Welte-Mignon. In addition to her performances, Carreño gave lessons to students in many of the cities she visited. In the early 1900s, her students traveled to her summer residence during the summer months to study with her for weeks at a time. Amongst her students were her early biographer Marta Milinowski, as well as Fanny Nicodé née Kinnel, Helen Wright, and Julia Gibansky-Kasanoff. For the remainder of her career, Carreño performed in cities across Europe (including Russia) with only a few concert seasons in North America during 1907–08, 1909–10, and 1916, as well as two visits to Australia and New Zealand in 1907/1908 and 1910/1911, the latter which also included stops in South Africa. Carreño and A. Tagliapietra returned to New York City in September 1916 for a 1916–1917 concert season with performances planned across the United States and Cuba. In 1916 she performed for President Woodrow Wilson at the White House. During her trip to Havana, Cuba in March 1917, however, she became ill and returned to New York where she was diagnosed with diplopia. Her health declined rapidly and she became paralysed before she died on June 12, 1917, in her apartment in New York City at the age of 63. Compositions Teresa Carreño composed approximately 75 works for piano, voice and piano, choir and orchestra, chamber music, and several merengues, incorporating the form as an interlude in some of her pieces (for example, in her piece entitled Un Bal en Rêve). Her earliest compositions (in manuscript) date back to ca. 1860. One of her first pieces published the year after her debut in New York City was the "Gottschalk Waltz" (1863), dedicated to Louis Moreau Gottschalk. The majority of her works were composed before 1875 and were published by various publishers in locations including Paris (Heugel, Brandus & S. Dufour), London (Duff & Stewart), Madrid (Antonio Romero), New York (G. Schirmer, Edward Schuberth), Boston (Oliver Ditson & Co.), Philadelphia (Theodore Presser), Cincinnati (The John Church Company), Leipzig (Fr. Kistner & C. F. W. Siegel) Sydney and Melbourne (Allan & Co.). Only a handful of works were composed post-1880, including two works for chorus, Himno a Bolívar (ca. 1883) and Himno al ilustre americano (ca. 1886). The first piece was dedicated to General Joaquín Crespo and premiered during her visit to Caracas in 1885. The second piece was written in honor of Antonio Guzmán Blanco, president of Venezuela