Background
Julius Eichberg was born at Düsseldorf, of a musical family. He was taught at first by his father, and could play the violin acceptably when he was seven years old.
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Julius Eichberg was born at Düsseldorf, of a musical family. He was taught at first by his father, and could play the violin acceptably when he was seven years old.
Among his other teachers were Eichler of Mainz, Frolich of Wurzburg, and, more important, Rietz, who introduced his pupil to Mendelssohn.
In 1842 Eichberg entered the Brussels Conservatory, then headed by Fetis, and studied with Meerts and De Beriot, graduating in 1845 with first prizes in violin and composition.
In 1842 Eichberg entered the Brussels Conservatory, then headed by Fetis, and studied with Meerts and De Beriot, graduating in 1845 with first prizes in violin and composition. After a brief stay in Frankfurt, he went to Geneva as conductor of an opera troupe, and was retained there for eleven years as conservatory professor and church music leader. In 1857 he migrated to New York; but after two years of desultory teaching and playing, he moved to Boston and made it his permanent home. For seven years he was musical leader at the Boston Museum. At one time he was supervisor of music in the public schools; and he published many singing-books and musical collections for school use. He composed much for his instrument, including graceful solos and valuable studies as well as various ensemble numbers. Among the latter were an Ave Maria and Reverie for violin, 'cello, piano, and organ, given in the old Music Hall, and a Concertino for four violins, performed for the Harvard Musical Association ; also several string trios and quartets. Among his piano works is a charming set entitled “Lebensfriihling. ” For voices he wrote the patriotic quartet “To Thee, O Country Great and Free” (1872), and many songs of real artistic merit, including several settings of Celia Thaxter’s words, such as “Sunset, ” and “O swallow sailing lightly. ” Most successful, however, and giving the composer most prominence, were his various operettas, or light operas. The first of these, The Doctor of Alcantara (1862), had a plot worthy of the palmy days of Italian comedy. Other operettas by Eichberg, also well received, were The Rose of Tyrol (1865), The Two Cadis (1868), and A Night in Rome (1874).
At so early an age, young Eichberg joins to a remarkable firmness and certainty in bowing, and use of his left hand, a great deal of true expression, which will lead him, I doubt not, to become a great artist.