- Paperback: 296 pages
- Publisher: LSU Press (July 1, 1977)
- Language: English
- ISBN-10: 080710373X
- ISBN-13: 978-0807103739
- Product Dimensions: 5.5 x 0.7 x 8.5 inches
- Shipping Weight: 1 pounds (View shipping rates and policies)
- Average Customer Review: 1 customer review
- Amazon Best Sellers Rank: #5,690,142 in Books (See Top 100 in Books)
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Where the Word Ends: The Life of Louis Moreau Gottschalk Paperback – July 1, 1977
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From the Back Cover
Louis Gottschalk (1829-1869) was the first American pianist and composer to win international fame. His creative use of the colorful and exotic musical idioms of his native New Orleans foreshadowed by some fifty years the appearance of these same influences in early jazz.
About the Author
Vernon Loggins is well-known as a professional critic, critic, biographer, fiction writer, and teacher. He received his A.G. from the University of Texas, his A.M. from the University of Chicago and his Ph.D. from Columbia University. He also studied at the University of Montpellier, France, and the Sorbonne. He has been a faculty member at Chicago, Minnesota, Alabama Polytechnic Institute, New York University, Brooklyn College, Columbia, and, in France, at the Universities of Lillie and Strasbourg. His published books include: Chasons du Midi, The Negro Author, American Literature, I Hear America, Two Romantics, and The Hawthornes.
Top customer reviews
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If you are interested in a readable introduction to a pianist whose life and reputation are as varied and interesting as his music then this is a good place to start.
Gottschalk and his music are very representative of his time. The exuberance of life lived, in the face of ever present threat of disease (yellow fever in particular), shows forth in the passions of nationalistic pride, the charm of social courtesy in a highly stratified culture, the elegance of sophisticated conversation and cultured interaction, which never-the-less was not out of touch with the lower classes, both slave and peasant. Gottschalk's life makes plain that culture can and must recognize social stratification in the context of mutual respect. It argues for the possibility of degrees of sophistication without elitism. We hear that in his music, as the complexity of rhythm and velocity demand the highest levels of virtuosity, yet the melodies are rooted in the common and even elemental strands in the social fabric. His was a life of liberty and his music is democratic to its roots.
In its own way, this book communicates some notion of these things, yet, it could have risen a bit higher than it does. The facts are there but helpful analysis and insights would have broadened its impact. The simplicity of the language and diction somewhat even argue against what Gottschalk's life and music contributed. It lacks elegance and if there is anything we can say about Gottschalk, it must be that in him and his music, elegance was not lacking.
It's a good book.