Gottschalk, Louis Moreau

(b New Orleans, 8 May 1829; d Tijuca, Brazil, 18 Dec 1869). American composer and pianist. His considerable reputation as a composer of virtuoso piano pieces did not long survive his death, but a renewed interest in his life and works began in the 1930s and he is now generally acknowledged as one of the most significant 19th-century American musicians, and his music as a direct precursor of ragtime.

IRVING LOWENS/S. FREDERICK STARR

1. Life.

Moreau (as he was called in the family) was the first of eight children born to Edward and Marie-Aimée (Bruslé) Gottschalk. His London-born, German-Jewish father went to New Orleans in the early 1820s and established himself there as a merchant; his mother was the daughter of a prosperous Catholic baker of French ancestry who had fled from St Domingue in Haiti to Louisiana following the slave rebellion in the 1790s. The child showed an aptitude for music before his fourth birthday, and when he was five his parents engaged François Letellier, organist and choirmaster of St Louis Cathedral in New Orleans, to give him private lessons. By 1836 he was skilled enough to substitute for his teacher at the cathedral organ during Mass. Gottschalk's Father, against his wife's wishes, sent his son to Paris for more intensive training, and on 1 May 1841 he sailed on the SS Taglione for France.

Gottschalk went first to Carl (later Sir Charles) Hallé and subsequently to Camille Stamaty for piano lessons; he also studied composition with Pierre Maleden. On 2 April 1845, shortly before his 16th birthday, he gave a highly successful recital in the Salle Pleyel at which Chopin warmly saluted the young man’s talent. Although his Polka de salon appeared in print perhaps as early as 1847, the Gottschalk vogue did not begin until 1849, after Bamboula and La savane had been heard in public for the first time. Bamboula, with its bold syncopations, draws on West Indian songs that Gottschalk had assimilated at home from his Bruslé grandmother and her slave Sally, both from St Domingue; this was the first of many works in which he transformed West Indian (Haitian and Cuban) contradanzas into compositions that prefigured ragtime. Gottschalk’s greatest European triumph came in January 1850 when he introduced Le bananier which, with Bamboula, La savane, and Le mancenillier, forms the ‘Louisiana quartet’. This exotic morceau made Gottschalk a household name throughout Europe.

Gottschalk made his formal début as a professional pianist in the Salle Pleyel on 17 April 1849, in a recital including a group of his ‘Creole’ compositions, then the rage of Paris. The critics were captivated by his poignant melodies and syncopated rhythms, and compared his approach to the piano with that of Chopin; as a composer he was hailed as the first eloquent and authentic musical spokesman of the New World. During the summer of 1850 he played in Switzerland with spectacular success. In 1851 he undertook an extended tour in Spain, where he quickly won the enthusiastic approval of Isabella II. Under her patronage he became the country’s music idol. The Spanish works that he composed at this time went beyond Liszt in incorporating distinctive Spanish harmonies and rhythms into formal compositions. After an extravagant 18 months there, he returned briefly to France before attempting the conquest of his native land.

Gottschalk arrived in New York on 10 January 1853 and gave his first concert there the following month, but success proved to be more difficult to achieve in the USA than in France, Switzerland, or Spain. His father’s death in October 1853 proved to be a turning-point in his career; up to then he had been comparatively carefree, but thereafter he was forced to increase the frequency of his concerts to earn enough money to support his younger brothers and sisters and extravangant mother, all of whom were now living in Paris. Gottschalk quickly mastered the latest American musical tastes. His sentimental ballads (The Last Hope, 1854, The Dying Poet, 1863) proved immensely popular and remained so for half a century. He also contributed to the new ‘Western’ idiom with his genre pieces Le banjo (1853, 1855) and Columbia (1859). He often made musical reference to the songs of Stephen Foster and other popular composers, but juxtaposed and transformed his quotations in unexpected ways; in patriotic works such as Union he went so far as to introduce national airs concurrently, creating a carefully ordered cacophony. For three years Gottschalk toured the country, with a long interlude in Cuba (1854) and occasional visits to Canada, but by the end of 1856 he had had enough. He sailed from New York for Havana with the youthful Adelina Patti on 7 February 1857.

Gottschalk spent the next five years in Puerto Rico, Guadeloupe, Martinique and Cuba. There he found the musical roots whose branches he had touched in New Orleans, and found his vocation as a composer. His tour with Patti completed, he settled in Guadeloupe and devoted himself to transforming contradanzas in somewhat the same way that Chopin had transformed the mazurka. He also worked on several operas and wrote with increasing frequency for the American and French press, much as Berlioz had done. This break from constant concert-giving was possible because of the financial success of his last year in the USA. In February 1860 he returned to Cuba to mount a major festival in which his Symphonie romantique (‘La nuit des tropiques’) for symphony orchestra and band was performed. He then undertook a season as conductor of opera at the Teatro di Tacón in Havana, which did not turn out happily. Another festival in March 1861 in Havana was less successful than the first. The Civil War had meanwhile broken out and Gottschalk, an ardent Unionist, found himself in pro-Secessionist Cuba. He was persuaded to sign a profitable contract for a tour of the USA, and on 11 February 1862 he was in New York playing again for American audiences.

