BULLETIN

CENTRAL SERVICE sponsored by THE NATIONAL COUNCIL of the ASSOCIATION 147 West Thirty-ninth Street, 18, N.Y. Telephone: PEnnsylvania 6-1200

JANUARY 1962

NEW Of great interest to opera workshops will be the premiere of an opera by Paul Hindemith with a libretto by Thornton Wilder which took place at the Mannheim National Theater in Germany, December 17th. It is a one act opera with a single set and no great production problems. "The Long Christmas Dinner" takes place entirely at the dinner table of an American family that is celebrating Christmas. Although the scene remains un- changed, almost a century passes in the course of the fifty minute act. Through the Door of Life on one side of the room new members of the family join the meal while others leave it by the Door of Death opposite.

Another premiere of an American one act opera took place on ABC-TV on Oct. 15th. "The Thief and the Hangman" by Abraham Ellstein with a libretto by Morton Wishengrad. It was presented under the series "Direction '62",

Theodore PRESSER is the publisher of yet another American chamber opera "The Brute", music by Lawrence Moss, libretto by Eric Bentley, based on a play by Chekov. It is a comedy in one act, set in old Russia, with a cast of three, one set and playing time about twenty minutes. Other new works that appeared recently at the same publisher are "Santa Claus, a Morality" by Leland Smith (,5 scenes, cast of 4 and chorus), "The Outcasts of Poker Flat" by Samuel Adler (l act, 2 scenes, cast of 5 and chorus), and a childrens' opera "The Great Boffo and His Talking Dog" by Louis Gesensway.

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BOOKS - MEW AND OLD "Mozart and His World, in Pictures of His Time" is part of the Neue Mozart- Ausgabe from Baerenreiter, presented by Otto Erich Deutsch, creating a pic- torial record of Mozart's life in a scholarly study. More than 65O pictures with the captions, preface and commentary appearing in German AND English, available also through Leeds Music Corp., 322 West 48th Str. New York 36,N.Y. Price: $18.50. Also at Leeds an illustrated 50 page booklet containing various articles on Purcell and Handel called Purcell—Handel Festival Program. Price: Si.20.

In welcoming our new members we would like to specifically mention the Scientific Library Service, 31 East 10th Str., New York 3, N.Y. as of great interest to our members. Upon request they will furnish you with their

DEWITT MCLAUGHLIN TEKHEUN, HENRY F. LENNING, Editor JAMES BROWNING, Administrator , Chairmen EILEEN O'BRIEN, Secretary -2- catalogue of music books, both contemporary and old,- out-of-print, rare and antique books on music, musicians, as well as many first editions of such books and also of music scores* There is also a full catalogue on the latter.

COMPETITIONS AND SCHOLARSHIPS The President's Music Committee, Washington, D.C. send us the following informa- tion on International Singing Competitions: Brussels, Selgium; May 7-25? 1962. Deadline for application is Jan.31st,'62. The application must be accompanied by a) a legal certificate establishing identity, age (not younger than .twenty, not older than thirtyfive), residence, and nationality; b) a curriculum vitae containing exact details of musical study, names of teachers, results obtained, activities and distinctions ob- tained in singing; c)if possible references and photostats of diplomas; d) two passport photographs and 2 photos of at least postcard size with name of candidate on reverse; e) a written declaration by the candidate submit- ting to the rules of the competition and expressly stating to exempt the organizer from any responsibility toward the applicant. All these documents must be in French or Dutch (Flemish) or else must be accompanied by French translation. Entrance fee is $10.- to be paid after acceptance. Total prizes amount to $8,000.- of which the first prize is $2.000.There is also a Mozart prize of $1,000. For further information contact:Secretariat du Concours International de Chant de Belgique, c/o B.I.S.29, Rue Royale,Brussels 1, Belgium. 's-Hertogenbosch, Holland. Aug. 31-Sept. 5?1962. Deadline for entry Aug. 1st, 1962. Open to singers born after Dec. 31st,1928. For further information contact: The Secretary of the Foundation 's-Hertogenbosch Musiekstad, 's-Hertogenbosch, Holland.

