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Updated: May 1, 2025
Our artist did not return to New York till 1862, after an absence of five years, though his original plan had only contemplated a tour of two years. It must not be supposed that Gottschalk devoted his time continually to concert performances and composition, though he by no means neglected the requirements of musical labor.
Gottschalk, a trustworthy Jewess, with whom I wanted to come to some arrangement respecting the present crisis. She perceived at once that more than ordinary help was required in this case, but did not doubt that I should be able to obtain it from my opulent connections in Leipzig.
Thousands of people, who could not understand a word he said, flocked around him to catch a glimpse of so holy a man; and the knights enrolled themselves in great numbers in the service of the Cross, each receiving from his hands the symbol of the cause. But the people were not led away as in the days of Gottschalk.
At this day the amateur would give much to hear exactly how such men as Meyerbeer, and Hummel, and Clementi played, and to compare them with Thalberg, Gottschalk, and Satter.
The boldness, brilliancy, and originality of his play at once dazzle and astonish, and the infantile naivete of his smiling caprices, the charming simplicity with which he renders simple things, seem to belong to another individuality, distinct from that which marks his thundering energy. Thus the success of M. Gottschalk before an audience of musical cultivation is immense."
Concert Tour to Spain. Romantic Experiences. Berlioz on Gottschalk. Reception of Gottschalk in America. Criticism of his Style. Remarkable Success of his Concerts. His Visit to the West Indies, Mexico, and Central America. Protracted Absence. Gottschalk on Life in the Tropics. Return to the United States. Three Brilliant Musical Years. Departure for South America.
While in this city he organized and conducted a great musical festival in which three hundred musicians engaged, exclusive of the Italian Opera company then at Montevideo. The spring of 1869 brought Gottschalk to the last scene of his musical triumphs, for the span of his career was about to close over him.
The artist had not designed to protract his musical wanderings in the beautiful island of the Antilles for any considerable period, but his success was great, and the new experiences admirably suited his dreaming, sensuous, pleasure-loving temperament. Everywhere the advent of Gottschalk at a town was made the occasion of a festival, and life seemed to be one continued gala-day with him.
At one of these concerts the pianist Gottschalk, who happened to be present, became so excited over her playing that he jumped upon the seat and proposed cheers for Madam Urso, and at the close of the performance introduced himself to her in the ante-room and fairly overwhelmed her with congratulations and praise.
Driven from the country by civil war, he determined to have Teresa turn her musical talents to account. As an eight-year-old prodigy, she met with an enthusiastic reception in New York, where she aroused the interest and became the pupil of Louis Gottschalk. At twelve she was taken to Paris, where she absorbed the traditions of Chopin from his pupils.
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