brated piano manufacturer, generously subscribed 500 francs; and asked only for ten stalls. Mr. Pleyel did the same. The banker, Mr. Nathan Treillé, Madam Mennechet de Barival, the intelligent and charming woman, each took 100 francs' worth of tickets. Mr. Javal, Mr. Orfila, etc. also subscribed. The following is translated from an account of the concert by Mr. Escudier as it appeared in 'La France Musicale' of the 27th of April, 1850.
THE WORKMEN OF PLEYEL AND GOTTSCHALK.
Here is one of the most beautiful and most complete triumphs which we have witnessed this winter. Gottschalk can inscribe this evtfning upon his heart; there was never anything more solemn and more animated. It was for the workingmen, victims of the fire at Mr. Pleyel's manufactory, that Gottschalk had brought together all the artists, all the fashionable world of Paris; marquises, duchesses, bankers, men of letters, and statesmen. All the salons were so full that two hundred persons could not obtain a place to be present at the fête.
There is Gottschalk; they clap their hands; the celebrated artist is prodigious; he plays with an art, a grace, a spirit, a lightness, a power, which carries off everybody, marquises, bankers, and duchesses. He commenced the concert with 'La Chasse du jeune Henri,' and finished with 'Bamboula.' He was called to repeat all his pieces, and, to content the enthusiasts who did not cease to cry encore, he added to his programme 'Moissonneuse, Bananier,' which he had to play twice, and 'God save the Queen,' which was also called for again. These taken in account, Gottschalk played fourteen times. They cried encore after 'Mancenillier,' an adorable composition, a chef d'œuvre of genius which was ten times interrupted by applause.
Hardly had Gottschalk again finished playing on the piano this charming poetic inspiration, when a workman of Pleyel's factory advanced upon the stage, holding a majestic bouquet in his hand, which he presented to the beloved musician in the name of his comrades. The hall, as you may well suppose, was carried away; then Gottschalk executed the andante of 'Lucie' by Liszt. He is at least an artist, a great artist, who can interpret in the author's manner this original and difficult composition. I wish that Liszt had been there; he would, like all the rest of us, have frantically clapped his hands. On all sides they cried encore, and through the whole hall they rose up, the better to see if Gottschalk had not more than two hands at the ends of his arms.
The morning after this fête, the workmen of Pleyel's factories went to express, their gratitude to Mr. Gottschalk, and sent to him a letter of thanks which did honour to the artist as well as to those who wrote it.
The following address was presented by the delegates of the workmen to Gottschalk, the next day after the concert:—
Monsieur: Nous venons, au nom de nos camarades, vous offrir le tribut de notre reconnaissance pour la sympathie que vous avez montrée pour le malheurParis, 22 Avril, 1850.