The Ford Foundation has announced grants for choral directors, opera singers and concert singers. The recipients are to be chosen by directors of professional opera companies and some thirty young singers are to receive awards of $2,500.

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METROPOLITAN OPERA, SEASON 1962 - 63 On Jan. 5"th, Mr. Rudolf Bing announced plans for the longest season of the Met's history. 1962-63 will run for 26 weeks, one week longer than the current season and eight weeks longer than the 1949-5° before Mr. Bing took charge. A new sub- scription series will be added and the Board of Directors has authorized to ad- vance the ticket prices from the top price of $10.- to $11.- and the lowest from $1.75 to $2.- The season will open with "Andrea Chenier" on Oct. 15. Five new productions will be added to the repertory and a number of important new singers and conductors will join the roster. The new productions are: "Ariadne auf Haxos" (Karl Boehm cond.,Carl Ebert, st.dir., Oliver Messel, sets; singers in different casts will include Rysanek, Delia Casa, d'Angelo, Peters, and Jess Thomas American tenor will make his debut as Bacchus); "La Sonnambula" (Varviso,cond., Henry Butler, st.dir., Rolf Gerard,sets, with Sutherland, Gedda,TozziJ; "Adriana Lecouvreur" (Sylvio Varviso,cond., Nathaniel Merrill,st.dir., sets loaned from Teatro San Carlo,Naples, -3-

MET OPERA (cont.) with Tebaldi, Corelli, Dalis, Colzani); "Die Meistersinger" (Joseph Rosenstock, cond., Nathaniel Merrill, st.dir., Robert O'Hearn, sets, with Bjoner, Konya, Edelman, Flagello); "Otello" (Solti, cond., Herbert Graf, st.dir., Eugene Ber- man, sets, with American tenor James McCracken, Tebaldi, Merrill). Also in the repertoire will be "Pelleas et Melisande", when Swiss conductor Ernest Ansermet will make his first appearance at the Met, and young American conductor Lorin Mazel will make his Met debut with "Don Giovanni" and also lead "". Regine Crespin, French soprano and Belgian Rita Gorr will make their debuts respectively in "Rosenkavalier" and "Cavalleria". Other operas of the season will include "Ernani", "Der Fliegende Hollaender", "Fidelio", "", "Die Fledermaus", "Boris Godunov", "", and retained from the current season are "Madame Butterfly", "", "Un Ballo in Maschera", "", "Traviata", "".

METROPOLITAN OPERA, TOUR 1962 Here now is the final itinerary of the Met's Spring tour: Boston April 9-15, (back to U.Y. for final week), Cleveland April 23-29, Atlanta April 30-May 5, Memphis May 7? Dallas May 8-13, St. Louis May 14»15» Minneapolis May 16-20, Detroit May 21-26, Chicago May 27-30.

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FEW COS MEMBERS Miss E.E. Baker, Harlem Town Hall, 303 W. 125th Str., New York 27, N.Y. W. L. Connell, Jr., Pippin Hill Farm, Rd 2, Dalton, Pa. Eaves Costume Co., 151 W 46 Str., New York, N.Y. Harry Horner, 4 Highland Crescent, Toront 5? Ont., Canada Mrs. David Elles Lit, 2 Sutton Place South, New York 22, N.Y. S. Orlinick, Scientific Library Service, 31 E 10th Str., New York 3> N.Y. Santa Barbara Civic Opera Assoc., Wm. B. Collier, Pres., 1521 Dover Rd., Santa Barbara, California Shreveport Civic Opera Co., Inc., 0. Delton Harrison, Jr.,Pres., P.O.Box 31, Shreveport, La. Miss Herta Sperber, 205 W 57th Str., New York 19, N.Y. Mrs. Green D. Warren, 2878 Habersham Road,N.W., Atlanta, Georgia

APPOINTMENTS Mr. John Cosentino, Director of the Institute of Vocal Arts, N.Y., to the Music Department of St. Michael Commercial High School, Brooklyn, N.Y. Martial Singher, as head of the Vocal Department (Academy of Grand Opera, Opera Workshop, and master classes), at the Music Academy of the West, Santa Barbara, Calif., succeeding Lotte Lehmann.

