Louis Moreau GOTTSCHALK Cecile Licad, Piano

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Louis Moreau GOTTSCHALK Cecile Licad, Piano

559145 rr Gottschalk US 3/14/03 10:04 AM Page 1 45 Playing 1 Louis Moreau GOTTSCHALK 9 Time: 75:08 (1829 - 1869) All broadcasting translations 8.55 & rights ¡ Cecile Licad, Pia o AMA6HCAE CLASSHCS 2003 in 1 Le banjo, Fan aisie !"o es#ue, O$. 15 3:1& Dubbed “the Chopin of the Creoles”, this reserved. HNH Gottschalk provides one of the most and 2 'a(bou)a, *anse +e n,!"es, O$. & 9:20 sound 3 colourful chapters in the history of Le bananie", C.anson n,!"e, O$. 5 / 2:44 copying International American music. Above all, he was the G 4 La sa0ane, 'a))a+e c"1o)e, O$. % / 2:-1 O Unauthorised recording, first to capture the syncopated music of c 5 T"e(o)o, G"an+e 1 u+e +e conce" , O$. 58 / 3:54 T i New Orleans and the Caribbean in an of s 6 T La jo a a"a!onesa, Ca$"ice es$a!no), O$. 14 / 2:57 u this iconoclastic style that anticipates ragtime S Ltd. 7 Manc.e!a, 3 u+e +e conce" , O$. %8 3:03 C and jazz by half a century. The piano M compact artwork, H 8 miniatures, of which there are more than o ¥ Sou0eni"s +4An+a)ousie, public Made n Ca$"ice +e conce" su" )a ca5a, O$. &&/ 4:09 one hundred, embrace the vernacular A a i L texts melodies of New Orleans streets, South disc 9 performance, Sou0eni" +e Po" o 6ico, P in K American dance halls and North : Canada Ma"c.e +es Giba"os, O$. %1/ 6:51 : prohibited. and K American music halls, as might be 0 L41 ince))e, La scin i))a, O$. &-/ 3:20 P L expected from a child prodigy pianist i ! a A La !a))ina, O$. 5% 3:29 who, as a teenager, toured Europe as a n @ o H Suis8(oi9, Ca$"ice, O$. 45 3:58 virtuoso concert soloist before moving on M C # Pas#uina+e, Ca$"ice, O$. 59 3:1& to North America, Guadaloupe, Cuba S $ and South America. The Dying Poet was u T Tou"na(en Ga)o$ 2:46 s i T % the most famous piano work of the Civil T.e *:in! Poe , Me+i a ion 2:36 c O DDD ^ T.e ;nion, Pa"a$."ase +e conce" on .e War era. The Union, a musical G na iona) ai"s S a" S$an!)e+ 'anne", declaration of Gottschalk’s patriotism, contains elements of the yet-undeclared <an=ee *oo+)e, an+ Hai) Co)u(bia, O$. 48 / 2:29 national anthem and was dedicated to the head of the Union Forces. / 6eco"+e+ )i0e a Au+i o"iu( +e )a 'an#ue +e Lu>e(bou"! 8.559145 on Oc obe" 4, &--1 ? A)) o .e" "ac=s "eco"+e+ a Au+i o"iu( +e )a 'an#ue +e Lu>e(bou"! @"o( Oc obe" 18%, &--1. FFF.na>os.co( P"o+uc ion Tea(: A(i)e K"ae(e", Mau"ice 'a"nic., Ma"co 'a is e))a 8.55 A(e"ican C)assics Se"ies P"o+uce"s: Bic o" an+ Ma"ina Le+in Co0e" Pain in!: Emblems of the Civil War, 1888 b: A)e>an+e" Po$e 9 C1849819&4D. C'"oo=):n Museu( o@ A" , EeF <o"=, ;SA G '"i+!e(an A" 1 Lib"a":D ? A(e"ican @)a!, @o)= a" is , 188-s. 45 6 36943 91452 6.

