o indulge in vain
carolling. If we can scarcely affirm that the Americans are yet a
musical people, that they would be is an undeniable fact, and one
constantly evinced in their lavish support of artists, from the highest
to the lowest grade. Among the musical aspirants to popular favor, none
has of late enjoyed so large a share of notice and admiration as Mr.
Gottschalk; and to return from our recent digression, we will proceed to
the consideration of his compositions. Fragmentary and suggestive as are
his ideas, there is infinite method and system in their treatment.
Avoiding thus far what is termed '_sustained effort_,' and which
frequently implies the same demands on the patience of the listener as
on the creative power of the composer, Mr. Gottschalk's compositions
contain just so much of the true poetic vein as can be successfully
digested and enjoyed in a piano piece of moderate length. With the power
to conceive, and the will and discipline of mind to execute, there is no
reason why, with perhaps a diminished tendency to fritter away positive
excellence at the shrine of effect, enduring proofs of the genius of our
American pianist should not be given to the world.

As a mere player, the popularity of Mr. Gottschalk with the uninitiated
masses is due, in a great measure, to his tact in discerning the
American craving for novelty and sensation, and to his native
originality and brilliancy, which allow him to respond so fully to these
exigencies of public taste, as to possess on all occasions the keynote
to applause. The faculty of never degenerating into dulness, the rock on
which most pianists are wrecked in early youth, is another just cause
for insuring to our compatriot the preeminence which he enjoys. Viewed
from a critical point, the mechanical endowments and acquirements of
Gottschalk are such as to enable him to subject his playing to the test
of keenest analysis without detriment to his reputation. For clearness
and limpidity of touch and unerring precision, for impetuosity of style,
combined with dreamy delicacy, he has few rivals. The evenness and
brilliancy of his trill are unequalled, the mechanical process required
to produce it being lost to sight in the wonderful birdlike nature of
the effect. In the playing of classical music, Mr. Gottschalk has to
contend against his own individuality. This individuality, naturally
intense and of a kind calculated to meet with public favor, has been
cultivated an