was
49:(1869), a short comic opera with a libretto by
2279:A Bibliography of Sir William Schwenck Gilbert
1735:, 24 March 1862, p. 6; "Royal English Opera",
2188:(second ed.). New York: Schirmer Books.
1988:, 8 October 1876, p. 13; "Standard Theatre",
2296:Baker's Biographical Dictionary of Musicians
2165:The British Musical Theatre, Vol.1 1865–1914
622:, Christopher Knowles sums up Clay's music:
410:(1870, with Gilbert), contained many of the
2368:People associated with Gilbert and Sullivan
2339:at The Guide to Light Opera & Operetta
1104:Collaboration with Jacobi. Other music by
213:, and was for a time private secretary to
2347:International Music Score Library Project
1957:
1649:"Mr Frederic Clay at Clarence Chambers",
994:Harry Paulton and John Paulton after the
608:Grove's Dictionary of Music and Musicians
186:(1804–1873) and his wife, Eliza Camilla,
2312:
2143:
2103:
2101:
2099:
2097:
2095:
2093:
2004:
2002:
1430:Alice married François Arthur Rausch at
464:
449:(1873), the "grand opéra-bouffe féerie"
397:. Clay dedicated the published score of
387:. The piece, described by the historian
349:
134:
27:
2240:
2221:
2185:The Encyclopedia of the Musical Theatre
2127:Gilbert and Sullivan – A Dual Biography
2083:
2081:
1909:
1907:
1905:
1861:
1859:
1608:
1606:
1604:
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1594:Oxford Dictionary of National Biography
1311:The Encyclopedia of the Musical Theatre
453:(1872) and the "fantastic music drama"
2355:
2317:(second ed.). London: Macmillan.
2276:
2260:Rollins, Cyril; R. John Witts (1962).
2202:
2124:
1984:, 6 October 1876, p. 3; "The Strand",
1938:Illustrated Sporting and Dramatic News
1886:
1884:
1822:Gänzl (1986), p. 19 and (2001), p. 389
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618:In the article in the 2001 edition of
2205:Arthur Sullivan: A Victorian Musician
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1999:
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891:Babil and Bijou, or The Lost Regalia
455:Babil and Bijou, or The Lost Regalia
338:were frequent guests at the home of
94:(1875), which had short runs in the
2315:A Dictionary of Music and Musicians
2129:. Oxford: Oxford University Press.
2075:Rivière, p. 220; and Jacobs, p. 184
1881:
1763:
1560:
1548:
1317:
13:
1669:
1364:(cantata, Brighton Festival, 1877)
1205:grand comic and spectacular opera
319:, a curtain-raiser for the annual
125:
14:
2404:
2330:
2244:My Musical Life and Recollections
2224:The New Grove Dictionary of Opera
2146:Gilbert of Gilbert & Sullivan
1831:"Royal Gallery of Illustration",
1796:"Civil Service Musical Society",
1630:
1583:"Clay, Frederic Emes (1838–1889)"
2247:. London: Sampson Low, Marston.
1783:"Births, Marriages and Deaths",
1739:, 24 March 1862, p. 3; "Music."
645:
2393:Suicides by drowning in England
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2011:
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217:, who presented him at a court
2388:19th-century English musicians
2383:19th-century British composers
1980:, 5 July 1876, p. 7; "Drama",
1712:
1697:
1684:
1656:
1117:Cattarina, or Friends at Court
505:Cattarina, or Friends at Court
364:In 1866 Clay's first cantata,
130:
1:
2148:. London: The History Press.
2066:Gänzl (1986), pp. 228 and 230
1675:"Death of Mr Frederic Clay",
1541:
1377:Notes, references and sources
381:Royal Gallery of Illustration
2343:Free scores by Frederic Clay
1774:Ainger, p. 87; Jacobs, p. 53
1471:but was otherwise unrelated.
1131:Prince's Theatre, Manchester
692:Private amateur performance
554:: a "sporting comic opera",
16:English composer (1838–1889)
7:
2207:. Oxford University Press.
611:. He said of Clay's music:
257:Les diamants de la couronne
205:. Through the influence of
190:Woolrych. James Clay was a
10:
2409:
2363:English Romantic composers
2264:. London: Michael Joseph.
2167:. Basingstoke: Macmillan.
2118:
2030:Rollins and Witts, pp. 5–8
1874:"The Gentleman in Black",
1524:D'Oyly Carte Opera Company
1394:According to a summary by
988:grand opéra-bouffe féerie
430:(1872, with Gilbert), and
18:
2277:Searle, Townley (1968) .
2144:Crowther, Andrew (2011).
1813:, 4 November 1871, p. 355
1343:
1184:Theatre Royal, Nottingham
670:
667:
664:
661:
658:
655:
652:
424:(1871, for German Reed),
209:, Clay secured a post in
2125:Ainger, Michael (2002).
