Not
your Average Concert tour
The Intrepid Louis Moreau Gottschalk
tours the United States during the Civil War...
A brief narrative, making use of
several biographies and the subject's own "Notes
of a pianist"...
In which he records the highly
charged sentiments of the people...
With a lively account of the
ignorance and apathy of his audience in some
places, and their great approbation in others.
Being chiefly a record of his
struggles for artistic survival in a country
that was not accustomed to the art of the piano
recital, or concert music in general, and his
corporeal survival in the middle of a war which
was daily claiming the lives of thousands of his
countrymen, and which was often not far away....
Also a chronicle of his
frustrations with stubborn amateurs, stupid
people of all kinds, critics, and periods of
forced idleness...
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Louis Moreau
Gottschalk had guts. Let's get that out of the way at
the beginning. Having returned from Europe where, as a
teenager, he made a huge sensation as the composer of
exotic sounding Creole-American piano works and a
brilliant showman who could make the piano roar and
purr with the best of them, he returned to the
Americas ten years later, first spending a period in
Cuba and South America where, among his specialties
was the organization of what have become known as
"monster concerts"--festival programs with hundreds,
if not thousands of participants "bellowing and
blowing to see who could scream the loudest....You can
judge of the effect" wrote the honest maestro. Years
later he recorded the grueling demands these shows
made on him, saying that it was "equal to laying a
plan for a [military] campaign....it is an immense
effort, requiring a great deal of money, of time, of
diplomacy, and muscles of steel in the service of an
iron will." These concerts frequently took a toll on
his health, which often led to long periods of
inactivity, something which only seemed to bother him
when he wasn't enjoying his surroundings; otherwise,
he might overstay any visit for weeks or even months,
arriving at his next destination long after he was
expected. But at last his delightful indolence was at
an end; he felt compelled to rejoin industrialized
society, and besides, there was an offer to tour the
United States. "I hesitated an instant," he writes, in
the overwrought style of the times "[I] cast a last
glance at the past, gave a sigh....The dream was
finished--I was saved."
What happened
next was a real odyssey into the heart of frontier
America, near battlefields, small prairie towns, and
burgeoning cities across the eastern half of the
continent. He mainly stayed north of the Mason-Dixon
line, but even then the war sometimes got uncomfortably
close.
"A
traveler whom we took up at the last station assures us
that the Confederate army is not more than thirty miles
from Harrisburg. Everybody is frightened. [my agent]
begins to see his mistake....What shall we do? As for
the concert, it is out of the question; but ourselves,
our trunks--my pianos--what is to become of us in all
this confusion?"
Gottschalk's
grave concern for his "giant mastodons," the two
Chickering pianos with which he traveled, borders on
high comedy at times, though the prospect of having them
shot up by enemy soldiers would have put a serious dent
in his itinerary.
He was not averse to expressing the
public fervor in music, however. His patriotic "Union"
became a vehicle for what Richard Jackson called "a kind
of high-class U. S. O. show," as he entertained the
troops along the battlefields. In Baltimore, a day after
a major riot, he debated the merits of prudence versus
box office:
"I very well
understand how to fill the hall; but it is dangerous. It
would be to announce that I would play my piece called
'L'Union,' and my variations on "Dixie's Land." In the
first I intercalate 'Yankee Doodle' and 'Hail Columbia.'
The second is a Southern negro air, of which the
Confederates, since the commencement of the war, have
made a national air. It is to the music of Dixie's Land
that the troops of [general] Beauregard invariably
charge the soldiers of the North. At the point at which
men's minds are now--the hall would be filled with
partisans of both sections, who would certainly come to
blows. But I should make three or four thousand dollars.
It is true that in the tumult I might be the first one
choked."
Wartime
dangers notwithstanding, Gottschalk also had to deal
with a sometimes fickle public, and the real threat of
heavy financial losses from concerts poorly attended.
Several of his funnier barbs are sent in search of the
audience:
Toledo
[Ohio], November 26, 1862
Nothing interesting. Audience stupid. In the
Artist's Room there was a bill attached to the
wall: "If, before commencing the concert, the
performers do not pay the rent of the hall, the
porter has orders from the proprietors to turn
off the gas." That does not give us a very high
idea of the honesty of the artists who have
performed before the Toledian public, or of the
liberality of the amateurs of the town.
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Amateurs
annoyed him, particularly ones who, he thought, were
full of themselves. He recounts how, on one occasion,
a bad pianist [amateurs never think they have to
practice, he groaned] was to perform in a piece for 14
pianos! Only a few measures of the brief rehearsal
convinced Gottschalk that a disaster was at hand. With
glee he then tells how his piano tuner cleverly
removed the insides of the upright piano, rendering it
mute in time for the concert, a calamity that the
frustrated amateur had no way to fix. Thus the
audience was spared a musical travesty.
Naturally, his
opinions of the audience had to do greatly with its
opinion of him. There were towns in which he was well
received, sometimes having to encore the entire concert,
the audience approving of what it was hearing so much
that he obligingly repeated each piece in its turn.
Sometimes this was not the case, as he once complained
that his audience wouldn't even recognize Yankee Doodle
as soon as he began to add the slightest pianistic
embroidery. Of course, everybody was a critic. "At St.
Louis, the wife of a judge said to me that I was
deficient in charm; that my music was too learned....At
Havana, Count O'Reilley discovered that I played too
loud. At New York, H____ said that I played too soft."
These remarks were caused, he opined, by an undeveloped
musical taste. And besides, "Let us never listen to the
public. We should hang ourselves in despair." Rather
than despair, he simply gave as good as he got. If the
audience wasn't interested in his wares, he closed up
early and went home. One concert was over in less than
half an hour. Of another audience, he admits he treated
them badly, though "It must be said that they did not
deserve better".
Still, he
needed his audience, and when the unpredictability of
train travel and the inclement weather caused delays and
fatigue, he worried that his audience would get cheated.
At each stop, the pianist recalled his performance,
sometimes recording that he "performed magnificently",
but at others that he "played terribly". His
recollections of the towns en route was just as varied.
He loved the people of Baltimore, found Portsmouth,
Maine "A charming little town", the same for Batavia,
New York, reconciled himself to the 'ugliness' of St.
Louis because it reminded him of his childhood New
Orleans, found Madison, Wisconsin
"remarkable", hated the wintry weather in Cleveland.
When combined with the forced idleness of the Sabbath,
it was "enough to make one commit suicide".
Inactivity was
really the one thing he could not stand. Often his pages
are filled with the cries of impatience over not being
able to do something on the Sabbath, when most
activities were simply illegal.
When he
arrived in New York, at the end of 1862, he had given 85
concerts in four months, and traveled some fifteen
thousand miles by railroad. A few times he gave two or
even three concerts in a day. Others he would spend on
the train, sometimes with soldiers or prisoners as
companions. By the tour's end he was exhausted, and
heartily sick of the regimen he had adopted. But by as
early as January, he had begun another round of
concerts. The next entry in his "Notes of a Pianist"
finds him inexplicably in Springfield, Illinois,
pontificating about the land of Lincoln, ready for a new
round of observations about daily life, politics,
philosophy, and the war. Seldom has a pianist wandered
into such untested and sometimes hostile terrain, or
written nearly as much about the experience.
Gottschalk's "Notes of a Pianist",
first published in 1881, then reprinted by Alfred A.
Knopf in 1964 and again in 1979 by Da Capo Press, NY,
is back in
print!
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