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Traversing Boundaries in Gottschalk's the Banjo
Merrimack College Merrimack ScholarWorks Visual & Performing Arts Faculty Publications Visual & Performing Arts 5-2017 Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk's The Banjo Laura Moore Pruett Merrimack College, [email protected] Follow this and additional works at: https://scholarworks.merrimack.edu/vpa_facpub Part of the Music Performance Commons This is a pre-publication author manuscript of the final, published article. Repository Citation Pruett, L. M. (2017). Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk's The Banjo. Journal of the Society for American Music, 11(2), 155-183. Available at: https://scholarworks.merrimack.edu/vpa_facpub/5 This Article - Open Access is brought to you for free and open access by the Visual & Performing Arts at Merrimack ScholarWorks. It has been accepted for inclusion in Visual & Performing Arts Faculty Publications by an authorized administrator of Merrimack ScholarWorks. For more information, please contact [email protected]. Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk’s The Banjo LAURA MOORE PRUETT ABSTRACT This article reconsiders the cultural significance and historical impact of the well-known virtuosic piano composition The Banjo by Louis Moreau Gottschalk. Throughout the early nineteenth century, the banjo and the piano inhabited very specific and highly contrasting performance circumstances: black folk entertainment and minstrel shows for the former, white
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Louis Moreau Gottschalk - America's Dashing Musical Ambassador Henry Santos Bridgewater State College
Bridgewater Review Volume 2 | Issue 1 Article 10 Oct-1983 Cultural Commentary: Louis Moreau Gottschalk - America's Dashing Musical Ambassador Henry Santos Bridgewater State College Recommended Citation Santos, Henry (1983). Cultural Commentary: Louis Moreau Gottschalk - America's Dashing Musical Ambassador. Bridgewater Review, 2(1), 26-27. Available at: http://vc.bridgew.edu/br_rev/vol2/iss1/10 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Regensbutg... continued any of the Jews took up temporary CULTURAL COMMENTARY M residence in Standtamhof just across the Danube from where they attempted to negotiate permission to return. Eventually Louis Moreau Gottschalk: they succeeded, but their communal way of life was destroyed never to be restored. The Jews continued to live and carry on America's Dashing Musical Ambassador business in Regensburg largely because by Henry Santos they served necessary economic roles but Assistant Professor of Music always on sufferance and at the pleasure of the city government and the Christian n probably the greatest period of pian citizens. ists, Gottschalk was compared favor It is well known that the European anti I ably with such paradigms of piano Semitism which reached its murderous artistry as Chopin, Liszt and Thalberg. His culmination in the Nazi era had its roots in playing was described somewhat the Middle Ages. Perhaps less well known, extravagantly by contemporaries as however, is the fact that prejudice against resembling a "cascade of pearls," and the Jews was by no means universal during "glittering stardust": he had "the golden the medieval period, even in Germany.
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LOUIS MOREAU GOTTSCHALK the First American Pianist and Composer
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CCCNY 2021 Ragtime Program
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THE PATIENCE of LOUIS MOREAU GOTTSCHALK Reviewer Robert Offergeld Feels We Have Kept Him Waiting Long Enough
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Louis Moreau Gottschalk, John Sullivan Dwight, and the Development of Musical Culture in the United States, 1853-1865 Laura Moore Pruett
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Louis Moreau Gottschalk, John Sullivan Dwight, and the Development of Musical Culture in the United States, 1853-1865 Laura Moore Pruett Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LOUIS MOREAU GOTTSCHALK, JOHN SULLIVAN DWIGHT, AND THE DEVELOPMENT OF MUSICAL CULTURE IN THE UNITED STATES, 1853-1865 by LAURA MOORE PRUETT A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2007 Copyright © 2007 Laura Moore Pruett All Rights Reserved The members of the Committee approve the dissertation of Laura Moore Pruett defended on 26 October 2007. ______________________________ Denise Von Glahn Professor Directing Dissertation ______________________________ Matthew Shaftel Outside Committee Member ______________________________ Douglass Seaton Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS This work would never have been fully realized without the help and support of many individuals. My gratitude goes to the Presser Foundation, who awarded me a grant to conduct research in New Orleans, Massachusetts, New York, and Washington, D.C., in summer 2004. The research staff in the following libraries and archives were central to locating primary source materials: the Historic New Orleans Collection, the American Antiquarian Society in Worcester, MA, the Boston Public Library, the Harvard University Archives, the Harvard Musical Association Library, the New York Public Library for Performing Arts, the New-York Historical Society, and the Library of Congress.
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Louis Moreau Gottschalk (1829-1869): the Role of Early Exposure to African-Derived Musics in Shaping an American Musical Pioneer from New Orleans
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Gottschalk & Company
The Wind Demon New World Records 80257 GOTTSCHALK & Company The Music of Democratic Sociability by Robert Offergeld (with additions by Edward A. Berlin) The American piano music of the last half of the nineteenth century is considered here as falling under two main headings. Viewed in relation to each other, the composers in these two groups constitute a peculiar historical case that requires a more than cursory inspection. Much of the music of the first group was frankly directed to American popular taste as it then existed by composers who were in some degree public favorites. It includes striking and in some cases bizarrely autistic essays in the larger forms, particularly symphonies and operas, as well as countless waltzes, polkas, schottisches, galops, and marches for piano solo. It was produced by a large and loosely associated body of highly dissimilar composers--some self-taught, a few distinctly bohemian, one or two downright disreputable. The unquestioned superstar of this constellation is Louis Moreau Gottschalk. The earliest is Anthony Philip Heinrich (born 1781). The latest is Homer Newton Bartlett (born 1845). In both imagery and execution the variety of their music is remarkable. It ranges from a vigorous frontier primitivism to brownstone-ballroom elegance to extraordinary examples of urban sophistication that prefigure jazz on the one hand and evoke a Rossinian or Offenbachian wit on the other. At its best it is so good that the musicological snobbery that suppressed it for a century seems nothing less than criminal. But even at its routine average it can surprise us with its capacity for rendering American subject matter in a deliciously fresh vernacular.
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