See also:English musical composer, the son of
See also:Clay, M.P., who was celebrated as a player of
See also:whist and a writer on that subject, was
See also:born in
See also:Paris on the 3rd of
See also:August 1838 . He studied
See also:music under W . B . Molique in Paris and
See also:Moritz Hauptmann at
See also:Leipzig . With the exception of a few songs and two cantatas, The Knights of the
See also:Cross (1866) and Lalla Rookh (1877),—the latter of which contained his well-known
See also:song " I'll sing thee songs of Araby,"—his compositions were all written for the stage . Clay's first public appearance was made with an
See also:opera entitled
See also:Court and Cottage, the libretto of which was written by Tom
See also:Taylor . This was produced at Covent
See also:Garden in 1862, and was followed by
See also:Constance (1865), Ages Ago (1869), and Princess Toto (1875), to name only three of many
See also:works which have long since been forgotten . The last two, which were written to libretti by W . S ..
See also:Gilbert, are among Clay's most tuneful and most attractive works . He wrote
See also:part of the music for Babil and Bijou (1872) and The Black Crook (1873), both of which were produced at the
See also:Alhambra . He also furnished incidental music
See also:fox a revival of Twelfth
See also:Night and for the production of James
See also:Albery's Oriana .
His last works, The Merry Duchess (1883) and The
See also:Ring (1883), the latter written for the reopening of the Alhambra, which had been burned to the ground the
See also:year before, showed an advance upon his previous
See also:work, and rendered all the more regrettable the stroke of
See also:paralysis which crippled his
See also:physical and
See also:mental-energies during the last few years of his
See also:life . He died at
See also:Marlow on the 24th of
See also:November 1889 .
CHARLES CLAY (1801–1893)
HENRY CLAY (1777–1852)
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