In four and a half months Gottschalk travelled 15,000 miles by rail and gave 85 recitals, a brutal pace which he maintained for more than three years. During this time he did more than any other American musician to champion the Unionist cause, and also to obliterate the line between high and popular art. In any single concert he would play his ‘classical’ pieces as well as the accessible ballades and syncopated pieces. By the time he arrived in California for a far-western tour in April 1865, he estimated that he had given some 1100 American recitals and travelled some 95,000 miles. His visit came to an abrupt end in September 1865, when he was falsely accused of compromising a student at the Oakland Female Seminary. The affair was inflated into a scandal, and before the month was over Gottschalk was on the steamship Colorado bound for South America to escape the vigilantes. Ultimately his friends managed to clear his name, but he never again returned to the USA.

The last four years of Gottschalk’s life were spent in a triumphant tour of South America. His first recital after leaving the USA was in Panama on 7 October 1865. He moved to Lima in November, and although Peru was in the midst of a bloody revolution, by mid-December he had performed seven times in the capital city. In April 1866 he visited Chile, where he remained for a full year; then he sailed from Valparaiso to Montevideo via the Straits of Magellan, arriving in Uruguay in May 1867, and made his Buenos Aires début in November. By February 1868 he had given 16 concerts in Montevideo alone. Throughout South America Gottschalk gave strong encouragment to local talent, and in several countries he played an important role in the development of Classical music. He also championed public education and the republican form of government, and used his music festivals as showcases for a pan-American model of civic life and culture; in the process, he became the first pan-American cultural figure. He finally arrived in Rio de Janeiro in May 1869 and began feverish musical activities which included the organization of ‘monster concerts’ involving as many as 650 performers. Although plagued by malaria, he managed to carry on until 25 November. On 8 December he was moved to Tijuca, a suburb on higher ground, where he died, probably from an overdose of quinine, whose side-effects were not clearly known before the 1880s. His remains were returned to the USA in August 1870, after they had been disinterred from the cemetery of São João Baptista, and were buried in Greenwood Cemetery, Brooklyn, New York.

Gottschalk, Louis Moreau

2. Works.

Gottschalk’s compositions fall naturally into six periods: 1844–51 in Paris, 1851–2 in Switzerland and Spain, 1853–6 in the USA, 1857–61 in the Antilles, 1862–5 again in the USA, and 1865–9 in South America. The best works of the Paris period are clearly those of the ‘Louisiana’ quartet, which even today retain much of their freshness, vitality and charm. From Switzerland there is little; from Spain date the Souvenirs d’Andalousie, La jota aragonesa and Manchega, a remarkable evocation of the Spanish guitar. From the first period in the USA the Tournament Galop, Le banjo, and the notorious Last Hope stand out, the last being something of a masterpiece within its sentimental genre. The most fruitful period of Gottschalk’s life was the time he spent in the Antilles; from these years come some of his finest piano compositions, such as Souvenir de Porto Rico, Réponds-moi, Berceuse, Danza and Suis-moi!, as well as the Symphonie romantique (‘La nuit des tropiques‘) and the brilliantly syncopated one-act opera Esceñas campestres. A three-act opera (Amalia Warden) and several partially completed operas from these years have been lost. Gottschalk composed relatively little during his second visit to the USA; the best-known work is The Dying Poet, a staple of the silent cinema days. More deserving of survival are Ses yeux (four hands) and the Cuban reminiscence La gallina (four hands). From the South American years the most notable works are the Pasquinade (another antipation of ragtime), the Grand scherzo, the Grande tarantelle for piano and orchestra, the Variations de concert sur l’hymne portugais and the Symphony no.2 (‘A Montevideo’).

Although Gottschalk was by no means an ‘advanced’ composer, even in terms of his own day, his sensitivity to local colour enabled him to forecast, with uncanny prescience, American musical developments that did not actually take place until the end of the 19th century. Thus, startling pre-echoes of Ives can be heard in Gottschalk’s frequent use of quotation as both a musical and a psychological device, a typical instance of which may be found in Le banjo where Roll, Jordan, Roll and Stephen Foster’s Camptown Races are quoted with excellent effect. The syncopated rhythms and jagged melodic lines of many pieces dating from Gottschalk’s years in the Antilles (such as the Souvenir de Porto Rico, Danza and Réponds-moi) boldly prophesy the coming of ragtime and jazz.

