As Watteau found a Flemish
school in France and left a French school stamped forever, so Foster found
the United States a home for imitations of English, Irish, German and
Italian songs, and left a native ballad form and melodic strain forever
impressed upon it as pure American.
"He was like Watteau in more than that. Watteau took the elegancies and
fripperies of the corrupt French court and fixed them in art immortal, as
if the moment had been arrested and held in actual motion. Foster took
the curious and melancholy spectacle of African slavery at its height,
superimposed by the most elegant and picturesque social manners this
country has known, at the moment the institution was at its zenith. He
saw the glamor, the humor, the tragedy, the contrasts, the emotional
depths--that lay unplumbed beneath it all. He fixed it there for all time,
for all hearts and minds everywhere. His songs are not only the pictorial
canvas of that time, they are the emotional history of the times. It was
done by a boy who was not prophet enough to foresee the end, or philosopher
enough to demonstrate the conditions, but who was born with the intuition
to feel it all and set it forth deeply and truly from every aspect.
"While Foster wrote many comic songs there is ever in them something of
the melancholy undercurrent that has been detected under the laces and
arabesques of Chopin's nominally frivolous dances. Foster's ballad form was
extremely attenuated, but the melodic content filled it so completely that
it seems to strain at the bounds and must be repeated and repeated to
furnish full gratification to the ear.
Pages:
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112