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Vidéo :
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| Composer : | Gottschalk, Louis Moreau (1829 - 1869) | ||||
| Instrumentation : | Piano solo1 other version | ||||
| Style : | Romantic | ||||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Publisher : | MAGATAGAN, MICHAEL | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 12 Aug 2013 Louis Moreau Gottschalk (May 8, 1829 – December 18, 1869) was an American composer and pianist, best known as a virtuoso performer of his own romantic piano works. He spent most of his working career outside of the United States. Gottschalk was born in New Orleans to a Jewish businessman from London and a Creole mother. He had six brothers and sisters, five of whom were half-siblings by his father's mulatto mistress. His family lived for a time in a tiny cottage at Royal and Esplanade in the Vieux Carré. Louis later moved in with relatives at 518 Conti Street; his maternal grandmother Bruslé and his nurse Sally had both been born in Saint-Domingue (known later as Haiti). He was therefore exposed to a variety of musical traditions, and played the piano from an early age. He was soon recognized as a prodigy by the New Orleans bourgeois establishment, making his informal public debut in 1840 at the new St. Charles Hotel. Only two years later, at the age of 13, Gottschalk left the United States and sailed to Europe, as he and his father realized a classical training was required to fulfil his musical ambitions. The Paris Conservatoire, however, rejected his application without hearing him, on the grounds of his nationality; Pierre Zimmermann, head of the piano faculty, commented that "America is a country of steam engines". Gottschalk gradually gained access to the musical establishment through family friends. The impact of Gottschalk's music on the later development of ragtime might seem obvious, yet there is no proven link from him to the syncopated popular music he anticipated in works like Bamboula. The music of Scott Joplin and Jelly Roll Morton show traces of Gottschalk's melodic shape and rhythmic pulse, and the New Orleans-born Morton likewise studied under Lettellier. Nickelodeon pianists disserviced Gottschalk by loving him too well; pieces like The Dying Poet and Morte!! turned many a dramatic corner in silent movie houses, and the public began to identify these themes as cliché. By the 1940s, Gottschalk was condemned as hopelessly old-fashioned, and it would take decades of work by scholars to improve his critical fortunes. In his best music, Gottschalk was an American original; masterpieces like Souvenir de Porto Rico, Union, and O ma charmant, épargnez-moi! transcend time through their emotional power, technical mastery, audacity, wit, and charm. Since Louis Moreau Gottschalk died decades before the advent of film, he had no way of knowing that his salon piece The Dying Poet would become a mainstay among silent-movie pianists who sought to provide a sentimental accompaniment to the action onscreen. In the Victorian spirit of its title, this short piece is based on a tearjerker of a theme that is restated in a throbbing fashion with repeated notes. One of Gottschalk's most popular works, The Dying Poet was often featured by Gottschalk on his own recital programs. It was written in 1863, shortly before Gottschalk had to flee the country to avoid the aftereffects of a scandal that arose from his illicit affair with a student at the Oakland Female Seminary. The work attained popularity not only in the U.S. but also in South America, where the composer lived a peripatetic existence for the rest of his life. Sheet central : | The Dying Poet (2 sheet music) | | |||
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