Funeral Service for Gottschalk

“The mortal remains of one of the most brilliant pianists and genial men that America can boast of, Louis Moreau Gottschalk, were consigned to their last resting place on earth yesterday. His poor body underwent a deal of journeying and knocking about since the immortal soul took flight at Rio Janeiro on December 19, 1869. When it arrived in the steamship Merrimac the stringent laws of quarantine, which admit of no exception in their protection of public health, detained it until the necessary conditions were complied with. When the casket containing the body was brought last week to St. Stephen’s church and partly opened, the face of the deceased pianist was exposed to view. The features were their usual placid expression, the large eyes were wide open and protruding, and a light beard had made its appearance on the chin. The remains were in a remarkable state of preservation after nearly ten months.

 

The rain yesterday morning prevented hundreds from paying their last respects to the remains of him whom they so often listened with delight. Still, at the hour appointed for the ceremonies—ten o’clock—the church was pretty well crowded and the most distinguished representatives of music and art were present. Dr. William Berge, of St. Francis Xavier’s church, had full charge of the music, and about fifty singers, selected principally from the celebrated Berge Choral Union, sung [sic] the chef d’œuvre of Cherubini, his sublime requiem. The solo choir of St. Francis Xavier’s church, Miss Teresa and Mary Werneke and Signori Tamaro and Bacelli sung [sic] at the offertory a very fine arrangement of Gottschalk’s ‘Last Hope’ and ‘Solidtude’ (an unpublished posthumous work) to the words of the divine service. This arrangement was made by Dr. Berge. When the body was borne into the church from the vault in which it lay for some days, the tones of the exquisite work of the dead pianist, ‘Morte!’ stole softly through the church from the skilful [sic] fingers of the organist. Among the pallbearers we recognized Thomas Hall, C. F. Chickering, Richard Hoffman, L. J. Descombes and other friends of the deceased. On the coffin lay magnificent wreaths of flowers and a crown, the tributes of Messrs. Hall and Chickering. When the coffin was placed on the gloomy-looking catafalque Rev. Mr. McSweeney, assisted by two other clergymen as deacon and subdeacon, commenced the solemn high mass. Near the catafalque knelt the brother and three sisters of the deceased, and the pews on either side were filled with musicians of all kinds.

 

The requiem of Cherubini is without a peer as a dramatic illustration of the sublime funeral service of the Catholic Church. The music, without losing in a single measure the character of religion and solemnity which is indispensable for such a subject, is descriptive to a degree beyond that of any other requiem mass. The Dies Iræ commences with a startling, impetuous allegro movement, indicative of the terrors of the day of judgment. Amid the whirlwind of rapid passages in which the entire power of the organ bursts forth, we hear the frantic appeals of the doomed human race and the awe-stricken utterances of those who read in the signs and wonders of that terrible day the coming of the Judge. The organ passages in the Dies Iræ are wonderful in lighting up the grandeur of the vocal part. The Dona eis requiem of the Angus Dei is the most effective example of the monotone that can be found in church music. The voices follow each other in an apparently endless progression on the same note, like one of those solemn processions of cowled monks beneath the grained arches of a medieval abode of recluses. The same wondrous power, which is simplicity itself in its construction, is shown in the very opening of the mass. It was rendered with an effect and spirit surprising to those acquainted with the magnitude of such a work. No higher tribute could be paid to the memory of an artist than such a performance of one of the imperishable works of art. During the service Dr. Berge also played the “Pensée Poetique” of the deceased. After the requiem the remains were conveyed to Greenwood, attended by a large number of friends, whom even the dreary weather could not daunt. And for the last time the numerous friends of the genial pianist gazed upon all that was earthly of him. Requiescat in pace.”