Gottschalk wrote his Pasquinade (literally "lampoon"), one of his final works, in Rio de Janeiro in 1869. Published initially in that city, the work was first circulated in the United States shortly after Gottschalk's death. Written when such "salon pieces" enjoyed especial currency, Pasquinade was enormously popular, especially in the composer's hometown of New Orleans.

Pasquinade is a short, alluring, highly syncopated dance. An introduction consisting of a repeated tattoo, answered by thundering octaves in the bass, is followed by a statement of the main theme. The second strain boldly anticipates ragtime, with its repeated use of a sixteenth-eighth-sixteenth rhythm over a high-stepping, march-like accompaniment. At the end of the second recapitulation of the theme, a twittering figure appears in the top octave of the piano and continues as the main theme is repeated, posing a particular challenge to the pianist. After a brief, colorful minor-key episode, florid passagework brings the work to its close.

Pasquinade was still quite popular at the turn of the century, and was particularly beloved of Sousa's band, which recorded it for Victor in 1901. (In this arrangement, the "twittering" role is assumed by the piccolo.)

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