AGM OFFICIAL ORGAN OF THE I .

APRIL, 1937 Volume n, No.1 AGMA Published, monthly, by AMERICAN GUILD OF MUSICAL ARTISTS, INC.

576 Fifth Avenue, Telephone MU rray Hill 6-4295

Edited by L. T. CARR

LAWRENCE TIBBETT Board of Governors: President • J ASCHA HEIFETZ 1st Vice-President RUTH BRETON FRANK CHAPMAN RICHARD BONELLI 2nd Vice-President EVA GAUTHIER ALMA GLUCK 3rd Vice-President CHARLES HACKETT and Assistant Treasurer FREDERICK J AGEL FRANK SHERIDAN J AMES MELTON 4th Vice-President LANNY Ross QUEENA MARIO ERNEST SCHELLING Recording Secretary ALEXANDER SMALLENS FRANK LA FORGE Treasurer DEEMS TAYLOR DON VOORHEES LEO FISCHER Executive Secretary FRED WARING HENRY JAFFE PAUL WHITEMAN Counsel

•• • Growth of AGMA •••

Since the last issue the following new memhers have been elected to the Guild:

Louise Arnoux Walter Damrosch Dusolina Giannini Mary Pasmore Joseph Bentonelli Henri Deering Easton Kent Catherine Steed Adolph Bolm Phil Duey Beatrice MacCue Margaret Tilley

AGMA~s New Address • On April 20th, 1937, AGMA will move its offices to Room 505, 576 Fifth Avenue. The new telephone number has not been yet ascertained and will be announced later.

Members are requested to visit the new office as often as possible. Incidentally, if you have changed your address be sure to let us know.

576 FiftlI Avenu~ New York City Suite 50S

Copyright, 1937, by American Guild of Musical Artists, Inc. • 2 AGMA E WERE agreeably surprised to a rejuvenated theatrical . The pride would see our name in the papers the have to be qualified, no doubt, because, unlike the other day in the columns of the free and self sustaining caravans of the Italian eminent critic of the New York roads, our WP A caravans are "relief projects" and Post, Mr. Samuel Chotzinoff. Mr. there has been no indication that they will be con­ Chotzinoff's interest had been tinued any longer than it seems necessary to keep taken, seemingly, by an article in unemployed artists from starving to death. the December issue of "AGMA" Magazine (the In this same issue of the "Bulletin," by strange "Bulletin" then) in which Dr. Ernest Schelling coincidence, is an article by Mme. Queena Mario recounted his experiences at the International dealing with the WP A Music Projects in which Theatre Congress which he attended in she says: "The first thing that is necessary is the last summer, and the sympathy of the critic of the removal of the implication of charity or relief that Post was aroused by Mr. Schelling's unhappy pre­ is attached to the Government supported enter­ dicament in being unable to answer with any re­ prises and the students and teachers connected port of vitality or progression in the large field with them .... No artist can develop and no per­ of American musical life the glowing tales of manent good can result from activity which lacks activity and progression in the musical life of the psychology of independence and artistic in­ Europe. tegrity.... " The WPA, because of this stigma of To the accounts of the expeditions of "whole relief and this burden of impermanence is, Mme. caravans of trucks towing trailers loaded with Mario believes, "a vast machinery that is even tents and scenery and other trailers having living now waiting to be put to some lastingly useful and quarters for the performers," which, according to constructive purpose." We doubt if this is true of Mr. Schelling's report, "tour Italy from the Alps the caravans in Calabria and Sicily. to the furthermost corners of Calabria and Sicily As Mr. Chotzinoff sadly remarks, there was bringing the theatrical art to the people" Mr. little enough for Mr. Schelling to report upon; Schelling could, as Mr. Chotzinoff points out, offer little enough that was being done to lift the lined no more striking parallel on behalf of the United face of American music, beyond one or two valiant States than a caravan of trailers loaded with soda and isolated campaigns-among which his own pop and ukeleles "purely on pleasure bent." series of Music Appreciation concerts takes an This phrase of Mr. Chotzinoff's is very illumi­ outstanding place. But in reply to the "Advisory nating. "Pleasure" to the American Average Man Board of young men-Roussel, Ibert, Milhaud and is soda pop and ukeleles-pleasure to the Italian Auric-" on the staff of the Paris Opera, he could peasant, where this romantic and colorful caravan report as the only change in the opera situation in is winding over the roads, is something entirely America a four weeks Spring season at the Met different. The Italian peasant has a heritage of and the Hippodrome Company at popular prices. good red wine behind him. "One is inclined to be­ In the company of men who would have had no lieve," says Mr. Chotzinoff, "that no self respect­ hesitation in translating "Parsifal" into Hindu if ing Italian peasant could be induced, or ordered, it were to be presented to a Hindu audience, he to do without 'I Pagliacci' and 'Cavalleria Rusti­ might, perhaps, remark wistfully upon the success cana'." When you say "Pagliacci" to the self re­ of "The Bartered Bride." specting American peasant you must be careful to smile. Mr. Chotzinoff attributes this sad contrast to the There is a nice dilemma here. If the musical ex­ close nationalistic unity of European countries. uberance of the Italian peasant has resulted in the "It proves, perhaps," he says, "what a huge stand­ subsidization by the Italian Government of a mu­ ing army can do for a country in the way of cul­ sical caravan such as Mr. Schelling describes (a ture." caravan which, we are sure, pays for itself hand­ Possibly this is the answer. There was one more somely at the end of the tour), might not a caravan observation that was made by Mr. Schelling, how­ subsidized by the American Government result in ever, that might have given Mr. Chotzinoff pause. the stimulation of a like exuberance on the part We think that it is very significant, that is, per­ of the American peasant? The question is not haps, the key to the solution of the entire problem. wholly unanswered. The statistics offered by the "In these countries," Mr. Schelling remarks in Government as the result of a recent survey of his "Bulletin" article, "organizations of artists, WP A audiences throughout the country dis­ like the American Guild of Musical Artists, are closes the creation of a box office public of many things of long standing." thousands who, previous to their experiences at The American Guild of Musical Artists is not a WPA Theatres, had never attended a legitimate thing of long standing. But it will stand very defi­ production and who now never miss a production, nitely, and if need be very long, for the relief of a WP A or independent, that comes to town. situation which put Mr. Schelling, as the repre­ This is one advancement to which Mr. Schelling sentative of American artists among the artists of could point with pride among the delegates from the world, at such an unfair disadvantage.