Much of the credit for Gottschalk’s restored reputation belongs to John Kirkpatrick, Jeanne Behrend, and Eugene List, three pianists who militantly championed his music. The most solid research has been accomplished by Robert Offergeld, Francisco Curt Lange, Robert Stevenson, and John G. Doyle, and their work has now been followed by a number of later studies. A partial edition of Gottschalk’s piano music has been published in facsimile (1969); however, the pieces are reproduced from early (and not necessarily the best) editions without showing variant readings or indicating typographical errors, which are fairly numerous. Modern editions by Behrend, Jackson, and List are more reliable. A good portion of Gottschalk’s Nachlass, which was believed lost, surfaced in Philadelphia in the home of a collateral descendant of the composer; it was acquired by the New York Public Library in 1983 and added to the institution’s extensive collection of Gottschalkiana in the Library and Museum of the Performing Arts at Lincoln Center.

Gottschalk, Louis Moreau

WORKS

Complete catalogue, including a discussion of extant MSS and details of arrangements, in Doyle (1983). In most cases only original versions are cited below. Most printed works issued by several publishers; earliest dated edition preferred in this list.

D	number in Doyle (1983 )
RO	number in Offergeld (1970)
LNH	Historic New Orleans Collection/Kemper and Leila Williams Foundation

Editions:Piano Music by Louis Moreau Gottschalk, ed. J. Behrend (Bryn Mawr, PA, 1956) [B]The Piano Works of Louis Moreau Gottschalk, ed. V.B. Lawrence and R. Jackson (New York, 1969) [contains almost all extant pubd pf works] [facs.]Gottschalk: a Compendium of Piano Music, ed. E. List (New York, 1971) [Lc]Piano Music of Louis Moreau Gottschalk, ed. R. Jackson (New York, 1973) [J]Louis Moreau Gottschalk: 10 Compositions for Pianoforte, ed. A. Rigai (New York, 1973) [R]Louis Moreau Gottschalk: kreolische und karibische Klavierstücke, ed. E. Klemm (Leipzig, 1973) [K]Album for Piano Solo (Melville, NY, 1976) [A]The Little Book of Louis Moreau Gottschalk, ed. R. Jackson and N. Ratliff (New York, 1976) [JR]Gottschalk: Piano Duets, i, ed. E. List (New York, 1982) [Li]Gottschalk: Piano Duets, ii, ed. E. List (New York, 1983) [Lii]Complete Published Songs of Louis Moreau Gottschalk, ed. R. Jackson (Newton Centre, MA, 1993)

operas



D	RO

—	278	[untitled], 1856, lost
—	125	Isaura di Salerno (3), 1859, lost
—	52	Charles IX, 1859–60, frags. US-NYp, see also d87
3	4	Amalia Warden (3, A. Lorenzana), 1860, lost except Act 1 lib, NYp
47	77	Esceñas campestres [cubanas] (Fête champêtre cubaine; Fête cubaine) (1, M. Ramirez), 1860, NYp (New York, 1969); Havana, Teatro di Tacón, 17 Feb 1860

instrumental

—	197	Piano Concerto, f, 1853, lost
104	255	Symphonie romantique ‘La nuit des tropiques’ (‘Noche de los tropicos’), orch, 1858–9, US-NYp, ed. G. Schuller (Newton Centre, MA, 1998); Havana, 17 Feb 1860
87	157	Marcha triunfal y final de opera [Carlos IX], orch, 1860, NYp (New York, 1969); Havana, 17 Feb 1860
66	259	Grande tarantelle, pf, orch, op.67, 1858–64 (Paris, c1874), NYp; ?Philadelphia, 29 Oct 1864
91	154	Marche solennelle (Gran marcha solemne), orch, band, 1866–8, NYp, ed. D. Hunsberger (New York, 1969); Montevideo, Nov 1868; arr. pf solo, seed64
99	257	Symphony no.2 ‘A Montevideo’, orch, 1865–8, NYp (New York, 1969); Montevideo, Nov 1868
157a	289	Variations de concert sur l’hymne portugais du roi D. Louis ler, pf, orch, op.91, 1869, NYp (New York, 1969); Rio de Janerio, 31 Oct 1869; orig. pf solo, seed157
140	—	Sonate, vn, harp, n.d., ?spurious; Birmingham, AL, 7 Feb 1963
Other marches and dances, orch/band, 1857–69, and chamber works, 1858–69, all lost, listed in Offergeld (1970)