1967:, 29 November 1889, p. 5
1835:, 23 November 1869, p. 3
1681:, 30 November 1889, p. 9
1526:moved from there to the
1381:
1368:
1350:The Knights of the Cross
973:Gallery of Illustration
880:Gallery of Illustration
698:Score and libretto lost
600:
562:, starring Santley, and
366:The Knights of the Cross
2241:Rivière, Jules (1893).
2203:Jacobs, Arthur (1984).
2039:Rollins and Witts, p. 8
2021:, 18 October 1881, p. 4
1996:, 11 January 1880, p. 4
1941:, 7 November 1874, p. 3
1751:, 24 January 1865, p. 9
1731:"Royal English Opera",
1722:, 24 January 1865, p. 9
1718:"Royal English Opera",
1703:"Royal English Opera",
1662:"Her Majesty's Levee",
1504:The Pirates of Penzance
1087:Christmas extravaganza
825:Gallery of Illustration
55:Gallery of Illustration
2298:. New York: Schirmer.
2281:. New York: Franklin.
1787:, 2 October 1869, p. 5
1709:, 24 March 1862, p. 12
1612:Knowles, Christopher.
1581:Knowles, Christopher.
1147:musical improbability
1051:Don Giovanni in Venice
964:musical entertainment
943:Gaiety Theatre, London
895:fantastic music drama
838:The Gentleman in Black
717:Bijou Theatre, London
636:
558:, (1883) given at the
477:
447:Don Giovanni in Venice
407:The Gentleman in Black
361:
179:
33:
2226:. London: Macmillan.
2008:Gänzl (2001), p. 1657
1978:Birmingham Daily Post
1954:, 27 June 1875, p. 12
1694:, 14 July 1861, p. 10
1664:The Morning Chronicle
1653:, 18 April 1883, p. 6
1255:sporting comic opera
852:Charing Cross Theatre
624:
597:on 29 November 1889.
509:Charing Cross Theatre
468:
383:, with a libretto by
353:
138:
31:
2182:Gänzl, Kurt (2001).
2163:Gänzl, Kurt (1986).
2057:Gänzl (1986), p. 230
2048:Gänzl (1986), p. 228
1922:Rivière, pp. 176–177
1913:Gänzl (2001), p. 390
1899:Gänzl (2001), p. 185
1865:Gänzl (2001), p. 758
1811:The Musical Standard
1800:, 23 July 1866, p. 7
1588:3 March 2016 at the
1557:Gänzl (2001), p. 389
1445:The Red Cross Knight
1356:The Red Cross Knight
920:. Jules Riviére and
640:Gilbert and Sullivan
323:, had a libretto by
195:Member of Parliament
63:Gilbert and Sullivan
1878:, 27 May 1870, p. 3
1760:Gänzl (1986), p. 16
1666:, 12 May 1859, p. 5
1619:5 June 2018 at the
1070:Collaboration with
1013:Collaboration with
950:Collaboration with
916:Collaboration with
302:, to a libretto by
2337:List of Clay works
1990:The New York Times
1651:The Yorkshire Post
1625:Grove Music Online
1530:during the run of
1434:in September 1869.
1220:25 September 1876
1157:Vaudeville Theatre
947:14 September 1872
929:Ali Baba à la Mode
478:
461:Full-time composer
443:Ali Baba à la Mode
375:, written for the
362:
340:John Scott Russell
180:
37:Frederic Emes Clay
34:
2305:978-0-02-865525-3
2233:978-0-333-48552-1
2214:978-0-19-315443-8
2195:978-0-02-864970-2
2174:978-0-333-39839-5
2155:978-0-7524-5589-1
2136:978-0-19-514769-8
2017:"Opera Comique",
1976:"Theatre Royal",
1785:Pall Mall Gazette
1302:
1301:
1251:The Merry Duchess
1067:18 February 1873
1043:16 February 1873
1010:23 December 1872
1000:La Biche aux bois
996:Cogniard brothers
922:J-J. de Billemont
830:22 November 1869
728:Court and Cottage
677:The Pirate's Isle
595:Brompton cemetery
556:The Merry Duchess
329:Court and Cottage
300:Court and Cottage
278:The Pirate's Isle
215:Benjamin Disraeli
104:The Merry Duchess
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1690:"The Theatres",
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1614:"Clay, Frederic"
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1324:Monsieur Jacques
1318:Incidental music
1296:3 December 1883
1243:3 December 1881
1162:31 October 1874
1101:19 January 1874
1026:romantic legend
1005:Alhambra Theatre
976:28 October 1872
952:George Grossmith
782:The Bold Recruit
774:23 January 1865
688:B. C. Stephenson
650:
649:
572:Alhambra Theatre
532:
417:The Morning Post
286:The Bold Recruit
274:B. C. Stephenson
266:Moritz Hauptmann
230:
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203:Bernhard Molique
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70:B. C. Stephenson
53:, for the small
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1267:Royalty Theatre
1228:The Black Crook
1211:H. Paulton and
1135:17 August 1874
984:The Black Crook
913:29 August 1872
906:Dion Boucicault
842:musical legend
813:musical legend