APRIL, 1937 3 • SECOND ANNUAL MEETING

AND ELECTION OF OFFICERS

AND ~IE~IBERS OF THE BOARD

N APRIL 5th, 1937, at 2 :30 P.M., the Second and for one year O Annual Meeting of the membership of the DEEMS TAYLOR ALEXANDER SMALLENS American Guild of Musical Artists, Inc., was In the absence of Miss Gladys Swarthout, Mr. scheduled to open in the Grill Room of the Hotel Leo Fischer made the following report for the Plaza, New York City. It did not, in point of fact, Recording Secretary: open until 3 :00 P.M. Meetings held during the fiscal year 1936-37: Partially consoled, or at least reassured, by the reflection that, due to some curious tradition to Meetings of the Board of Governors...... 17 AGMA FORUM Meetings ...... 4 which all musicians are committed, the meeting, Membership Meetings ...... 2 had it been scheduled for three, would not have New members ...... 238 opened till four, the President called the members Members deceased ...... 2 to order and embarked upon the business of the day. The Treasurer, Mr. Frank La Forge, made the following report: A speech by the President and reports by the Recording Secretary, the Treasurer and the Ex­ DURING THE FISCAL YEAR 1936-37 ENDING MARCH 31, 1937 Receipts ...... $13,684.49 ecutive Secretary, were followed by the election Membership Dues and Initiation Fees of the candidates nominated by the Nominations Disbursements ...... $ 9,386.71 Committee as officers and members of the Board of Governors, and the ratification by the member­ ASSETS Cash in Bank ...... $ 4,297.78 ship of the four changes in By-Laws voted by the Telephone deposit ...... 40.00 Board during the year. The meeting also voted to Office furniture and fixtures, cost $525.00, ratify the action of the Board in its meeting of carried at ...... 1.00 March 16th at which an Advisory Board, members SURPLUS ...... $ 4,338.78 of which are to be appointed by the Board of Gov­ NOTATION: Effect has not been given in the above statement to dues ernors, was created. and initiation fees receivable from members at March 31st, 1937, which amounted to $6,221.50. The reports of the Recording Secretary and the Treasurer are printed below. Mr. Tibbett's speech The Executive Secretary in a short talk outlined is printed on the page opposite. the work of the Guild during the past year and invited the membership to visit often at the new The officers elected were: offices in which, he said, there will be installed a President...... new couch. Several members voiced vociferous ap­ First Vice President...... JASCHA HEIFETZ proval of this accommodation. Second Vice President ...... RICHARD BONELLI It was decided, at a request from the floor, that Third Vice President ...... ALMA GLUCK a definite and concise summary of the Dickstein Fourth Vice President ...... FRANK SHERIDAN Bill and AGMA's connection with it be prepared Recording Secretary ...... QUEENA MARIO and issued to the membership in order finally to Treasurer ...... FRANK LA FORGE put at rest all questions in the matter. Accord­ LEO FISCHER was reappointed Executive Secre­ ingly, in this issue of "AGMA" Magazine the sum­ tary. Elected to the Board of Governor's for three mary is printed. years were: Routine business was quickly disposed of and, RUTH BRETON EVA GAUTHIER after a short and informal general discussion, the RICHARD CROOKS FREDERICK JAGEL meeting was adjourned upon the motion of Frank LANNY Ross Chapman.