piano

—	287	Valse de salon, 1842, lost
123	207	Polka de salon, op.1, 1844–6 (Paris, ?1847)
143	243	Souvenir des Ardennes (Les Ardennes), mazurka de salon, 1846 (New York, 1860), US-NYp
13	20	Bamboula, danse de nègres, op.2, ?1846–8 (Paris, 1849), B, J, K, R
—	222	[1re] Reflets du passé, 1847, ?pubd 1857, lost
36	58–9	Colliers d’or, 2 mazurkas, op.6 nos.1–2, ?1847–9 (Paris, 1851)
—	164	Mazurka, a, 1847–9, ?lost
109	187	Ossian, 2 ballades, op.4 nos.1–2, ? 1847–9 (Paris, 1850)
135	232	La savane, ballade créole, op.3, ?1847–9 (Paris, 1849), J, K, Lc
14	21	Le bananier, chanson nègre, op.5, ?1848 (Paris, ?1850), B, J, K; arr. C. Czerny, pf 4 hands (Paris, 1855),d14a, Lii
98	173	La moissonneuse, mazurka caractéristique, op.8, 1848–9 (Paris, 1850)
49	80	L’étincelle (La scintilla; The Spark), mazurka sentimentale, op.20, ?1848–53 (New York, 1854), NYp, R; arr. pf 4 hands, op.21 (Boston, ?1854),d49a, Lii
32a	53	[Ov. to] La chasse du jeune Henri [after Méhul], 2 pf, 1849, frag. NYp
52	32	Fatma [after A. Thomas: Le caïd], 1849–50, lost
85	142	Le mancenillier (La sérénade; West-Indian Serenade), op. l l, ?1849–50 (Paris, 1851), J, Lc
27	45	Le carnaval de Venise, grand caprice et variations, op.89, 1850 (Mainz, 1877)
39	63–4	Danse ossianique (Danse des ombres), op.12, ?1850 (Paris, 1851), formerly NORsm, now in private collection of William L. Hawes
62	106	God Save the Queen (America), morceau de concert, op.41, 1850 (New York, 1860), NYp
77	127	Jerusalem [after Verdi: I lombardi], grande fantaisie triomphale, 2 pf, op.84, 1850 (Paris, 1875)
95	167	La mélancolie, étude caractéristique d’après F. Godefroid, ?1850 (Paris, 1852)
141	240	Le songe d’une nuit d’été [after Thomas], caprice élégant, op.9, 1850 (Paris, 1850)
153	264	Tournament Galop, ?1850–51 (New York, 1854), J, R
40	65	Danse des sylphes [after Godefroid], caprice de concert, ?1850–53, ed. N.R. Espadero as op.86 (Mainz, 1877)
94	166	Mazurka rustique, op.81, 1850–53 (Boston, 1873), NYp
160	297	Ov. de Guillaume Tell [after Rossini], grand morceau de concert, pf 4 hands, 1850–54 (New York, 1864)
136	233	Scherzo-romantique, op.73, 1851 (Boston, 1873), NORtu, NYp
148	242	Souvenirs d’Andalousie, caprice de concert sur la caña, le fandango, et le jeleo de Jerez, op.22, 1851 (New York, 1855), J
159	296	The Water Sprite (La naïade), polka de salon, op.27, 1851–3 (Philadelphia, 1853)
28	35, 274	Chanson du gitano, ?1852, NYp, JR
122	—	Polka caracteristica sobre Le mancenillier, ?1852 (Madrid, ?1852)
132	—	Le réveil de l’aigle, ?1852 [under pseud. Paul Ernest], NYp
—	236	El sitio de Zaragoza, sym., 10 pf, 1852, parts lost, excerpts arr. as La jota aragonesa, seed79; see alsod156
86	143	Manchega, étude de concert, op.38, ?1852–3 (New York, 1860), NORtu, NYp, J
116	—	Pensée poétique [no.1], nocturne, op.18, ?1852–3 (Paris, ?1856)
96	170	Minuit à Séville, caprice, op.30, 1852–6 (New York, 1858), NYp, J, Lc, R
156	269	Union, paraphrase de concert on the national airs Star Spangled Banner, Yankee Doodle, and Hail Columbia [based on El sitio de Zaragoza, 1852], op.48, 1852–62 (NewYork, 1863), NYp, B, J
9	271	Ballade, A 1853 (New York, 1876), NYp, JR
19	—	Le bengali au réveil, bluette en forme d’étude, before 1853 (Paris, 1853), lost
58	98	Forest Glade Polka (Les follets; Feu follet; Le sentier dans la forêt), polka brillante, op.25, 1853 (Philadelphia, 1853), NYp
73	—	I’ll Pray for Thee [transcr. of Donizetti: Lucia di Lammermoor, “Quando rapito in estasi”], 1853 (Philadelphia, 1853)
76	—	Italian Glories [after Donizetti], ?1853 [under pseud. Oscar Litti], NYp
79	130	La jota aragonesa [= excerpts from El sitio de Zaragoza, 1852], caprice espagnol, op.14, ?1853 (New York, 1855), Wc, NYp, J; arr. pf 4 hands (Mainz, 1876),d79a, Li
129	223	1[2me] Reflets du passé, rêverie, op.28, ?1853 (New York, 1857)
—	31	Bunker Hill (National Glory; The Battle of Bunker Hill) [rev. ofd156], fantaisie triomphale, 10 pf, 1853–4, lost
90a	147–9	Marche funèbre, op.61, 1853–4 (New York, 1870), rev. as op.64 (Paris, ?1874),d90b, R; arr. pf 4 hands (Mainz, 1875),d90c, Lii
16	24	Second Banjo, op.82, ?1853–4 (Boston, 1873)
