Given the extraordinary status of pianos and pianists in Paris of the 1840s, the choice of a teacher gained hugely in importance. Statistics tell part of the story. About this time the French capital had 60000 pianos and 100000 persons who could play them. Assuming that half the population consisted of workers and tradespeople and a third of the remainder were under ten or over 50 years of age, this meant that fully a third of the youth and young adults of Paris were banging away on fortepianos. Never before or never since did the piano attain such dizzy heights of popularity as it did in the French capital between 1835 and 1848.

With its ability to play both forte and piano , the instrument was the perfect vehicle for expressing the emotions of romanticism. It could reproduce in an engaging fashion virtually any music, from operatic arias to the latest popular romance. Unlike the violin, the piano had a steep learning curve, so that even beginners could produce credible sounds in a short while. The piano was also a highly visible possession, signifying by its mere presence in a home the high tone of its owners. Finally, the piano was also a sophisticated piece of technology.

An innovative Frenchman, Sebastien Erard, had developed an ingenious "double escapement action" that facilitated dizzying speed in performance. Ignace Pleyel, also a Parisian, had figured out how to manufacture pianos with unheard-of efficiency.[...]

La France musicale announced Moreau's return to the French capital on January 12th., 1851. [...]
[...] ...this typified the adulation and sensationalism that greeted Moreau on his return to Paris. Fortunately, he had a full month before beginning a series of 4 concerts on Feb. 26th. During this time he participated in a few recitals, including one in which he played on a square piano by Erard as an advertising ploy.[...]

[...] Moreau was deeply grateful for Chickering's patronage. He dedicated his Reponds moi to Mrs. Chickering and remained a loyal champion of Chickering pianos throughout his life. Up to now, Moreau had been associated with the Paris piano builders Pleyel and Erard. In switching to Chickering instruments, he was prompted by more than personal gratitude.[...]

Gottschalk's admirers arranged for him to perform at the Liceo Artistico y Literario [...] The Liceo Concert, finally held on Dec. 22nd., brought together Jose White, Espadero, and a number of singers from Max Maretzek's operatic company, then in Havana. The great Maretzek himself attended, as did publisher Carlos Edelmann, who provided two Erard pianos.[...]

A second source of supplemental income derived from Gottschalk's contract with the Chickering firm. There was no disputing that Gottschalk's old Boston patron produced excellent pianos. However, by comparison with Erard's new "double escapement action", Chickering's action was somewhat heavy and its damping mechanism imperfect. Nonetheless, Chickering's sales were booming. Gottschalk was therefore only too pleased to sign an exclusive contract with the Bostonians to advertise their pianos in all his concert programs and, working as a commissioned agent, to promote their sales wherever he went.

Within a year Chickering produced a new model, which Gottschalk judged superior even to his beloved Erard. ( Anmerkung OLLI: An anderer Stelle, die ich im "Anekdoten-Faden" gleich noch nachreiche, denn jetzt habe ich sie gefunden, sagt er allerdings: "I absolutely CANNOT play Erards!" )

The Chickering firm sent two of these mammoth instruments on all Gottschalk's American tours, along with a tuner.

Then, when he arrived in Rio, Moreau expected to find two chickering grands waiting for him. They never arrived, however, and Gottschalk was frantic. "I absolutely CANNOT play Erards," he reported. "I do not like their touch at all...[...]