• 4 AGMA You may well understand, AGMA~s FIRST YEAR then, our surprise when, instead of any demonstration of good by LAWRENCE TUIBETT will in return, our managers, who had formed themselves into OuC.lining, at the lUe.~dng on April 5th, the Concerts Association of tlu~ Progress So )<'ar Achieved America, embarked upon a cam­ paign of publicity in an attempt to tnrow discredit on the activi­ • ties of AGMA in connection with the Dickstein Bill. This cam­ LITTLE over a year ago here feel a real sense of security paign comprised the issuing of A there was no American and confidence in having an au­ thousands of press releases and Guild of Musical Artists, and thoritative organization such as the mailing of erroneous and there was very little, if any, co­ AGMA to turn to." misleading statements in connec­ operation between any of us in I am myself astonished at the tion with what were represented facing our common problems, progress AGMA has made in as the possible results of the although we dealt with the same this one year. When we met here Dickstein Bill, which misrepre­ interests and even with the same for our First Annual Meeting sented and misconstrued its people in arranging the details last May I did not hope for so clearest provisions as well as its of our professional life. much. We had the example of other organizations like our own underlying purposes. I do not know if this situation which had taken many years of This campaign did not stop seems as sfrange and incredible preparation before they had per­ with newspaper publicity. The to you as it does to me, now, after fected their organization and be­ Concerts Asso.ciation of America one year of AGMA, but I rather gun to act as a body. We have did not hesitate to try to insti­ think that it must. The urgent not yet perfected our organiza­ gate dissatisfaction among the necessity of AGMA and its place tion but we have made a good members of AGMA by attribut­ as an integral part of our pro­ start toward its ultimate perfec­ ing to AGMA the most unethical fessional life has proven itself tion. Weare still, it is true, in purposes with regard to the bill so completely that I cannot be­ a formative stage but we are and by continuing the misrepre­ lieve thal there was a time-and rapidly advancing. When a thing sentation of the bill itself which so very recently-when AGMA is so right as AGMA it needs was going on in the press. was not even in existence. only half a chance to prove itself. All of these oppositional ac­ By this I do not mean to say Securing the exemption of the tivities did not, luckily, succeed that in its one year of existence civic and community concert in entirely clouding the issues AGMA has returned to us any series from the levy of the ten and distorting AGMA's stand; large material benefits, although per cent government amusement AGMA has been able to hold its even in this short space of time tax was AGMA's first accom­ position and to demonstrate to it has returned us some. The ex­ plishment. Our managers and all who were cool enough to ap­ emption of the civic and com­ their representatives had been in preciate it that AGMA has stood munity concerts from the Fed­ Washington for some days using for complete international free­ eral amusement tax-an exemp­ all of their influence and persua­ dom of art and for nothing else. tion which was brought about sion with the Senate Finance The whole thing has not been by AGMA's activity in Wash­ Committee trying to persuade important-it has been merely ington last Spring-has, for in­ them to exempt Civic and Com­ aggravating. But it is very ag­ stance, brought us all a definite munity Concerts from the Fed­ gravating indeed for persons material gain in making possible eral levy and their efforts had such as comprise our Board of a number of additional concerts proved pretty generally futile. Governors to be confronted with on this series. This was in the middle of last a situation in which an opposi­ But it is the psychological June and an AGMA co.mmittee tion, in a hasty, unthinking, hy­ change that has come about that was in 'Washington conducting sterical and misguided manner, is, I think, the thing that is our first investigations about the accuses them of unethical and in­ most valuable to us. We are only Dickstein Bill. Our managers artistic views and purposes. now, through AGMA, arrived in asked our committee to plead Let me here once more and a position as a profession where their case for them before the finally state the principles upon we are unified and organized and Senate Co.mmittee. AGMA's which AGMA stands and has can take stock of the situation committee did so and secured the stood-principles which I am about us and take steps to rem­ exemption in a five-minute hear­ confident you will all applaud eay the many conditions which ing-the only exemption, by the and defend-let me say that the demand our unified attention. In way, and the only change made objective of the American Guild problems that affect us as one in the bill, out o.f hundreds of re­ of Musical Artists is to. make we can act as one. Weare estab­ quests. true internationalism in art a lishing a sense of security and We were thanked for our present reality instead of a dis­ solidarity in the profession such pains by Mr. Ward French and tant ideal; to make it as easy for as has never existed before. As had a sincere sense of satisfac­ an artist to enter a European one of our prominent West Coast tion at having made a positive country from another European members wrote: "We artists out demonstration of our good will. (Continued on PO.,qc 12)

