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." He once told me he had been intimate with Thackeray when they were wild young men in Paris, and that they had both of them known the woman whom Thackeray had taken for the original of Becky Sharp. The Foster songs quite captivated my boyhood. I could sing a little, as well as play, and learned each of them--especially Old Folks at Home and My Old Kentucky Home--as they appeared. Their contemporary vogue was tremendous. Nothing has since rivalled the popular impression they made, except perhaps the Arthur Sullivan melodies. Among my ambitions to be a great historian, dramatist, soldier and writer of romance I desired also to be a great musician, especially a great pianist. The bone-felon did the business for this later. But all my life I have been able to thumb the keyboard at least for the children to dance, and it has been a recourse and solace sometimes during intervals of embittered journalism and unprosperous statesmanship. V Theodore Thomas and I used to play duos together. He was a master of the violin before he took to orchestration. We remained the best of friends to the end of his days. On the slightest provocation, or none, we passed entire nights together. Once after a concert he suddenly exclaimed: "Don't you think Wagner was a ---- fraud?" A little surprised even by one of his outbreaks, I said: "Wagner may have written some trick music but I hardly think that he was a fraud."