“Let us come now to the gravamen of my complaint. You charge on the authority of mere gossip from the late Will S. Hays, that Foster did not compose his own music, but that he had obtained a collection of unpublished manuscripts by an unnamed old ‘German musician and thus dishonestly, by pilfering and suppression’ palmed off upon the public themes and compositions which he could not himself have originated. Something like this has been said about every composer and writer, big and little, whose personality and habits did not impress his immediate neighbors as implying the possession of genius. The world usually expects direct inheritance and a theatric impressiveness of genius in its next-door neighbor before it accepts the proof of his works alone. For that reason Napoleon’s paternity in Corsica was ascribed to General Maboeuf, and Henry Clay’s in early Kentucky to Patrick Henry. That legend of the ‘poor, unknown German musician’ who composed in poverty and secrecy the deathless songs that have obsessed the world of music lovers, has been told of numberless young composers on their way to fame, but died out in the blaze of their later work. I have no doubt they told it of Foster, as they did also of Hays. And Colonel Hays doubtless repeated it to you as the intimate gossip about Foster. “I have an article written by Colonel Hays and published in and cut from The Courier-Journal some twelve years after the composer’s death, in which he sketches the life and work of Stephen Collins Foster. In that article he lays especial stress upon the surprising originality of the Foster themes and of their musical setting. He praises their distinct American or rather native inspiration and flavor, and describes from his own knowledge of Foster how they were ‘written from his heart.’ No mention or suggestion in it of any German or other origin for any of those melodies that the world then and now cherishes as American in costume, but universal in appeal. While you may have heard something in Schubert’s compositions that suggested something in Foster’s most famous song, still I venture to say it was only a suggestion, such as often arises from the works of composers of the same general type. Schubert and Foster were both young sentimentalists and dreamers who must have had similar dreams that found expression in their similar progressions. “The German musicians from whom Foster got inspiration to work were Beethoven, Glück, Weber, Mozart. He was a student of all of them and of the Italian school also, as some of his songs show. Foster’s first and only music teacher—except in the ‘do-re-mi’ exercises in his schoolboy life—testifies that Foster’s musical apprehension was so quick, his intuitive grasp of its science so complete that after a short time there was nothing he could teach him of the theory of composition; that his pupil went straight to the masters and got illustration and discipline for himself.