APRIL, 1937 5 • STUDIO AUDIENCES AT RADIO BROADCASTS

I.y qUE.~NA MARIO

stical niceties of the various micro­ phones; then certain passages must Mme. Mario made this speech at the Award Luncheon of the be played or sung in a distorted man­ ner in order to get the proper effects Woman's National Radio Committee at the St. Regis on March 3Ist. over the radio transmission system. Radio broadcasting is a highly special­ Mr. Rudy Vallee was scheduled to speak in defense of studio audi­ ized thing and consists of a great deal ences at the same time hut spoke, instead, in opposition so that the more than merely placing a micro­ phone before the artist who is per­ poor things were left without a leg to stand on. forming. Now when an audience is present in a room it is the artist's Most of the prominent people in Musical Circles were present at the natural reaction to perform to that luncheon. Mme. Yolanda Mero-Irion is Chairman of the Committee. audience; this is practically an in­ voluntary thing, and one of the high­ est refinements of musical artistry is to tune your performance to the in­ dividual mood of the particular audi­ Madam Chairman and Ladies of studio audiences. It was the danger ence before you. So that if the artist which they saw to the standards of follows his natural inclination, on see­ the Women' s National Radio their art in the continuance of this ing a large audience in the studio, he Committee: practice and the terrible technical performs to it and responds to its and psychological disadvantage under reactions, and, because to the artist which they were placed by the pres­ music is the most important thing and HATEVER I may say to you technical problems in inversely pro­ today is, of course, the expres­ ence of a studio audience which aroused their opposition. portional wave frequencies something W sion of my personal opinion strange and for the most part uncon­ based on my own experience, but if So that you will understand their genial, he usually forgets all about his you will allow me I should like to position let me remind you that the microphone spot and his volume con­ speak in some measure for all of the business of being a Musical Artist­ trol and all of the other mechanical Musical Artists in America who are the singing or playing or conducting requisites of broadcasting. Conse­ faced with this question of studio audi­ of complicated and difficult music-is quently, although to the audience that ences and whose feelings in this con­ no easy matter and that it requires is in the studio his performance may nection are, in large part, identical the utmost concentration of attention be superb, to the considerably larger with my own. So that you will not and energy on the part of the person audience at the other end of the trans­ think it presumptuous of me to as­ who is engaged at it. What has some­ mission system his performance is sume this representative capacity I times been called temperament is very unusual indeed, and they will must explain to you that Musical Ar­ usually only a manifestation of the turn quickly to other stations after tists in America, confronted with this terrific strain under which an artist making ungenerous remarks about his as with a great many other pressing is placed by the mere physical exac­ musical ability. On the other hand, if and important professional problems tions of a trying performance. Even the artist turns his whole attention which affect all artists alike and must under ordinary circumstances - by to what is of the most immediate im­ be solved by and for all alike, have re­ which I mean the performance of an portance at the moment-the perform­ cently formed into a group to examine artist either to a visible audience be­ ance of a perfect radio broadcast­ the conditions of their art and to pre­ fore him in a concert hall or an in­ because of the acoustical requirements serve its standards. This group is visible audience over the radio-the of the studio, the audience that is called the Ameriran Guild of Musical artist on the stage or in the studio is, present there can in most cases hear Artists and today it numbers in its both physically and psychologically, nothing or hear so distorted a per­ membership nearly every prominent under tension. However gracious he formance that their critical opinion musical artist in this country as well may appear you may be sure-and of the artist will be most unfortu­ as a great many young and rising the most experienced artists will bear nately affected. me out in this-that he is not nearly stars of tomorrow. I once attended a performance of one In the many discussions which have so self assured as he looks. One of the most important parts of any perform­ of my colleagues made before a studio been held in Guild meetings upon the audience of over two thousand people. subject of large non-paying audiences ance, therefore, is the adjustment be­ tween the artist and his audience and There was a microphone situated im­ at radio-broadcast performances I mediately before the artist to pick have never known any of my friends the establishment of a sympathetic communication between them. This is up the sound of his voice and in other and colleagues who were not opposed places throughout the studio micro­ to the practice of admitting these why different audiences color the ar­ tist's different performances. phones were placed to pick up the or­ audiences to the broadcast studio and chestral accompaniment. In the con­ who were not in favor of some action Let us see how this works out when trol room voice and orchestra were to curb their admission. an artist is attempting to give a radio properly blended so as to insure per­ I hope that you will understand broadcast performance before a studio fect radio reception. In the studio, that this was not a purely selfish op­ audience of two or three or five thou­ however, the voice did not emerge position engendered by the fact that sand people. clearly from the orchestra and the approximately twenty thousand people First of all, let me remind you that audience of two thousand began to weekly were getting into the habit of the technique that is employed in sing­ show signs of dissatisfaction. These hearing their musical entertainment ing or playing in a radio studio is not the artist noticed and he began to per­ free of charge. Artists are notoriously at all the same as that employed in form to the audience he saw before impractical people and I do not think legitimate concert or operatic per­ him, giving full play to his range and that even the realization of this con­ formances. There is, to begin with, the volume. This had a rather startling siderable financial loss carried much necessity of keeping to one spot on effect on the acoustical balance that weight in their decision against radio the floor in order to preserve the acou- (Continned on Page 8)