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PRODUCTIONS BY COS MEMBERS

ARIZONA SCOTTSDALE CHAMBER OPERA, Josepf Esile, Scottsdale, Arizona 1/19/62 SLOW DUSK (C.Floyd) and SUNDAY EXCURSION (A. Wilder) double "bill presented by OPERA GUILD OF SOUTHERN ARIZONA at Crowder Hall, Univ. of Arizona in Tucson,, The Opera Guild of Southern Arizona, under the leader- ship of Mrs. A. Booth, also conducts Friday evening opera lecture—demon- strations, and Friday morning opera previews when the Met's Saturday afternoon broadcasts are discussed.

CALIFORNIA SANTA BARBARA CIVIC OPERA ASSOC,, W.B.Collier,1521 Dover Rd.,Santa Barbara 2/9,10/62 LA BOHEME A warm welcome to COS to this valiant organization, now in its ninth consecutive season.

UNIVERSITY OF CALIFORNIA, Berkeley, Calif. 2/23-26/62, Handel's SEMELE (Lawrence Moe, conductor).

DISTRICT OF COLUMBIA OPERA SOCIETY OF WASHINGTON, D.C,Mrs. J.H. Douglas., 1745 "K" St.Washington. 1/19,22/62, at 8:30pm (Lisner Auditorium) L'HEURE ESPAGNOLE (Ravel) and OEDIPUS REX (Stravinsky) as double billi OEDIPUS REX will be con- ducted by the composer and will feature in the title role last years Met Audition's winner , L'HEURE ESPAGNOL's cast features Jeanette Scavotti and John Reardon and includes also a Metropolitan Opera Auditions' winner of 196O,Mr. Spiro MALAS, who has sung with NY City Center, NEC-TV, Teatro Nuovo Milano, and at the Athen's Festival. Conductor will be George Craft, Bliss Hebert, general manager of the Opera Society will stage both operas and costumes and scenery are by Constance Mellen and James Waring, respectively.

FLORIDA OPERA REPERTORY GROUP, Amelia Smith, Jacksonville, Fla. 12/1/61 THE STRONGER (Hugo Weisgall) for its TV premiere on educa- tional TV station, Jacksonville, Fla.

INDIANA INDIANA UNIVERSITY, School of Music, V/,. Bain, Dean, Bloomington, Ind. 4/15/62 at 4pm , at I.U.Auditorium (annual Palm Sunday presentation).

MASSACHUSETTS OPERA GROUP INC. OF BOSTON, Sarah Caldwell, Nov. 13>l6 at Vassar College, Poughkeepsie,N.Y.,Nov.17,18, at Cam- bridge, Mass., world premiere of COMMAND PERFORMANCE. An opera- concerto in 4 acts by Robert Middelton and Harold Wendell Smith, commissioned by Vassar College for their Centennial Celebration. George Brandon Dowell, Exec. Dir. of Vassar College Centennial informs us that a limited number of libretti are available for distribution.from Vassar College,Music Dept., Poughkeepsie,N.Y.

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PRODUCTIONS BY COS MEMBERS (cont.)

OHIO KARAMU THEATRE, 2355 E. 89th Str., Cleveland 6, Ohio 12/29/61 and 2/24/62 Weill's LOST IN THE STARS. Also for child- ren 4 matinees and 3 evening performances of musical SEVENTEEN.