30	49	Le chant du martyr, grand caprice religieux, ?1854 [under pseud. Seven Octaves] (Boston, 1864), NYp
35	57	El cocoyé, grand caprice cubain de bravura, op.80, 1854 (Boston, 1873)
80	133	The Last Hope (Dernière espérance; Ultima esperanza), méditation religieuse, op.16, 1854 (New York, 1854), NYp, B, J
15	22	Le banjo (Fantaisie grotesque; An American Sketch; Le caprice américain), esquisse americaine, op.15, ?1854–5 (New York, 1855), NYp, A, B, J, K, Lc, R
—	221	Le zapateado cubano, ?1854–5, frag. NYp
31	51	Chant du soldat, grand caprice de concert, op.23, ?1855 (New York, 1857), NYp
89	151	Marche de nuit, op.17, 1855 (New York, 1856); arr. pf 4 hands, op.17 (Mainz, 1873),d89a, Li
117	194	Pensée poétique [no.2] (L’extase), op.61/62, ?1855 (Rio de Janeiro, 1869), formerly NORsm, now in private collection of William L. Hawes
125	214	Printemps d’amour, mazurka, caprice de concert, op.40, 1855 (New York, 1860), NYp; arr. pf 4 hands (Boston, ?1873), Li
128	220	Rayons d’azur (Shades of Evening), polka de salon, op.77, 1855 (Boston, 1873)
139	239	Solitude, op.65, 1855 (New York, 1871), NYp
142	241	Sospiro, valse poétique, op.24, 1855 (New York, 1857), A
5	8	Apothéose, grande marche solennelle, op.29, ?1856 (New York, 1858)
26	44	Caprice-polka, op.79, 1856 (Boston, 1873), NYp
133	227	Ricordati (Yearning; Romance), nocturne, méditation, op.26, ?1856 (New York, 1857), F-Pn
97	171	Miserere du Trovatore [after Verdi], paraphrase de concert, op.52, 1856–7 (New York, 1864)
110	183	[Ov. to] Oberon [after Weber], pf 4 hands, op.83, ?1857 (Boston, 1873)
147	250	Souvenir de Porto Rico (Marche des Gibaros; Recuerdos de Puerto Rico), op.31, 1857–8 (Mainz, ?1860), J, K, Lc, R
30	48	Chant de guerre, op.78, 1857–9 (Boston, 1873), US-NYp
41	66	Danza, op.33, 1857–9 (Paris, 1860), J, Lc
115	—	Las patitas de mi sobrina, danza, 1857–61, NYp
161	277	Ynés (Inez), danza, E, 1857–61, NYp, JR
138	—	El silvido, contradanza, ?1857–62, NYp
61	103	La gitanella, caprice caractéristique, op.35, ?1858 (Paris, 1861)
102	176	Murmures éoliens, op.46, 1858–9 (New York, 1862)
38	61	Columbia, caprice américain, op.34, 1859 (New York, 1860)
50	91	Fairy Land (Dans les nuages), schottische de concert, 1859 [under pseud. Seven Octaves] (Boston, 1863), NYp
51	94	Fantôme de bonheur, illusions perdues, caprice, op.36, ?1859 (Paris, 1861)
54	95	La favorita [after Donizetti], grande fantaisie de concert, op.68, 1859 (New York, 1871)
70	118	Hurrah Galop, galop de concert, pas redoublé, caprice de concert, 1859 [under pseud. Seven Octaves] (Boston, 1863), NYp
78	129	Jeunesse, mazurka brillante, op.70, 1859 (New York, 1860)
82	135	Love and Chivalry (Amour chevaleresque; Souvenir du bal), caprice élégant en forme de schottisch, ?1859, [under pseud. Seven Octaves] (Boston, 1863)
105	184	Ojos criollos (Les yeux créoles), danse cubaine, caprice brillant, contradanza, pf 4 hands, op.37, 1859 (New York, 1860), NYp, Lii; arr. pf solo (Havana, 1860), NYp,d105a, J, K, Lc
114	190	Pastorella e cavalliere (Bergère et cavalier; The Young Shepherdess and the Knight; The Gay Shepherdess and the Knight), op.32, 1859 (New York, 1862), A; arr. 1v, pf, see d114a
120	275	Polka, A, 1859, NYp, JR
121	273	Polka, B, ?1859, NYp, JR
124	210	Polonia, grande caprice de concert, op.35, 1859 (New York, 1861); as op.43 (Mainz, 1862)
131	225	Réponds-moi (Dí que sí), danse cubaine, caprice brillant, pf 4 hands, op.50, 1859 (Havana, 1861), Li
134	270	Romance, E, ?1859, NYp, JR
144	245	Souvenir de Cuba, mazurka, op.75, 1859 (Boston, 1873), NYp
145	246	Souvenir de la Havane (Recuerdos de la Habana), grand caprice de concert, op.39, 1859 (Havana, 1860), NYp, J, K
55	—	El festival, danza, ?1859–60 (Havana, 1860), lost
1	—	Adios a la Habana, pf 4 hands, ?1859–61, NYp
107	182	O ma charmante, épargnez-moi (O, my charmer, spare me), caprice, op.44, ?1859–61 (New York, 1862), J
60	100	La gallina (The Hen), danse cubaine, pf 4 hands, op.53, 1859–63 (New York, 1865), Li; arr. C. Wachtmann, pf solo (New York, 1869), J
7	—	Ay! Lunarcitos!, contradanza, 1860 (Havana, ?1862)
34	55	La chute des feuilles (Mélodie de N.R. Espadero de la Havane), nocturne, op.42, 1860 (New York, 1860), NYp