• 6 AGMA 11 Letter froID The Coneerts Assoeiation of ADleriea On l\'larch 30i;h the Office Received the To 'Vhich the Following Reply Following t:ommunication: Was GhTen:

CONCERTS ASSOCIATION OF AMERICA AMERICAN GUILD OF MUSICAL ARTISTS, Inc. March 31st, 1937. April 8th, 1937. Mr. Leo Fischer, Mr. Frederick Schang, Jr., American Guild of Musical Artists, Concerts Association of America, 551 Fifth Avenue, 113 West 57th Street, New York City. New York City. Dear Mr. Fischer: Dear Mr. Schang: We have recently heard that the This is to acknowledge receipt American Guild of Musical Artists is of your letter of March 31st. Prepara­ going to take over the Grand Opera tions for the Guild's annual meeting on I Artists Association of America, which April 5th have prevented my earlier is affiliated with the American Federa­ reply. tion of Labor. I have read your letter to our Should your organization thus Board of Governors and have been in­ become affiliated with the American structed by them to assure you that we Federation of Labor and its members be will take great care in all matters to required to limit their appearances to make arrangements which are to the best Union houses, we take the liberty of possible interest of Guild members and calling to your attention at this time of the concert business in general. a situation which may react against the With best wishes, I am interest of your members. Very sincerely yours, There are an increasing number of smaller cities giving concerts nowa­ (signed) LEO FISCHER, days in high school auditoriums through­ If ltc Executive Secretary. out the , and it is a settled policy of the Boards of Educa­ for many years been organized, important people tion throughout the United States to maintain these high school auditoriums in the musical world entertain the most unfounded as non-union houses. and the most inaccurate notions about the im­ We have had in the past year plications of affiliation with the Four A's. several disputes arising from the play­ Mr. Schang's letter seems to us to be a rather ing of concerts or dance attractions in high school and college auditoriums, and good example of the prevailing but erroneous point even threats of boycott. of view in these matters and, in order that the The matter is important from the membership may not be confused in regard to the local manager's standpoint because these matters that are raised in it, it seems necessary high school auditoriums represent the last remaining item in concert budgets to here set forth a definite clarification of the situa­ which can be said to be economical. tion. The presumable purpose of the union in The letter begins: "Should your organization boycotting a high school auditorium thus become affiliated with the American Federa­ would be to compel the local manager to place his attractions in a theatre. tion of Labor and its members be required to limit Now the rental of theatres is their appearances to Union houses ..." Now in this always more than a high school audi­ simple non sequitur lies the fundamental fallacy of torium and sometimes twc, three, even Mr. Schang's position. four times as much. If Lhe average rental of a high school auditorium is Affiliation with the Associated Actors and Ar­ $100, and the average rental of a theatre tistesof America, an organization affiliated with of the same size $250, and 200 cities are the American Federation of Labor, does not mean involved for five concerts, or a total that AGMA's members would be required to con­ of 1000 concerts in one season, there would be $150,000 paid in extra rentals fine their appearances to "Union houses." Mr. to theatres, and I am sure you will agree Schang's letter is so worded as to give the im­ with me that it would better suit our pression that affiliation would place AGMA's mutual interests if this $150,000 were members under an obligation in this matter; there paid to concert artists! is, of course, no doubt but that Mr. Schang thinks Sincerely yours, it would. The fact of the matter is that it would FREDERICK SCHANG, JR. not. That is the simple answer to that. FCS.SM Secretary. Because Mr. Schang's mistake is such a general one, it might be well, however, to examine it NEof the most interesting things that has further in order, once and for all, to clear it up come out of the negotiations for AGMA's as far as AGMA's members and prospective mem­ affiliationO with the Four A's has been the discovery bers are concerned. that otherwise experienced and well informed When an organization affiliates itself with the people are hopelessly ignorant of the workings A. F. of L. or, as in the the case of AGMA, with an­ and the policies of labor organizations. Even at other organization so affiliated (the Four A's), it this late date, when actors and musicians have does not relinquish any of its autonomy or its inde- (Continued on Page 9) APRIL, 1937 7 • Studio Audienees at Radio Broadeasts Special Delivery (Continued from Page 6) had been so carefully arranged and E'VE finally managed to straighten things out with the postman and there were frantic signals from the we're glad because he's turned out to be a very nice fellow. He's musical control room. The artist became un­ W -was born in Vienna and learned to play the violin before he could walk; certain and abandoned his position on as a consequence whenever he plays it now he sits down. He lives up on 133rd the floor; the conductor gesticulated; Street near Amsterdam Avenue-just across the way from the Stadium. In the the artist stepped back; the conductor summer he sits up on the roof and can see and hear everything perfectly-some of narrowly avoided putting out his eye the diction, he says, on vocal nights, isn't what it might be although he thinks with the baton. It was all very excit­ the trolley may interfere~. ing and fascinating to watch if not He's very well up on the subject of diction, having had his first experience particularly satisfactory to hear. as an opera fan in Vienna where everything is translated into German. He This was the sort of thing that the doesn't know why everything isn't translated here-it spoils most of the artist experienced, and these are the pleasure, he says, when he doesn't