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AGMA ~FFlCIAL ORGAN OF THE SEPTEMBER - OCTOBER, 1937 Volume II, No. 9-10 AGMA Official Organ of the AMERICAN GUILD OF MUSICAL ARTISTS, INC. 576 Fifth Avenue, New York, N. Y. Telephone: LOngacre 3-6223 LAWRENCE TIBBETf Board of Governors: Advisory Board: President WALTER DAMROSCH LAURITZ MELCHIOR JASCHA HEIFETZ • RUTH BRETON RUDOLPH GANZ GRACE MOORE 1st Vice-President FRANK CHAPMAN GEORGE GERSHWIN LEE PATTISON RICHARD BONELLI HOWARD HANSON EZIO PINZA RICHARD CROOKS 2nd Vice-President ERNEST HUTCHESON LILY PONS EVA GAUTHIER ALMA GLUCK JOSE ITURBI RUDOLPH REUTER 3rd Vice-President CHARLES HACKETT SERGE KOUSSEVITZKY ARTUR RODZINSKI and Assistant Treasurer FREDERICK JAGEL LOTTE LEHMANN ALBERT SPALDING FRANK SHERIDAN JAMES MELTON JOHN MCCORMACK GLADYS SWARTHOUT GIOVANNI MARTINELLI ARMAND TOKATYA 4th Vice-Pm'ident LANNY Ross ELINOR REMICK WARREN QUEENA MARIO ERNEST SCHELLING Recording Secretary ALEXANDER SMALLENS FRANK LA FORGE • DEEMS TAYLOR Treasurer Edited by 1. T. CARR DON VOORHEES LEO FISCHER Executive Secretary FRED WARING Editorial Advisory Committee,' EFREM ZIMBALIST EDWARD HARRIS, Chairman HENRY JAFFE Counsel PAUL WHITEMAN RICHARD BONELLI LEO FISCHER CONTENTS • PAGE GUILD TALK 3 AGMA's CHARTER GRANTED ...................................... 4 NEW GRADUATED DUES SCALE ..................................... 5 FINANCING AGMA's NEW CAMPAIGN OF ACTIVITY ............... " ..... 5 THE EMPEROR'S NEW CLOTHES, by L. T. Carr .......................... 6 A MUSICAL ARTIST LOOKS AT TELEVISION, by Edward Harris .............. 7 AGMA FORUM ................................................. 8 AGMA-SAG-AFRA-EQUlTY AGREEMENT ............................ 9 ITURBI ANSWERS ................................................ 10 RICHARD BONELLI ............................................... 10 QUESTIONS AND ANSWERS ABOUT AGMA ........................... 11 AGMA's PLEDGE OF SUPPORT TO THE SAG ........................... 11 Copyright. 1937, by .\.mol'ican Guild of :,Musical Artists, Inc. Page Two AGMA G U I L D TALK E have received, during the last week, a letter who employ them, on the other, can agree to certain funda­ W from one of the well known musical manage­ mental conditions of contractual relationship which, in the ments in New York, which runs, in part, as follows: condition of confidence and security that their acceptance will entail, will work to the mutual advantage of both. "In spite of the fact that, so far as I can understand Certainly you must be aware of some of the flagrant abuses it, the AGMA is one of the most difficult of the haz­ practiced upon artists by some impresarios and some man­ ards which the small 'independent' concert manager, agers who are not in the least re3ponsible or scrupulous as such as myself, has yet had to face, I believe it is only most of the managers and impresarios in New York are. right, in the interests of economy (if for no other We are sure you will agree that it is to the best interest of reason) , that we should assist in correcting your mail­ the profession and all concerned with it to wipe out these abuses and to regulate the activities of those individuals who ing list." practice them. (AGMA had sent copies of the Magazine and other And even in the case of recognized and responsible man­ 'terature to various artists under this particular man­ agers, we feel that it is to the best interest of artist and man­ dgement.) ager alike, that certain basic standard conditions be accepted Preserving the anonymity of the manager concerned, by all in regard to tenure of contract, mutual responsibility and assuming, not without justification, that his atti­ and the like. Of course, in drawing up such standard contracts and in tude of hostility (or his conviction of the hostile putting them into practice, we will need the confidence and attitude of the Guild) is one fairly representative of cooperation of all managers, and so we hope that this letter managers throughout the country, both "independent" has served to alter, in some measure, your attitude toward us and otherwise, the AGMA membership, through and your opinion that we intend to be a 'hazard' to you. "AGMA" Magazine, herewith sends this open letter Cordially, to all managers, to their colleagues and to anyone of AMERICAN GUILD OF MUSICAL ARTISTS, INC." the musical public who may be interested in the • • • matter. It is absolutely necessary that the purposes of AGMA and its policies be clearly understood if the How Bored Can You Get-Safely? Guild is to accomplish as much for the musical pro- BY this leading and pusillanimous question we do not j( c-:ssion as it hopes to do. I mean to imply that AGMA affairs can ever be boring to ,,,~, Gentlemen: AGMA members. However, a printed account of some of You are greatly mistaken in your assumption that the the more technical business may at times be a bit dull reading. American Guild of Musical Artists intends to constitute itself Nevertheless it is of vital importance that all members a hazard or a destructive agency to any management or to acquaint themselves fully with the workings of the new dues anyone making his living legitimately in the musical pro­ scale and such other matters. To receive the full benefit fession. of our organization it is necessary, especially in the first If the intentions of its officers and its membership are formative years, that you understand every detail of the carried out, AGMA will be a most constructive element in the organization's functions. industry. It is unreasonable to suppose that any organization We have tried to make "AGMA" Magazine an interesting that is made up of the individuals who are the very substance publication and one through which the membership through­ of the profession should wish anything but good to music out the country can keep in touch with one another. or should work for anything but an increase and