musical life of the young city, and has ever since held it. While organist at the church last named he gave his first series of organ concerts, twenty-five in number, the programmes of which included examples of organ music in all reputable schools. In 1877 ne became general director of the Hershey School of Musical Art, and soon after married its founder, Mrs. Sara B. Hershey. The institution has been peculiarly successful in the training of organists and singers. A series of one hundred weekly concerts was given by Eddy on the organ belonging to the school. In all, some 500 works were played. No composition was repeated and no important composer or style was omitted from representation. Several famous composers wrote pieces for the 100th concert, June 23, 1879. Eddy has since given organ concerts in many other cities of the Union. He translated and published, in 1876, Haupt's 'Theory of Counterpoint and Fugue.' He has also published two collections, 'The Church and Concert Organist' (1882 and 1885). Eddy's compositions for the organ are in the classic forms, embracing preludes, canons and fugues. Since 1879 he has been organist of the First Presbyterian Church, Chicago.
EDWARDS, H. Sutherland, historian and litterateur; born at Hendon, Middlesex, Sept. 5, 1829. His musical works comprise 'History of the Opera … from Monteverde to Verdi …' 2 vols. (1862); 'Life of Rossini' (1869); 'The Lyric Drama …' 2 vols. (1881); 'Rossini,' a smaller work, for 'Great Musicians' series (1881); 'Famous First Representations' (1887); 'The Prima Donna' 2 vols. (1888). Mr. Edwards has passed much time abroad as special correspondent, and his book 'The Russians at Home' (1861) contains many notes on Russian music. Other works of his are beyond the scope of this Dictionary. His farce 'The Goose that lays the Golden Eggs' may however be mentioned as the most successful of his writings for the stage.
EHLERT, Ludwig. Add date of death, Jan. 4, 1884.
[1]EICHBERG, Julius, born at Düsseldorf, Germany, June 13, 1824, came of a musical family, and received his first instruction from his father. When but seven years old he played the violin acceptably. Regular teachers were employed for him after he had reached his eighth year, among them Julius Rietz, from whom he received lessons in harmony. In 1843 Eichberg entered the Conservatoire at Brussels, then under the direction of Fétis, and graduated in 1845 with first prizes for violin-playing and composition. He was then appointed a professor in the Conservatoire at Geneva, where he remained eleven years. In 1857 he went to New York, and two years later to Boston, where he has lived ever since. He was director of the orchestra at the Boston Museum for seven years, beginning in 1859, and in 1867 established the Boston Conservatory of Music, of which he is still the head (1887), and which enjoys in the United States a high reputation, especially for the excellence of its violin school. Mr. Eichberg's compositions are many and in various forms, for solo voices, chorus, violin, string quartet, pianoforte, etc. He has also prepared several textbooks and collections of studies for the violin, and collections of vocal exercises and studies for the use of youths in the higher classes of the public schools. [See vol. iv. p. 203 a.] Mr. Eichberg's operettas have been very successful. He has produced four—'The Doctor of Alcantara,' 'The Rose of Tyrol,' 'The Two Cadis,' and 'A Night in Rome.' [See vol. ii. p. 530 b.]
EISTEDDFOD. Add that a grand Eisteddfod was held in London at the Albert Hall, in Aug., 1887, the preparatory ceremony of the Gorsedd, or proclamation, having been gone through one year before in the Temple Gardens.
EITNER, Robert. Add that he has edited Sweelinck's organ works and other things for the Maatschappij tot bevordering der Toonkunst. [See Vereeniging, vol. iv. p. 255 a.]
ELI. See under Naaman, vol. ii. p. 440 a.
ELIJAH. Line 14, for full ones read band rehearsals.
ELLA, John. Line 13 of article, for 1845 read 1827. For lines 18–19 read He directed the Musical Union uninterruptedly for thirty-five years. The concerts came to an end in 1880. [See Analysis in Appendix, vol. iv. p. 521 b.]
ELLIS (formerly Sharpe), Alexander John, born at Hoxton in 1814, educated at Shrewsbury, Eton, and Cambridge; Scholar of Trinity College, Cambridge, 1835; B.A. and 6th Wrangler 1837; F.R.S. 1864; F.S.A. 1870; President of the Philological Society 1873–4, and again 1880–1. Mr. Ellis has turned his attention to Phonetics from 1843; his chief work on Early English Pronunciation, begun in 1865, is still (1887) in progress. He studied music under Professor Donaldson of Edinburgh. After vainly endeavouring to get a satisfactory account of the musical scale and nature of chords from Chladni, Gottfried Weber, and other writers, Mr. Ellis, following a suggestion of Professor Max Müller, began in 1863 to study Helmholtz's 'Tonempfindungen,' with special bearing on the physiology of vowels. In that work he found the explanation of his musical difficulties, and became ultimately the English translator of the 3rd German ed. 1870, under the title of 'On the Sensations of Tone, as a physiological basis for the Theory of Music' (London 1875). To Helmholtz's work, with the author's consent, Mr. Ellis added many explanatory notes and a new appendix, in which were rearranged four papers published in the Proceedings of the Royal Society, 'On the Conditions, Extent and Realisation of a Perfect Musical Scale on Instruments with Fixed Tones' (read Jan. 21, 1864); 'On the Physical Constitution and Relations of Musical Chords' and 'On the Temperament of Instruments with Fixed Tones' (June 16, 1864); and 'On Musical Duodenes, or the Theory of Constructing Instruments with Fixed Tones in
- ↑ Copyright 1889 by F. H. Jenks.