146	247	Souvenir de Lima, mazurka, op.74, 1860 (Boston, 1873), NYp
8	11	Ay pimpollo, no me mates!, contradanza, ?1860–6 l (Havana, 1861), lost
20	27	Berceuse (Cradle Song), op.47, ?1861 (New York, 1862), B, J
157	253	Suis-moi! (Follow Me! Vamos a la azotea), contradanza, caprice, op.45, ?1861 (Havana, 1861), NYp, J
44	74	Drums and Cannon, military polka, ?1861–2 [under pseud. Oscar Litti] (New York, 1863)
69	117	Home, Sweet Home (Charme du foyer) [after H. Bishop], caprice, op.51, ?1862 (New York, 1864)
53	—	Valse de Faust [after Gounod], ?1862–3 [under pseud. Oscar Litti] (New York, 1863), NYp
119	196	Pensive, polka-rédowa, op.68, ?1862–3 [under pseud. Seven Octaves] (Boston, 1864)
—	12	Bailemos, Creole dance, before 1863, ?pubd, lost
37	60	La colombe (The Dove), petite polka, op.49, 1863 (NewYork, 1864), NYp
45	75	The Dying Poet (Le poète mourant; El poeta moribundo), meditation, arpejos de saudade, ?1863 [under pseud. Seven Octaves] (Boston, 1864), J
113	189	Pasquinade, caprice, op.59, ?1863 (New York, 1870), NYp, A, B, J, K, R
152	—	Marche de Tannhäuser [after Wagner], multiple pf, ?1863, NYp
18	62	Battle Cry of Freedom (Le cri de délivrance) [after G.F. Root], caprice héroïque, grand caprice de concert, op.55, 1863–4 (Chicago, 1865), NORtu, NYp
84	141	The Maiden’s Blush (Le sourire d’une jeune fille), grande valse de concert, ?1863–4 [under pseud. Seven Octaves] (Boston, 1865)
108	186	Orfa, grande polka, op.71, ?1863–4 [under pseud. Seven Octaves] (Boston, 1864), NYp; arr. pf 4 hands (Mainz, 1876),d108a, Li
127	217	Radieuse, grande valse de concert, op.72, pf 4 hands, ?1863–4 [under pseud. Seven Octaves] (Boston, 1865), Li
155	—	Unadilla Waltz, ?1863–5 (Washington, DC, n.d.)
23	30	La brise (The Breeze), valse de concert, ?1865 (New York, 1878)
137	—	Ses yeux, polka de concert, op.66, pf 4 hands [1st version], 1865 (New York, 1875), Lii; [2nd version], 1865–9 (Mainz, ?1873); 2 pf, lost, ro234; arr. A. Napoleão, pf solo (Mainz, ?1872), d137a, ro235, J
88	—	Marche, E, ?before 1866, NYp
92	158	Marguerite, grande valse brillante, valse sentimentale, op.76, ?1866 (Boston, 1873)
17	25	Bataille, étude de concert, op.63, ?1867–8 (NewYork, 1870); as op.64 (Mainz, 1871)
43	73	Dernier amour, étude de concert, op.62, ?1867–9 (Paris, 1871); as op.63 (Mainz, 1870)
57	—	La flor que ella me envia, ?1868 (Buenos Aires, 1869)
100	174	Morte!! (She is Dead), lamentation, op.60, ?1868 (New York, 1869), J, R
154	265	Tremolo, grande étude de concert, op.58, ?1868 (Rio de Janeiro, 1869), A
25	38	Caprice élégiaque, op.56, ?1868–9 (Mainz, 1870)
158	295	Vision, étude, 1868–9 (Rio de Janeiro, ?1870)
46	76	The Dying Swan, romance poetique, op.100, ?1869 (St. Louis, 1870)
59	99	Forget me Not (Ne m’oubliez pas), mazurka caprice, ?1869 (St. Louis, 1870)
63	108	Grande fantaisie triomphale sur l’hymne national brésilien, op.69, 1869 (Rio de Janeiro, 1869), NYp
64	155	Gran marcha solemne (Marcha solemne; Marche solennelle), 1869, arr. A. Napoleão (Rio de Janeiro, ?1870); orig. for orch, band, see d91
65	114	Grand scherzo, op.57, 1869 (New York, 1870), NYp, J
68	116	Hercule, grande étude de concert, op.88, ?1869 (Mainz, 1877)
74	122	Impromptu, op.54, 1869 (New York, 1869)
83	140	Madeleine, étude, ?1869 (Rio de Janeiro, 1870)
130	224	Regarde moi, idylle, ?1869 (Rio de Janeiro, ?1870)
157	290	Variations de concert sur l’hymne portugais, op.91, 1869, arr. A. Napoleão (Rio de Janeiro, 1869)
10	14	6me ballade, op.85, ?1860s (Mainz, 1877), NYp, J, R
11	15	7me ballade, op.87, ?1860s (Mainz, 1877)
12	16	8me ballade, op.90, ?1860s (Mainz, 1877), NYp
56	—	Fleur de lys, galop brillante à 4 mains [under pseud. Paul Ernest], pf solo, NYp
75	—	Innocence, grand valse de concert (Brussels, n.d.), lost [? =d84]
93	276	Mazurk, NYp, JR
—	84	Etude, c, frag. NYp
—	165	Mazurka, A (?1850–53), ?lost
—	298	[workbook], NYp
Other transcrs. incl. opera fantasies and paraphrases, some pf, insts, 1850–69, all lost, listed in Offergeld (1970)
Other works, some ?identical to other pf works, some ?arrs. vocal works, 1842–69, all lost, listed in Offergeld (1970)

