A Dictionary of Music and Musicians/Eddy, Clarence

^[1]EDDY, Clarence, an excellent and well-known American organist, teacher and composer, was born at Greenfield, Massachusetts, June 23, 1851. His musical leanings were manifested during his childhood, when he showed also a notable skill in improvisation. Such instruction as was procurable in his native town was given to him until he had reached the age of sixteen, when he was sent to Hartford, Connecticut, and placed under the care of Mr. Dudley Buck. Within a year he was appointed organist of the Bethany Congregationalist Church, Montpelier, Vermont. In 1871 Eddy went to Berlin, where for two years and a half he studied under August Haupt and A. Loeschhorn. His progress was rapid and thorough, and he afterwards undertook a successful concert tour through Germany, Austria, Switzerland and Holland. On his return to the United States in 1875 he was appointed organist of the First Congregational Church, Chicago. He soon took a prominent position in the 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.

[ F. H. J. ]

1. Copyright 1889 by F. H. Jenks