Will S. Hays, the rival of Foster as a song writer and one of my reporters
on the Courier-Journal, told me this story: "Foster," said he, "was a good
deal of what you might call a barroom loafer. He possessed a sweet tenor
voice before it was spoiled by drink, and was fond of music, though
technically he knew nothing about it. He had a German friend who when
he died left him a musical scrapbook, of all sorts of odds and ends of
original text. There is where Foster got his melodies. When the scrapbook
gave out he gave out."
I took it as merely the spleen of a rival composer. But many years after
in Vienna I heard a concert given over exclusively to the performance of
certain posthumous manuscripts of Schubert. Among the rest were selections
from an unfinished opera--"Rosemonde," I think it was called--in which the
whole rhythm and movements and parts of the score of Old Folks at Home were
the feature.
It was something to have grown up contemporary, as it were, with these
songs. Many of them were written in the old Rowan homestead, just outside
of Bardstown, Ky., where Louis Philippe lived and taught, and for a season
Talleyrand made his abode. The Rowans were notable people. John Rowan,
the elder, head of the house, was a famous lawyer, who divided oratorical
honors with Henry Clay, and like Clay, was a Senator in Congress; his son,
"young John," as he was called, Stephen Foster's pal, went as minister to
Naples, and fought duels, and was as Bob Acres wanted to be, "a devil of a
fellow.
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