extension By the inclusion of articles of general interest as well as of musical activity. reports of formal Guild business we have tried to make the Our objectives are variegated, but basically they all stem Magazine a j-hing to which the members pleasurably look for­ from the simple desire to establish equitable standards of ward. We should like to hear from you as to how far we have compensation and conditions of employment for musical been successful. artists throughout the country. This, we believe, can be done And we earnestly appeal to you to stick it out and read if the artists, on one hand, and the managers and impresarios it all. L. T. CARR AGMA Page Three AGMA'S CHARTER GRANTED .:4n Account of the Final Happy Outcome of an Involved Situation N the last issue of this journal a special notice was "4. AGMA will submit to its membership a constitutional I inserted informing our members that the Associ­ amendment permitting additional Board members. Three ated Actors and Artistes of America had granted such additional Board members shall be selected by such members of the GOA A as will at that time be members of AGMA a charter covering the fields of Grand Opera, AGMA in good standing. Such constitutional amendment Concert and Recital. shall also require an additional Vice President, which office As our last issue went to press, the jurisdictional shall be filled by a former GOAA member. dispute between AGMA and the Grand Opera Art­ "5. The present officers and counsel of GOAA hereby ists Associat:on, which had held up the granting of agree to recommend to their membership meeting to be held on August 30, (1) the ratification of this agreement, (2) the charter, was still unsettled. the surrender of their charter from AAAA, and (3) the The charge that the GOAA had not succeeded in immediate issuance of a charter to AGMA. properly organizing the field of Grand Opera had "6. If the GOAA membership does not so ratify this been brought before the International Board of the agreement at the meeting of August 30, this agreement shall AAAA by Kenneth Thomson, Executive Secretary of be null and void." the Screen Actors Guild. Hearings on this charge were Signed: LEO FISCHER HENRY JAFFE to have been conducted by the Four A Board on MARIO VALLE GUISEPPE INTERRANTE August 27, and it was expected that the GOAA char­ LEONARD RUISI ARMAND MARBINY ter would be revoked and issued to AGMA. August 27th, 1937. As those of our members who follow AGMA news in the da]y press know, the hearing never took place. A final attempt by Mr. Thomson to find a solution to At the meeting of the Four A's Board at which the controversy acceptable to both the disputing par­ AGMA's charter was granted, Leonard Ruisi, Coun­ ties was successful. The charge, consequently, was sel for the GOAA, requested that an alteration be withdrawn. made in the agreement so that the word "apply" in paragraph 2 should not be construed to mean that On August 27, before the time set for the AAAA Board meeting, a conference was arranged between any application of a GOA A member could be refused. the officers of the GOAA and representatives of Since the agreement had been ratified by the AGMA AGMA and the Screen Actors Guild. The meeting Board and the GOAA membership as it stood, no was held in the New York office of the latter organ­ alteration could legally be made, but Mr. Ruisi ization. Attending were Leo Fischer and Henry Jaffe the AAAA Board were assured by Leo Fischer, of AGMA, Giuseppe Interrante, Armand Marbiny, ecutive Secretary of AGMA, that no GOAA applica­ Mario Valle and Leonard Ruisi of the GOAA, and tion would be refused. Kenneth Thomson and Florence Marston of the SAG. Since all the terms of the agreement had already After a short discussion, the following agreement been offered by AGMA in previous negotiations with was drawn up and signed by AGMA and GOAA the GOAA, the AGMA Board of Governors promptly representatives: ratified the document in a meeting held on August 28.
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  • Marius Barbeau and Musical Performers Elaine Keillor

    Marius Barbeau and Musical Performers Elaine Keillor

    Marius Barbeau and Musical Performers Elaine Keillor Abstract: One of Marius Barbeau’s important contributions to heightening awareness of folk music traditions in Canada was his organization and promotion of concerts. These concerts took different forms and involved a range of performers. Concert presentations of folk music, such as those that Barbeau initiated called the Veillées du bon vieux temps, often and typically included a combination of performers. This article examines Barbeau’s “performers,” including classically educated musicians and some of his most prolific, talented informants. Barbeau and Juliette Gaultier Throughout Barbeau’s career as a folklorist, one of his goals was to use trained Canadian classical musicians as folk music performers, thereby introducing Canada’s rich folk music heritage to a broader public. This practice met with some mixed reviews. There are suggestions that he was criticized for depending on an American singer, Loraine Wyman,1 in his early presentations. Certainly, in his first Veillées du bon vieux temps, he used Sarah Fischer (1896-1975), a French-born singer who had made a highly praised operatic debut in 1918 at the Monument national in Montreal. But in 1919, she returned to Europe to pursue her career. Since she was no longer readily available for Barbeau’s efforts, he had to look elsewhere. One of Barbeau’s most prominent Canadian, classically trained singers was Juliette Gauthier de la Verendrye2 (1888-1972). Born in Ottawa, Juliette Gauthier attended McGill University, studied music in Europe, and made her debut with the Boston Opera in the United States. The younger sister of the singer Eva Gauthier,3 Juliette Gauthier made her professional career performing French, Inuit, and Native music.