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Updated: May 1, 2025
The funeral solemnities at the Cathedral of Rio were of the most imposing character, and all the indications of really heart-felt sorrow were shown among the vast crowd of spectators, for Gottschalk had quickly endeared himself to the public both as man and artist.
He was frequently entertained by Dom Pedro at the palace; in every way the Brazilians testified their lavish admiration of his artistic talents. In the midst of his success Gottschalk was seized with yellow fever, and brought very low. Indeed, the report came back to New York that he was dead, a report, however, which his own letters, written from the bed of convalescence, soon contradicted.
Gottschalk, then in the height of his fame in New York, became the child's next teacher. She remained with him for two years. Then she went to Paris and became a pupil of Georges Mathias, the famous disciple of Chopin. Her success as a virtuoso pianist in Europe excited the attention of Rubinstein who devoted a great deal of time to giving her invaluable advice and instruction in interpretation.
These, and other more subtile questions like the nature of angels began to agitate the convent in the ninth century. It was then that the monk Gottschalk revived the question of predestination, which had slumbered since the time of Saint Augustine.
In October of 1869 Gottschalk was appointed by the emperor to take the leadership of a great festival, in which eight hundred performers in orchestra and chorus would take part. Indefatigable labor, in rehearsing his musicians and organizing the almost innumerable details of such an affair, acted on a frame which had not yet recovered its strength from a severe attack of illness.
Gottschalk had to pay the penalty, not only for the ravages of his own bands, but for those of the swarms that had come before him. He and his army were induced, by some means or other, to lay down their arms: the savage Hungarians, seeing them thus defenceless, set upon them, and slaughtered them in great numbers.
Gottschalk fell far short of his possibilities, though he was the greatest piano executant ever produced by our own country. He might have dazzled the world even as he dazzled his own partial countrymen.
'Leon Sammett in Songs. Miss Terry Sheehan at the Piano. That doesn't sound bad. Now listen, Miss Sheehan. I'm singing down at the University Inn. The Gottschalk song hits. I guess you know my work. But I want to talk to you, private. It's something to your interest. I go on down at the Inn at six. Will you come and have a little something with Ruby and me? Now?"
A dominant pedal-point of fifty-eight measures, in the last movement, is worth mentioning. In a "Danse Négre" and a "Caprice Négre," he has evidently gone, for his Ethiopian color, not to the actual negro music, but to the similar compositions of Gottschalk. Kroeger was born in St. Louis, August 10, 1862. At the age of five he took up the study of the piano and violin.
Before Gottschalk's departure from Paris, Hector Berlioz thus wrote of his protégé, for whom we may fancy he had a strong bias of liking; and no judge is so generous in estimation as one artist of another, unless the critic has personal cause of dislike, and then no judge is so sweepingly unjust: "Gottschalk is one of the very small number who possess all the different elements of a consummate pianist, all the faculties which surround him with an irresistible prestige, and give him a sovereign power.
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