NEW YORK ACTORS' OPERA, Naomi Ornest, 324 W 77 Str., New York 24, N.Y. 4/28,29/62 THE APOTHECARY by Haydn at West Side YWCA, 8th Ave.- 51st Str. NYC. This will be the complete 3 act version which this company performed in its American premiere last Spring, in the translation by Naomi Ornest.

ADELPHI COLLEGE, Garden City, Long Island, N.Y. L.Rasmussen. 2/7-10/62 at 8:30pm DIE FLEDERMAUS at the Little Theatre on the campus,for tickets contact Music Dept.,Adelphi College,price $1.25.

INWOOD CHAMBER OPERA PLAYERS, Susanne Popper, 10/23, 11/3,21/61 SECRET OF SUZANNA, 10/28/61 COUNTRY PHILOSOPHER.

MANHATTAN SCHOOL OF MUSIC, John Brownlee, 238 E 105 Str. N.Y.C. 12/14,15/61 Donizetti's DON PASQUALE, in George Mead's transl. prod. John Brownlee, staged Carlton Gauld, musical dir. Emerson Buckley. l/l2,13/62 8pm MADAME BUTTERFLY. Double bill, presenting the original one act play by Belasco, staged "by Basil Langdon, in its entirety and a substantial part of Puccini's opera of the John Luther Long story. Both, play and opera will use young Japanese students from the school as actors and singers.

RICHMOND OPERA COMPANY, at St. George Theatre, Staten Island, N.Y. 12/7/61 NORMA, 2/1/62 BARBER OF SEVILLE, 4/V62 AIDA with Met Audition winner Francesca Roberto, 5/3/62 MADAME BUTTERFLY.

ROCHESTER CHAMBER OPERA, Mrs. Charles Mathews,82 Southern Pkway, Rochester l8,NY. 1/26,27/62 Gay's BEGGER'S OPERA. Newly affiliated with Hochstein Memorial Music School, 12 Hoeltzer Str.,Rochester 5> NY.Also news a Guild to the Rochester Chamber Opera.

TRI-CITIES OPERA INC, 36 Henry Str., Bingham ton, N.Y. 3/3,4/62 matinees, 3/9,10,11,16,17,18/62 LA EOHEME. Also Jan.20 excerpts program presented by Tri-Cities Opera Guild for guild members.

WASHINGTON WASHINGTON STATE UNIVERSITY, Dr. Stanley Chappie, Pullman,Wash. 12/10/61 NO NEUTRAL GROUND. World premiere of William Brandt's one act, American chamber-opera.(4 principals, 1 setting, perf. time 45 min.) Civil war story.

*•#-•*#*•*•>(*••)< PUBLIC RESPONSIBILITY FOR THE ARTS

Harold Weston Chairman, National Council on the Arts and Government

Prepared for the National Conference of Central Opera Service,Nov.1961.

The concept that the public has any direct concern with the welfare of the arts or of artists is not generally accepted in the * The artist is often castigated as a lazy, long-haired, amoral if not immoral egoist who can and should fend for himself. The citizens of European countries by tradition value their arts and their artists to a degree matched here only by the small critical elite. In practically all highly developed countries the arts are recognized as an essential element of the public welfare and of that nation's international status. Conse- quently, the arts receive government support through various systems, broadly speaking through official government agencies or through quasi-independent coun- cils which allocate government funds for the arts. Time does not permit examina- tion of the merits or defects of those systems.

Symbolically speaking, it might be claimed that in America government aid to the arts floundered on the Plymouth Rock. We are only now recovering from the puritanical attitude towards the arts which has afflicted English-speaking coun- tries since the days of Cromwell. Art in the American colonies, except for the handicrafts, was looked at askance by the God-fearing public as frivolous, often disreputable amusement, particularly the theatre. When good Quakers objected violently to the erection of the first theatre in the city of brotherly love, the Philadelphia Southwark Theatre was promptly and craftily rechristened the Phila- delphia Southwark Opera House and no longer branded as an anteroom to Hell. Why? Well, opera in those days was sung in a foreign tongue. The story, the words did not matter and the sound of music was not objectionable for that was the one di- version permitted in the Kingdom of Heaven. From this early precedent the term "opera house" spread westward and in time every mining town had its opera house where operas were rarely heard; none had a theatre.