795:Theatre Royal,
767:T. W. Robertson
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1284:fairy opera
1279:
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1227:
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1174:comic opera
1169:
1142:
1121:comic opera
1116:
1082:
1072:James Molloy
1050:
1033:James Albery
1021:
999:
983:
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928:
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876:Robert Reece
864:
857:26 May 1870
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704:Out of Sight
703:
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579:Sardanapalus
578:
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501:opéra-bouffe
497:Kate Santley
493:Robert Reece
488:
487:
482:Conservative
479:
454:
450:
446:
442:
436:James Albery
434:(1873, with
431:
425:
421:
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412:topsy-turvey
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377:German Reeds
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346:1866 to 1873
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282:Out of Sight
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243:Il trovatore
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187:
181:
112:
107:
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89:
82:Robert Reece
67:
44:
36:
35:
25:
21:Freddie Clay
2378:1889 deaths
2373:1838 births
1362:Lalla Rookh
1201:Don Quixote
1094:H. J. Byron
954:and others
792:Stephenson
714:Stephenson
662:Librettist
568:Marion Hood
548:Lalla Rookh
534:production
445:(1872) and
394:Cox and Box
308:Meyerbeer's
284:(1860) and
211:HM Treasury
131:Early years
41:HM Treasury
2357:Categories
2287:1147707940
2253:1028184155
1963:Obituary,
1542:References
1410:vivandière
1396:Kurt Gänzl
1330:The Squire
1262:G. R. Sims
1186:and later
1076:Meyer Lutz
797:Canterbury
739:Tom Taylor
552:G. R. Sims
389:Kurt Gänzl
304:Tom Taylor
184:James Clay
165:Tom Taylor
149:Stephenson
115:Kurt Gänzl
86:G. R. Sims
74:Tom Taylor
2270:504581419
2107:Slonimsky
2019:The Times
1965:The Times
1749:The Times
1720:The Times
1706:The Times
1400:Constance
1293:Alhambra
1269:, London
1240:Alhambra
1217:Alhambra
1190:, London
1159:, London
1110:Offenbach
1098:Alhambra
1090:7 scenes
1040:, London
1007:, London
869:operetta
854:, London
827:, London
786:operetta
756:Constance
732:operetta
708:operetta
681:operetta
566:starring
540:The Times
527:The Times
321:pantomime
317:Constance
231:Gladstone
161:Robertson
2323:86048631
1617:Archived
1586:Archived
1532:Patience
1510:Patience
1432:Lewisham
1305:Source:
1180:Gilbert
1083:Don Juan
970:Gilbert
848:Gilbert
809:Ages Ago
522:West End
399:Ages Ago
372:Ages Ago
357:Ages Ago
288:(1868).
280:(1859),
100:cantatas
96:West End
46:Ages Ago
2349:(IMSLP)
2345:at the
2119:Sources
1994:The Era
1986:The Era
1952:The Era
1692:The Era
1678:The Era
1064:Gaiety
628:Rossini
591:coroner
499:for an
379:at the
327:. Like
312:Dinorah
291:The Era
270:Leipzig
260:at the
192:Radical
177:Gilbert
2321:
2302:
2285:
2268:
2251:
2230:
2211:
2192:
2171:
2152:
2133:
1344:Choral
1332:(1881)
1326:(1876)
1309:, and
1153:Reece
1127:Reece
1106:Lecocq
1061:Reece
1022:Oriana
939:Reece
904:after
760:opera
671:Notes
656:Genre
653:Title
589:. The
469:Clay,
432:Oriana
360:, 1869
229:
225:
175:
171:
159:
155:
147:
143:
2109:et al
1405:Tosca
1382:Notes
1369:Songs
1290:Sims
918:Hervé
695:1859
659:Acts
632:Auber
620:Grove
601:Music
531:'
252:Auber
238:Verdi
219:levee
199:whist
2319:OCLC
2300:ISBN
2283:OCLC
2266:OCLC
2249:OCLC
2228:ISBN
2209:ISBN
2190:ISBN
2169:ISBN
2150:ISBN
2131:ISBN
1507:and
1108:and
1074:and
630:and
473:and
250:and
167:and
106:and
84:and
1935:",
1398:, "
268:in
254:'s
246:at
240:'s
188:née
2359::
2092:^
2080:^
2001:^
1904:^
1883:^
1858:^
1765:^
1632:^
1623:,
1601:^
1592:,
1562:^
1550:^
1501:,
1495:,
1287:3
1258:2
1235:4
1208:3
1177:3
1150:1
1124:2
1058:?
1029:3
998:'
991:4
967:1
936:?
898:5
872:1
845:2
816:1
789:1
763:1
735:1
711:1
684:?
503:,
233:.
227:E.
223:W.
173:S.
169:W.
163:,
157:W.
153:T.
151:,
145:C.
141:B.
80:,
76:,
72:,
2325:.
2308:.
2289:.
2272:.
2255:.
2236:.
2217:.
2198:.
2177:.
2158:.
2139:.
1931:"
1513:.
1313:.
23:.
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