know what it's all about. Now he only com­ conditions under which the performer pletely enjoys the German operas because he understands the words. He wonders of serious music must labor when giv­ why other people who don't understand the words sit with such solemn expres­ ing a performance on any of the pro­ sions through the long dialogue parts-sometimes he ponders what they can grams which feature a large studio be thinking about and that distracts his attention from the performance. He audience. Trying to do two difficult suspects that a lot of them are just putting on airs, so to speak, because they and distinct things at once he finds, don't look happy and only applaud after everyone else has well started so as usually, that the results are, to all to be sure not to make a noise at the wrong time. He thinks if they could hear concerned, unsatisfactory in the ex­ the operas in their own language they wouldn't look so dyspeptic. treme. I am sure you will understand After listening to his account of the Stadium concerts from the top of his what effect this condition would have roof, we asked him if he ever paid to get into an opera or concert and he said on the whole art of music if it were that he used to pay but not any more. He said that in the summer he could just go allowed to continue indefinitely. on the roof and that in the winter ne went to Carnegie Hall on Sunday nights. He said he didn't think the Carnegie programs were musically as good as the On the other-the financial-half of roof programs but the light was brighter and besides he had paid so much for the question I will not even attempt his automobile that he wanted to get something out of it. He asked me why the to touch because it is too complicated automobile companies didn't just sell automobiles to people that wanted them a problem for the time that remains and let the musicians sell music the same way. at my disposal. In passing I will I told him I didn't know-that I thought the automobile companies were merely say that when the public can interested in raising the standard of American Culture and that they wanted hear the most prominent artists in the to Bring Good Music To The Masses. world perform every week free of He said why do they cut everything in half then. He said he heard the charge, even in programs which are as Franck D Minor Symphony three times at the automobile concerts and that one technically and artistically deficient as time they played the first and second movements, one time they played the these must be, it becomes exceedingly first alone and the last time they played the second and part of the Nutcracker difficult for these same artists Or their suite to fill out the rest of the time but that they'd never gotten around to colleagues or the young artists who playing the third movement at any of the concerts. It gave him a sort of dis­ are beginning their careers to induce satisfied feeling, he said. Then, too, he likes to get up and walk about the roof the public to pay for admission to during the Stadium intermissions and he used to like to walk about the corridors legitimate concert enterprises. One of the opera house in the intermissions at Vienna but at the auto concerts he single series of these programs has, has to sit and listen to speeches about things. during the past season, admitted one I asked him why he went to the auto concerts then, if everything was hundred and eighty-seven thousand wrong, and he said, oh well, all the artists sing on them, so he just goes. He people free of charge in this way. said he had heard that all the artists were going to live out near Detroit. I said, In closing let me say that neither I oh no, you must be mistaken, and he said, well, you never can tell. nor my colleagues seek to prevent the We were so interested in our conversation that when he left he took this admission of the studio audience in month's special delivery letter away with him. That's why it isn't printed here. cases where its presence is vital either lj: to the program or to the performer. In the case of variety shows over the air We will always be grateful to the Radio Corporation of America for the or in comedy programs it is easy to see delightful aplomb with which they go about bringing the opera to the people that the presence of an audience in the on Saturday afternoons. Everything is done to make the radio listener as com­ studio may contribute something of fortable as possible and those trying intervals between acts when the audience value. In the case of musical programs in the Opera House are rustling in and out of seats-intervals which might the studio audience is fatal. I believe easily be so painful over the loudspeaker-are made diverting and enjoyable that it is to the best interests of the instead by the alternate observations of Miss and Mr. Milton artists themselves, of the musical pub­ J. Cross. lic and of the standards of musical art We especially liked the course of events the week of the Faust broadcast. that these audiences be discontinued During the third intermission Miss Davenport spoke of a number of things on programs where serious music is and at the end told us hurriedly that the music was just about to begin and that performed. Mr. Cross wouldn't have time to say a word before it did. She must realize by now that she underestimated Mr. Cross. With a little click he switched off Miss Davenport and heroically if a little weariedly-Faust is so long-he delivered his valedictory. "And now," said Mr. Cross, "we have the short last act of Faust-brief can't decide whether to make up a lot but powerful." of literature of our own or to just And then the music started, very loud and deep. wait for the next printing of Dale Carnegie's "How to Win Friends and b Influence People." If the membership At the Annual Meeting at the Plaza it was suggested that the office issue once learned How to Influence People there would be no problem; they would literature outlining the Guild's policies and purposes to aid members in their become Svengalis and win all the drive for new members. We've been giving the matter a lot of thought and we Thisbes. For ourself, of course, there would always remain the problem of insomnia.