During the past decade a consciousness of the arts has swept across America presaging the dawn of a new cultural epoch in our country. This has brought new problems for the aspiring artist and intensified his economic insecurity, some- what comparable to the dislocations which rapidly expanding automation has caused many of our industrial and farm workers. There are now millions of amateur or part-time artists throughout our land reaping some of the harvest and attention previously reserved for the professional. Something needs to be done and done soon. The question is what and how and by whom.

Before we explore these questions, a few facts and figures should be given about our current series of cultural explosions for they are impressively in the megaton range. In this article, incidentally, reference is purposely to all art fields. In the considered opinion of the National Council on the Arts and Govern- ment (which shall be referred to henceforth as NCAG), effective measures can only be accomplished by collective action, not only by artists of all fields and art- minded civic leaders but also by enlightened public opinion concerning the aits and greater recognition of the responsibility of the public for the arts. 7 Americans spent a minimum of $3 billion for culture during i960, a figure ex- clusive of public funds, foundation donations, business gifts, art education, etc.

Community art centers or councils have sprung up in wild profusion. More than 40 cities already have them and some hundred other cities are in the process of organizing them. A significant consequence of the tours up-state of performing art groups sponsored by the New York State Council on the Arts has been the impetus given to the formation of such local bodies to the great advantage of all participating art societies and the community.

There are wide differences of opinion about whether this mass interest in cultural activities will dilute or increrse the quality of art produced. In a mass medium, like television, the sad tendency has been to reduce the aesthetic quality and content to a least common denominator, so that, with notable exceptions, television has not matured as an art but has become the submissive mistress of the Madison Avenue advertiser. Leaders of the arts have a real responsibility to bend every effort to see that mass interest in cultural activities does not sooner or later enslave or emasculate the arts for commercial purposes or lower standards to the popular level. To prevent this, public understanding and appreciation of the arts must be developed by all possible methods. It can and I believe that it will be.

Among the many possible steps in this direction are the following. Performances in the schools throughout Kentucky by the Louisville ...ymphony made possible by appropriations by the State Legislature, comparable in smaller scale and scope to the tours referred to above in New York ...tate; expanding activities at educational institutions in many fields of art, painters, poets, composers in residence; the work of the American Educational Theatre Association; etc. These are in part at tax payer's expense. One might also cite many special projects initiated by private enterprise. For example in your field the abridged performance of "Cosi fan Tutte" in schools here by the Metropolitan Opera .tudio with assistance from the Metropolitan Opera Guild. It would be helpful if these private efforts were given official encouragement by the Federal Office of Education. L'ven more significant, of course, would be tours of our best performing groups and fine exhibitions circulated in the United States with Government sponsorship or financial aid, similar to the International Cultural exchange Program arranged for the Dept. of State by ANTA. Howard Taubman exclaimed in the Hew York Times a few months ago: "How many Americans have never seen living theatre with first-rate actors in fine performances?—Isn't it ironic that (government) money can be found to send our theatre to foreign lands while similar efforts for home consumption are re- garded with suspicion, as if they might subvert the repulbic I"

This attitude can and will be changed by public opinion. Due to present world tensions, I submit, we do not have time to wait for that slow process. Exposure to the arts and participation in cultural activities are signally effective anti- dotes to conditions of prolonged emotional stress, '..hen was continually bombed during world Y.ar II, Londoners flocked to concerts and other forms of re- laxation, cultural and otherwise. This convinced the British, in spite of their puritanical heritage, that their government should give financial help to the arts. The Arts Council of Great Britain was created, and the British Parliament has steadily increased the funds available for the arts.