vocal

1v, pf, unless otherwise stated

2	278	Alone (W.H. Morris), ?1855–6 (Philadelphia, 1902)
71	120, 192	Serenade (Idol of Beauty; Viens o ma belle; Ecoute o mon adorée) (Sp., R. Mendive; Eng., W.J. Wetmore), 1861 (New York, 1863), US-NYp
21	28	Berceuse (Slumber on, Baby Dear), a mother’s cradle song (Eng., H.C. Watson; It., J. Debrin), ?1862 (New York, 1863)
112	188	Le papillon (Fair Butterfly) (Fr., L.M. Gottschalk; Eng., L.C. Elson), ?1862 (Boston, 1874)
101	175	The Mountaineer’s Song (Il canto del montanaro) (Eng., W.J. Wetmore), ?1862–3 (New York, 1863)
103	177	My Only Love, Good Bye! (Addio, mio solo amor) (It., E.C. Sebastiany), ?1862–3 (New York, 1863), NYp
106	181	O Loving Heart, Trust On! (Amor y fé) (Eng., H.C. Watson), 1863 (New York, 1864)
72	119	I don’t see it, Mamma! (H.C. Watson), ?1863–4 (New York, 1864)
149	252	Stay, my Charmer (R. Burns), ?1863–4 (New York, 1864)
24	34	Canadian Boat Song (T. Moore), ?1864 (Philadelphia, 1870)
114a	191	Pastorella e cavalliere (The Shepherdess and the Knight) (H.C. Watson), ?1864 (New York, 1865); orig. pf solo, seed114
6	10	Ave Maria, ?1864 (Boston, 1873)
—	90	L’exile, ?pubd after 1869, lost
118	195, 219	Pensez à moi (Rappelle-toi; Romance) (J. Ruelle, after A. de Musset), ?1865–8 (Paris, 1879), NYp
22	—	Berceuse (O mon trésor, dors d’un calme sommeil) (Paris, n.d.), ?spurious
42	—	Day is Past and Over, 4vv, arr. L.O. Emerson (Boston, n.d.)
A few other works, 1848–57, all lost, listed in Offergeld (1970)
Principal publishers: Ditson (Boston), Escudier (Paris), Hall (New York), Schott (Mainz, Germany)

Gottschalk, Louis Moreau

BIBLIOGRAPHY

P. Arpin: Biographie de L.M. Gottschalk, pianiste américain (New York, 1853; Eng. trans., 1853)

H. D[idimus]: Biography of Louis Moreau Gottschalk, the American Pianist and Composer (Philadelphia, 1853)

O. Hensel: Life and Letters of Louis Moreau Gottschalk (Boston, 1870)

L.R. Fors: Gottschalk (Havana, 1880)

L.M. Gottschalk: Notes of a Pianist, ed. C. Gottschalk Peterson (Philadelphia,1881); ed. J. Behrend (New York, 1964/R)

[W.S.B.] M[athews]: ‘Gottschalk: a Successful American Composer’, Music [Chicago], ii (1891–2), 117–32