-8 AGMA A Letter From the Concerts Association the Boards of Education throughout the United (Continued from Page 7) States to maintain these high school auditoriums pendence in forming its O'wn policies. This may, as non-union houses." perhaps, be qualified by remarking that a member This is, we think, another error of statement. O'f one affiliated orgamization may not break strikes We have been assured by the Building Bureau O'f of members O'f another; that is, a member of the Board of Education of the City of New YO'rk AGMA would not be encouraged to take the place that there is no policy, settled O'r otherwise, on of a musician in a pit at an operatic performance the part of the Board of EducatiO'n in New York where the orchestra was on strike, and AGMA regarding union labor and that, to the best O'f our members would not be allowed to pull up curtains informant's knowledge, no such policy existed on and shift scenery in opposition to striking stage the part of O'ther Boards of Education thrO'ughout hamds. All this has been thoroughly discussed at the country. In New York City the maintenance AGMA Forum and in previous issues of "AGMA" of school buildings is conceded upon contractual Magazine and it has been pretty generally under­ bids of independent contractors and the contrac­ stood that beyond this there is no other O'bligation tor is in no way obligated by the Board to employ enj oined. either union or non-union labor. As a result both Affiliated organizations may form, by regular union and non-uniO'n labor are employed in the vote of their membership, policies in regard to any New York City schools. Furthermore, it seems professional problem and they usually do form likely, as our informant in the New York Board of such policies since this is the reason for the organ­ Education assured us, that this same policy in ization's existence. For instance, in this particular regard to union labor is pursued by Boards of matter the American Federation of Musicians has Education throughout the country, since the labor as its policy that houses that are labelled "Unfair" union is an established institution and legislation must not be patronized and its members are re­ has been passed in most states to' aid it in obtain­ quested not to play in them. An "Unfair" house ing its objectives. is one which has made a contract with a union Finally, we must assume that when Mr. Schamg and then violated the terms of the contract. In this refers to "Union" and "Non-Union" high school connection an "Unfair" house must be distin­ auditoriums, he means auditoriums in high schools guished from a "Non-Union" house. A "Non­ which do or do not employ union superintendents, Union" house can never be an "Unfair" one be­ furnace men, cleaners, etc., etc. NO'w, whatever cause, by its very name, it has never made a con­ may be the relations between these high schools tract with a union and consequently has never and their employees, AGMA has and can have broken one. The American Fedemtion of Musi­ nothing to do with the policies on either side. cians does not require its members, in the terms AGMA's affiliation with the FO'ur A's will not O'f Mr. Schang's letter, to "boycott" "Non-Union" create any connection with these matters O'r im­ houses; in point of fact, members of the American pose any obligation in relatiO'n to them. In the Federation of Musicians regularly play in non­ matter of high school auditoriums, AGMA mem­ union houses throughout the country. bers will still make individual rental arrangements There is very little discrimination in the matter in individual cases. If it is true that clients of Mr. of auditoriums at all. Mr. Joseph Weber, Presi­ Schang and his colleagues have received "threats dent of the American Federation O'f Musicians, of boycott" in labor disputes of this sort, it seems told Mr. Leo Fischer, Executive Secretary of likely that AGMA's affiliation with the Four A's AGMA, in a recent conference that in all of last will put an end to these threats for AGMA mem­ year, in all of the extensive jurisdiction of the bers by establishing cordial relations between A. F. of M., there was not one single case of strike them a:nd members of these unions. or "boycott" against an "Unfair" house and that Whether or not the rental of union halls is con­ in the year before there were O'nly three. All of sistently $150 greater than that of non-uniO'n halls the while, it must be remembered, American Fed­ has not been definitely established and it has not eration of Musicians members regularly accepted been clearly demonstrated that the increase, if em ployment in "Non-Union" houses. any, is not due to higher real estate values or All this explanation O'f the policy of the Ameri­ greater services rendered rather than to the fact can Federation of Musicians in regard to audi­ that the hall is a union hall. toriums is to show how these matters work out We should very much value the cooperation of in practical application and to unquestionably Mr. Schang and his fellow members of tlie Con­ demonstrate that affiliation with the Four A's or certs Association of America in arriving at some with the American Federation of Labor most cer­ conclusion in this question. And if the members tainly does not mean "boycott" of "Non-Union" of the CAA can figure out some method of saving houses. AGMA members $150,000.00 annually it is their Whatever policy the members of AGMA may job as business representatives of AGMA mem­ adopt will be adopted by them without any bers to do so and AGMA will certainly cooperate pressure frO'm within or without the American to the fullest possible extent. Federation of Labor and, as we assured Mr. For the present Mr. Schang, by his miscO'ncep­ Schang, will be calculated to work to the "best tiO'n of the situation, has given rise to the possi­ possible interest of Guild members and of the con­ bility that AGMA members and those artists who cert business in general." To continue further with are considering becoming members of AGMA may Mr. Schang's letter, we find in the third para­ be confused in the matter. We hope that this ex­ graph the statement that "it is a settled policy O'f planation will set affairs aright.