More damaging to our people, particularly for our young people, than the in- crease of strontium 90 from the latest Russian blasts, i. the unseen and im- measurable fall out of frustration which poisons man's aspirations and diverts our country's assests and energies from creative to destructive ends. Thornton V/ilder said recently: "The editorial writers, social scientists and ministers think they 8 are infusing the people with courage and meaning. But looking backward to other ages and crises, we know it was the artist who sustained the public ethosl"'

Although, as has been indicated, perhaps several million Americans are turn- ing instinctively to these self-constructed shelters, enjoyment of and participation in the arts are presently not available or even known at first hand by the majority. We are told that encouragement of the arts by government must be post- poned because of the necessary staggering costs of our defense efforts. On the contrary, government should, without further delay, foster and financially assist the arts at least modestly as a vital part of the defense of our civilization.

In view of the hundreds of thousands of Americans across the land taking up some form of art as an avocation, why has Congress failed to enact legislation to create a Federal Advisory Council on the Arts? The answer is simple. Our country is a democracy. While the President can and should give leadership to cultural as well as other matters of concern to the national welfare, President Kennedy, whose personal interest together with that of Mrs. Kennedy in the arts has been repeat- edly demonstrated, has been preoccupied with crises or objectives with more press- ing priority. Very, very few citizens have bothered to inform their Congressional representatives of their personal interest in the arts and their desire that the Federal Government should take steps to forward the arts. In a democracy, it is the public and not Congress that has the responsibility to see that the arts are made'.more readily available to more of our citizens.

The recent management-union difficulties experienced by the Metropolitan Opera and the New York Philharmonic Symphony have focueied public attention on the quick- sand underlying the structure on which the livelihood of our professional artists depends. It is not sufficiently recognized to what degree artists in almost all fields must forge their way under conditions of great insecurity. bven the con- tinuation of their profession often depends upon the lucky chance, the whims of a producer, a critic, a museum official, a patron of the arts, with little relation to the creative contribution which that artist's particular gifts might bring to our nation's cultural heritage if given the chance to mature. The arts are intrin- sically competitive and we believe in a frea enterprise system. We have no desire to live in a homogenized society where cream is kept from working its way to the top. From a thousand active professional artists only one or two will leave an enduring imprint. For that summit to be reached by the few, the base for artists as professionals must be sound.

Opposition to government participation in the arts may be divided into three parts. The largest group of opponents clings to the conservative dogma that the arts should be kept as divorced from government as government should be free from the church. Almost any venture undertaken with government help, except subsidies or high tariffs for their own special interests, is, in their opinion, another step towards socialization and thus should be opposed whatever its merits. The second group, consisting mostly of artists, insists that government support of the arts will inevitably lead to open or disguised controls of the arts and of artists. This is a legitimate fear. The text of the legislation which would create a Federal Advisory Council on the Arts acknowledges that "the growth and flourishing of the arts depend upon freedom, imagination, and individual initiative." Whatever system or methods for government aid to the arts at whatever level of government may be adopted, the essential freedom of the artist should be vigorously protected. Creative freedom is one of those orecious intangibles which has to be fought for continuously. It can not be legislated, although the intention not to control or impinge upon the freedom of the arts can and should be stated in conjunction with every legislative measure for the arts. A majority of the members of the NCAG believes that under a decentralized system, such controls, if attempted, would have less serious results. I shall return to this point later on.

The third group objects not on principle but on a calculated risk basis. If, in order to strengthen and stabilize the structural base for the arts, small por- tions of cement in the form of government aid are added to the illusive and shifting sands of voluntary contributions, it is claimed that the essential volume of sand will cease to flow. It will be said: "The government is behind this project, so let the government pay for it." That is a real possibility when direct government support is offered, but, when it is mandatory that governmental help is limited to matching funds, then contributions from private sources, whether from foundations, industry or individuals, are stimulated rather than discouraged.

