commemorating the abdication of Pedro I and the accession of Pedro II to the Throne. It was known during this early period as "April 7 Hymn". The lyrics by Ovídio Saraiva soon fell out of use, given that they were considered poor, and even offensive towards the Portuguese. The music, however, continued enjoying sustained popularity and by 1837 it was played, without lyrics, in all public ceremonies. Although no statute was passed during the imperial period to declare Francisco Manuel da Silva's musical composition as the national anthem, no formal enactment was considered necessary for the adoption of a national anthem. A national anthem was seen as resulting from praxis or tradition. Thus, by 1837, when it was played in all official solemnities, Francisco Manuel da Silva's composition was already the de facto Brazilian National Anthem. A new set of lyrics was proposed in 1841, to commemorate the coming of age and Coronation of Emperor Pedro II; those lyrics, popular but also considered poor, were soon abandoned as well, this time by order of Emperor Pedro II, who specified that in public ceremonies the anthem should be played with no lyrics. Emperor Pedro II directed that Francisco Manuel da Silva's composition, as the national anthem of the Empire of Brazil, should be played, without lyrics, on all occasions when the monarch presented himself in public, and in solemnities of military or civilian nature; the composition was also played abroad in diplomatic events relating to Brazil or when the Brazilian Emperor was present. During the Empire of Brazil era, the U.S. composer and pianist Louis Moreau Gottschalk, then residing in Rio de Janeiro, composed two nationalistic works of classical music based on the Brazilian National Anthem that achieved great popularity at the time: the Brazilian Solemn March ("Marcha Solene Brasileira", in the modern Portuguese spelling or "Marcha Solemne Brazileira", in the original spelling in force at the time of composition) and the Great Triumphal Fantasy on the Brazilian National Anthem ("Grande Fantasia Triunfal sobre o Hino Nacional Brasileiro"). The former was dedicated to Emperor Pedro II, and the latter was dedicated to his heiress presumptive, the Princess Imperial Isabel. Those works are in the vein of similar compositions written at the time in other nations, such as Charles Gounod's Fantasy on the Russian National Anthem. The Grand Triumphal Fantasy, long forgotten, resurfaced in popularity in 1985, at the dawn of Brazil's