Parisian aristocracy, among whom he was fêted and caressed on account of his aristocratic manners and great talent as an artist. He now, however, decided to appear in public, and in April of this year gave a concert, non payant, at the Salle Pleyel, the announcement of which created a marked sensation. Rumour had spoken so frequently of the young Gottschalk in the fashionable world, he had been so much applauded, that all were eager to hear him. Besides, he was an "American," and the question was asked, "Could America produce an artist?" The hall was filled to overflowing.
The anticipations of this brilliant assemblage, composed of the Parisian and foreign aristocracy, as well as of his fellow-countrymen then resident in Paris, as also of all the principal artists, were perfectly realized. The splendid playing of the young pianist, at once elegant and vigorous, his expression so pure and impassioned, and the gleams of decided originality, all combined to secure for him the most brilliant success. At the close of the concert the applause was immense, and a wreath of flowers was thrown to the young virtuoso. The graceful and modest manner with which he received it completed his success. Chopin, who was present, after the concert, said in the artists' room, in the presence of his friends, putting his hands on his head, 'Donnez moi la main, mon enfant; je vous prédis que vous serez le roi des pianistes." (Give me your hand, my child; I predict that you will become the king of pianists.) These few and simple words Moreau valued more than all the bravos he had received, for Chopin was chary of his praise. From that hour he held his diploma as an artist.
He had hitherto been known only from playing the compositions of others, Beethoven, Mendelssohn, Liszt, Thalberg, and Chopin. He now became a composer himself. In 1846 he wrote his 'Danse Ossianique.' It was but a trifle, but gave evidence of future greatness. This germ of originality revealed itself more and more in the pieces entitled 'Les Ballades d'Ossian,' or 'Le Lai du Dernier Ménestrel,' 'La Grande Valse,' and 'La Grande Etude de Concert,' which appeared in 1847.
In the month of November, 1847, he wished to make his first trial in one of the provinces before a paying public, and like Liszt and Thalberg he chose for his debût the city of