AS workdays shorten and life expectancy lengthens, the arts will play an ever- more important role in the lives of our citizens. Businessmen have found thnt cultural activities in communities near their plants ap ireciably reduce turnover and increase contentment among their employees. Although the creative and perform- ing arts in the United States have reached a high peak of excellence, comparable if not superior to that of mo.t countries where aid is granted by the government, my concern is that, by and large, the America.n artist has a much harder time and great- er insecurity than his confrere,: abroad. In some fields, such as opera, many young American artists seek maturing experiences and employment in Europe where the season is much longer. Private resources alone can't be expected to increase donations to the extent that young arti::ts are joining the ranks. It is really no longer a question of whether government will help the arts but how and how much J

This brings up that "dirty" word, subsidies. Subsidies have become closely associated in the public mind with the farm lobby and huge food surpluses owned by the Government. Whether identified as subsidies or not, the Government helps to support virtually al1 elements in the Nation's economic structure. The second act of the First Congress of the United states in 1789 was to grant a form of subsidy for farm people by enacting a tariff law to protect their interests and produce. Many millions of dollars of subsidies have helped to build and maintain our merchant marine, to encourage air transportation, etc. Very few people realize that the postal deficits over a 12 year period in behalf of business just about equal the cost of farm price-support during the past 27 years. The Post Office estimate for mail subsidies to the major magazines alone during one year cost nearly $39 million, the largest three items being $9,494,000 for LIFE, over %6 million for THE SATURDAY EVENING PO^T, and nearly $5 million for THE READER;., DIG^.T. I am not arguing that these subsidies be stopped or reduced, but, in my opinion, opera,symphonies, and other art endeavors are in far greater need of governmental assistance than the above popular and prosperous publications. All of the above figures seem picayune when contrasted with the t'8 billion which the Government is spending this fiscal year for science and technology.

It is only fair to add thr.t cultural, educational, religious and philanthropic undertakings are receiving indirect subsidies from government in the form of tax deducibility, without which many of our arts would be in a sorry state indeed. Ihder the present circumstances this is not enough. In relation to the national budget the total appropriations that would be authorized by all of the bills for the arts now before Congress are infinitesimal. •..hat are the three major art bills among the forty-odd now under consideration and how much would each cost?

Long overdue official recognition of the value of the arts to our nation and the creation of a Federal Advisory Council on the Arts are contained in ; . 741, sponsored by senator Humphrey and eight other senators from both parties, and H.R. 4172, introduced by Rep. Thompson of New Jersey and identical bills from several 10 others from "both sides of the aisle. Assuming that the substance of this legis- lation is well known, my remarks about it will be brief. The proposed Council would advise the Government concerning the arts, act a,;; a catalyst in forwarding the arts but not manage or give financial aid to any art projects. Its annual cost would be limited to administrative expenses of around .^50,000 to $100,000. Similar legislation was unanimously approved by the Senate in 1956. It was en- dorsed last year by both Presidential candidates and by a plank in the Democratic Party Platform. H.R. 4172 was approved by the House Committee on Education and Labor, languished last summer in the Rules Committee, and was temporarily defeated on the floor of the House in an ill-timed effort to obtain suspension of the rules for its consideration on September 21st. The major reason for the set-back it met was lack of public support. Strenuous efforts should be made to persuade the Rules Committee to submit it to the House during the .Second Session of the 87th Congress.

