In 1880 he was back in America and settled in San Francisco, with whose musical life he was long and prominently identified as a teacher and critic. Here he wrote his first large work, the well-known melodramatic music to "Macbeth." A local benefactor, John Parrot, paid the expenses of a public performance, the great success of which persuaded McKee Rankin, the actor, to make an elaborate production of both play and music. This ran for three weeks in San Francisco to crowded houses, which is a remarkable record for many reasons. A shabby New York production at an ill-chosen theatre failed to give the work an advantageous hearing; but it has been played by orchestras several times since, and William H. Sherwood has made transcriptions of parts of it for piano solo. The "Macbeth" music is of such solid value that it reaches the dignity of a flowing commentary. Beyond and above this it is an interpretation, making vivid and awesome the deep import of the play, till even the least imaginative auditor must feel its thrill. Thus the gathering of the witches begins with a slow horror, which is surely Shakespeare's idea, and not the comic-opera _can-can_ it is frequently made. As various other elfs and terrors appear, they are appropriately characterized in the music, which also adds mightily to the terror of the murder scene. Throughout, the work is that of a thinker. Like much of Kelley's other music, it is also the work of a fearless and skilled programmatist, especially in the battle-scenes, where it suggests the crash of maces and swords, and the blare of horns, the galloping of horses, and the general din of huge battle. Leading-motives are much used, too, with good effect and most ingenious elaboration, notably the _Banquo_ motive. A certain amount of Gaelic color also adds interest to the work, particularly a stirring Gaelic march. The orchestration shows both scholarship and daring. An interesting subject is suggested by Kelley's experience in hunting out a good motif for the galloping horses of "Macbeth." He could find nothing suitably representative of storm-hoofed chargers till his dreams came to the rescue with a genuinely inspired theme. Several other exquisite ideas have come to him in his sleep in this way; one of them is set down in the facsimile reproduced herewith. On one occasion he even dreamed an original German poem and a fitting musical setting. Dr. Wm. A. Hammond, in his book on "Sleep and Its Derangements," is inclined to scout the possibility of a really valuable inspiration in sleep. He finds no satisfactory explanation for Tartini's famous "Devil's Sonata" or Coleridge' proverbial "Kubla Khan." He takes refuge in saying that at least the result could not be equal to the dreamer's capabilities when awake; but Kelley's "Macbeth" music was certainly an improvement on what he could invent out of the land of Nod.