Vocal Music

The Hour for Thee & Me

Artist (Composed By): 
Foster, Stephen C. (Collins)
1852

“The Hour for Thee and Me” was entered for copyright entry on July 9, 1852, by Firth, Pond & Co. There is no record of copyright deposit.

Evelyn Foster Morweck writes in The Chronicles of Stephen Foster’s Family, “After his return from the South in March, 1852, Stephen published that year ‘Massa’s in de Cold Ground,’ ‘The Hour for Thee and Me,’ ‘I Cannot Sing Tonight,’ and ‘Maggie by My Side.’”

The Merry, Merry Month of May

Artist (Composed By): 
Foster, Stephen C. (Collins)
1862

“The Merry, Merry Month of May” was originally published in Clark’s School Visitor in May, 1862, and was later published as a songsheet. A caption title was filed for copyright entry on April 12, 1862, by Daughaday & Hammond of Philadelphia.

The tune for “The Merry, Merry Month of May” is the same as that for “The White House Chair.”

The Procession

1924

“The Procession” is a song for voice and piano by César Franck. William Oetting transposed the song for high voice. His manuscript is dated December 12, 1924. 

The Pure, the Bright, the Beautiful

Artist (Composed By): 
Foster, Stephen C. (Collins)
1863

“The Pure, the Bright, the Beautiful” was published in The Athenaeum Collection of Hymns and Tunes for Church and Sunday School, which was submitted for copyright deposit on December 9, 1863, by Horace Waters.

The Soldier’s Home

Artist (Composed By): 
Foster, Stephen C. (Collins)
1863

“The Soldier’s Home” was submitted for copyright deposit on November 13, 1863, by S. T. Gordon of New York. George Cooper authored the lyrics.

The Song of All Songs

Artist (Composed By): 
Foster, Stephen C. (Collins)
1863

“The Song of All Songs” was submitted for copyright deposit on December 3, 1863, by D. S. Holmes of New York.

The author of the lyrics is possibly John F. Poole, though none of Foster’s scores credit him. The words of the song appeared anonymously in Pastor’s New Irish Songster (New York: Dick and Fitzgerald, 1863). An article in the March 12, 1864, New York Clipper states that Tony Pastor claimed the song was written by Poole expressly for Pastor.

According to Evelyn Foster Mornweck’s The Chronicles of Stephen Foster’s Family:

The Spirit of My Song

Artist (Composed By): 
Foster, Stephen C. (Collins)
1850

“The Spirit of My Song” was deposited for copyright by F. D. Benteen of Baltimore on August 21, 1850. The lyrics were by Metta Victoria Fuller. Her poem originally appeared in The Home Journal on September 2, 1848. Foster likely got the text from that source.

The Village Maiden

Artist (Composed By): 
Foster, Stephen C. (Collins)
1855

“The Village Maiden” was submitted for copyright deposit on September 17, 1855, by Firth, Pond & Co.

According to Evelyn Foster Morneweck’s The Chronicle of Stephen Foster’s Family:

In the six months immediately following his father’s death, Stephen published only two songs, “The Village Maiden” and “Comrades, Fill No Glass for Me.” The words of “The Village Maiden” are plaintive and sad, of old-time ballad style; the melody is much better suited for religious purposes than some of the hymn tunes that he turned out later in life.

The Voices that Are Gone

Artist (Composed By): 
Foster, Stephen C. (Collins)
1865

“The Voices that Are Gone” was submitted for copyright deposit on March 23, 1865, by Wm. A. Pond & Co.

A holograph manuscript is held by Library of Congress (ML96.F8 Case).

The White House Chair

Artist (Composed By): 
Foster, Stephen C. (Collins)
1856

Stephen C. Foster wrote this song to be sung by the Buchanan Glee Club, a group he co-founded to perform in support of Democratic candidates in the 1856 election. A book of minutes detailing some of the group’s activities survives in the Foster Hall Collection. Foster drafted the lyrics in his sketchbook (see the links to manuscript pages below), and they were first published in the Pittsburgh Post during election season on September 29, 1856.

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