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Were we not right a year ago in proclaiming the superior talent of Gottschalk; "A great artist is aboUt to reveal himself; he carries with him novelty in the art of composition and in execution. He will be, before long, one of the most brilliant stars in the modern school of the piano." And truly Gottschalk has marched with the step of a giant. In one year, his success in the salon and concert-room has gained him the sympathy and admiration of the public and of artists. To-day he stands in the first rank; his name has become popular, his works are awaited with impatience, and received with the greatest pleasure. What is wonderful to remark is, that as much through his character as his talent the young and already celebrated pianist exerts an influence over musicians, composers, and players, and that all jealousy vanishes before his incontestable superiority.

The other evening Gottschalk had carried the crowd to Erard's Hall (Salle Erard), all the French and foreign pianists accompanied them; those who did not yet know the new artist came to see if they had not beaten the base drum for a charlatan, as it unfortunately happens too often under the starry sky of music; these were perhaps the most enthusiastic.

Gottschalk afterwards played 'Bananier,' one of the most delicious pieces of imagination one could listen to; it might have been said that a shower of pearls escaped melodiously from the key-board. The effect of 'Bananier' was electrical, every one clapped his hands for five minutes, and Gottschalk was obliged to recommence his piece amid the most enthusiastic applause. Then he played his charming ballads, 'Ossian,' a Mazurka, 'la Savane,' 'le Bamboula,' and the 'Concerto of Weber.' I could not say which of these they most applauded, the most fêted. What I affirm is, that there was but one voice to render homage to the suppleness, the elegance, and the originality of his compositions. 'Le Bananier,' 'le Bamboula,' 'la Savane,' and 'Ossian' are pieces of a wholly new character, which hold you constantly under their charm. Gottschalk resembles no one; he is a pianist who has the prime merit of copying no other composer. His inspirations, simple, touching, and of exquisite distinction, strike you, and his playing dazzles you. Yes, it is an individuality which will leave its mark, we affirm it, in the art of the piano, by the form as by the structure. This soiree has been decisive, I will even say triumphal. .

During the winter at Paris he gave several concerts, all of which seemed to increase his reputation as an artist and a man. We take the following—

But Gottschalk was the great surprise and attraction of the evening. It would be impossible to tell you the enthusiasm which he excited at this reunion, formerly so icy and mute. Among other merits, Gottschalk's compositions have that of being very short. As soon as the pianist has finished they cry encore, and he begins again with perfect grace; or, if the inspiration commands him, instead of repeating the last melody, which flies away on light wings, he gives a new piece, more charming than the