The most constructive proposal for Federal financial aid to the arts is, in the opinion of the NCAG, the National Cultural Development Act, S. 785, introduced by Senator Clark and others, and H.R. 4174 by Rep. Thompson of Hew Jersey and four other identical bills by members of both parties. This legislation would authorize the yearly allotment of not more than $100,000 to any state having a state art agency and proposing specific projects or programs in any field of art for which the state will provide (from private or state government sources) not less than 50% of the required funds. Such assistance would be limited to non-profit under- takings. The .Secretary of the Department of Health, Sducation, and 'Selfare would need to approve the projects or programs as consistent with the purposes of this iict and within the Federal funds available. The cultural activities undertaken would originate in communities and be administered under state supervision. This legislation would establish for the Federal Government a coherent and continuing outlook and policy of assistance to the arts while leaving to the states full initiative, responsibility and at least half the costs. This system would stimulate private initiative and contributions from private sources.

Three objections have been raised to this proposal. First the ceiling of ^100,000 annually is exceedingly low for a large state. After the first year, participating states would share equally in whatever was appropriated. Perhaps that share should be related to the state's population, Of course, if the system proves effective as I believe it will, the proportion per state can be amended by a future congress. Second, instead of one Federal agency or quasi-independent group of trustees responsible for .granting Federal funds to the arts, which could be watched carefully, there would be a state art agency in every state that received Federal aid in a position to subject the arts to undesired influences. However, Americans are constantly pressured by the powerful mas.; media, advertisers and by the aesthetic taste makevs towards conformity. Our states and our communities are fast losing their individual cultural climates. If each state and community is encouraged to advance in whatever cultural direction is most sympathetic to its heritage and its people without subtle influences from any central source backed by Federal funds, our civilization as a whole will be thereby enriched. Third, too few states have state art agencies suitable to administer such activities and it may take many years to establish them. Furthermore, those states in greatest need of Federal assistance to enrich the lives of their citizens through the arts will be among the last to become eligible for aid through this system. This particular argument is one of the reasons why the NCAG is convinced that this system should be supplemented by the method which is outlined next. The ..elect Subcommittee on Lducation held a hearing on H.R. 4174 last May 10th. The recommendations of the Subcommittee have not ye;; been made to the Committee on Sducation and Labor. This legislation deserves strong support. 11

Senator Javits has repeatedly sponsored bills to establish a United States Arts Foundation, broadly along the lines of the Arts Council of Great Britain. Originally limited to the performing arts, his latest proposal, S. 1250, now also covers the visual arts. Appropriations of $5 million for the first year and $10 million thereafter would be authorized. The funds would be allocated to non- profit undertakings by thirteen trustees appointed by the President. It would help to meet pressing needs in certain art fields and certain geographical areas and would be a suitable method to develop tours in our country of performing artists and traveling exhibitions. Until this legislation is somewhat amended and secures Democratic sponsors in both Houses of Congress, it is not likely to make much progress. It should be kept in mind for future support.

Finally, I call your attention to a proposal which I hope will receive your personal approval and early action whatever your own opinions about forwarding the arts in the United States may be. The entire subject of the relationship of the public and of government to the arts in America needs publiP: discussion and clarification by spokesmen for all fields of art. The NCAG hoped to hold a three- day national conference on this subjext in cooperation with in June, 1962. Alas, we failed to secure the necessary funds. In behalf of our Council, I have suggested th: t such a conference be held under .Vhite House auspices. The idea was sympathetically endorsed by the Department of State in a letter to Senator Humphrey, who is keen to forward this proposal. However, it has been indicated to us that, before a decision is reached, the 7/hite House should be assured that an ap ^reciable number of cultural leaders and organizations concerned with the arts want it to be held and would make an effort to participate. Express- ions of interest should be addressed to the President. I hope that you will will wish to bring this proposal to the attention of your national and local organizations and your friends. :. '.hite House Conference on Government and the Arts would focus public attention on the situation of the arts and stimulate wide dis- cussion and constructive conclusions. It would have a salutary effect upon what- ever action Congress may take in behalf of the arts p.nd consequently upon the welfare of the arts, of professional artists, and of the public. Both Congress and the '.hite House need to hear the voice and wishes of neople throughout the country concerned with forwarding the arts. The time for both collective and individual action is now.

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