E. Swayne: ‘Gottschalk: the First American Pianist’, Music [Chicago], xviii (1900–01), 519–29

W.A. Fisher: ‘Louis Moreau Gottschalk, the First American Pianist and Composer: a Life Sketch’, The Musician, xiii (1908), 437–8, 466 only

J.F. Cooke: Louis Moreau Gottschalk (Philadelphia, 1928)

J.T. Howard: ‘Louis Moreau Gottschalk, as Portrayed by himself’, MQ, xviii (1932), 120–33

R.D. Darrell: ‘An Early Pan-American Exhumed’, Musical Mercury, i (1934), 18–21

J. Kirkpatrick: Observations of Four Volumes and Supplement of the Works of Louis Moreau Gottschalk in the New York Public Library (MS, US-NYp, c1935)

C.E. Lindstrom: ‘The American Quality in the Music of Louis Moreau Gottschalk’, MQ, xxxi (1945), 335–66

A.C. Minor: Piano Concerts in New York City, 1849–1865 (diss., U. of Michigan, 1947)

I. Lowens: ‘The First Matinée Idol: Louis Moreau Gottschalk’, Musicology, ii (1948–9), 23–34; repr. in Music and Musicians in Early America (New York, 1964), 223–33

F.C. Lange: Vida y muerte de Louis Moreau Gottschalk en Rio de Janeiro, 1869 (Mendoza, 1951)

C.P. de Rezende: ‘O poeta do piano’, Investigações [São Paulo], iii (1951), 21–42

G. Chase: ‘The Exotic Periphery’, America’s Music, from the Pilgrims to the Present (New York, 1955, 2/1966), 301–23

V. Loggins: Where the Word Ends: the Life of Louis Moreau Gottschalk (Baton Rouge, LA, 1958)

J. Behrend: ‘The Peripatetic Gottschalk: America’s First Concert Pianist’, Américas, xi (1959), 21–6

E.J. Pasarell: ‘El centenario de los conciertos de Adelina Patti y Luis Moreau Gottschalk en Puerto Rico’, Revista del Instituto de cultura Puertorriqueña, ii/2 (1959), 52–5

J.G. Doyle: The Piano Music of Louis Moreau Gottschalk, 1829–1869 (diss., New York U., 1960)

R. Offergeld: ‘Louis Moreau Gottschalk’, HiFi/Stereo Review, xxi/3 (1968), 53–67

R. Offergeld: ‘The Gottschalk Legend: Grand Fantasy for a Great Many Pianos’,The Piano Works of Louis Moreau Gottschalk, ed. V.B. Lawrence (New York, 1969)

R. Stevenson: ‘Gottschalk in Buenos Aires’, Inter-American Music Bulletin, no.74 (1969), 1–7

R. Stevenson: ‘Gottschalk in Western South America’, ibid., 7–16

M. Márquez Sterling: ‘Gottschalk, Musical Humboldt’, Américas, xxii (1970), 10–18

R. Offergeld: The Centennial Catalogue of the Published and Unpublished Compositions of Louis Moreau Gottschalk (New York, 1970)

W.T.Marrocco: ‘Gottschalkiana: New Light of the Gottschalks and the Bruslés’, Louisiana History, xii (1971), 59–66

K. Abraham: ‘Mr. Dwight’s Blind Spot: Louis Moreau Gottschalk’, Musart, xxv/2 (1973), 47–50

R. Jackson: ‘Gottschalk of Louisiana’, preface to Piano Music of Louis Moreau Gottschalk (New York, 1973)

W.T. Marrocco: ‘America’s First Nationalist Composer: Louis Moreau Gottschalk (1829–1869)’, Scritti in onore di Luigi Ronga (Milan and Naples, 1973), 293–313

L.A. Rubin: Gottschalk in Cuba (diss., Columbia U., 1974)

W.E. Korf: ‘Gottschalk’s One-Act Opera Scene, Escenas campestres’, CMc, no.26 (1978), 62–73

J.G. Doyle: Louis Moreau Gottschalk 1829–1869: a Bibliographical Study and Catalog of Works (Detroit, 1983)

W.E. Korf: The Orchestral Music of Louis Moreau Gottschalk (Henryville, PA, 1983)

S. Berthier: Les voyages extraordinaires de Louis Moreau Gottschalk, pianiste et aventurier (Lausanne, 1985)

R. Jackson: ‘A Gottschalk Collection Surveyed’, Notes, xlvi (1989–90), 352–75

C.W. Brockett: ‘Gottschalk in Madrid: a Tale of Ten Pianos’, MQ, lxxv (1991), 279–315

C. Brocket: ‘Autobiographer versus Biographer: how Factual is Gottschalk?’, Sonneck Society for American Music Bulletin, xix/3 (1993), 9–12

R. Hamel: Louis Moreau Gottschalk et son temps (1829–1869) (Paris,1995)

S.F. Starr: Bamboula! The Life and Times of Louis Moreau Gottschalk (New York, 1995)