APRIL, 1937 9 • THE DICKSTEIN BILL

Thinking that it might be of interest to the memo HORTLY after the formation of AGMA in bership to examine a thing about which so many S the Spring of 1936, we received at the office a curious things have been said, we herewith print a copy of H. R. 12325, a bill introduced by Congress­ copy of the Dickstein Bill in its final form together man Dickstein in the 72nd Session of Congress. with an analysis of AGMA's attitude toward it. H. R. 12325 was designed, according to its pre­ amble, "To protect for American actors, vocal • musicians, operatic singers and orchestral con­ ductors the artistic and earning opportunities in The Dickstein Bill the United States." In this first form, the bill did not include instrumental soloists and solo dancers To protect the artistic and earning opportunities in the United ~tates for Americull ador~, sillg'erl::l. dancers, solo illstrlllnentalists, in its provisions. and orchestral conductors, and for other purposes. Section 1 of H. R. 12325 provided that all alien Be it enacted by the Sellale and the House of RepreselltatiYeS of the Ullited Stales in Congress assemoled: musicians in the classifications enumerated in the ,That uo alien actor, sInger, dancer, solo jnstrullwutalist, or orches­ preamble should hereafter, before being admitted tral ronduetor l:5ceking admission to the United States for IHofes­ to the United States, be required to secure per­ siGnal ellgug'eillellt or E'ngageluents shall hereafter be admitted to mission for entry from the Secretary of Labor. the Lllited States if the coulltry of which such alien is a citizen or subject ,loes nol afford, ooth in law and in fact, suostantially Section 2 provided that the Secretary of Labor similar rights and Jlriyilegps to citizens of the United States, who should issue such permits for entry to all appli­ are actors, singers, dUllcers, solo instrUlllentulists or orchestral ('011- ductor8 seeking engagPlnellt (professional) or engagements in such cants who, as vocal musicians, orchestral con­ foreign country as the Ullitl:\u States affords citizens of sueh foreign ductors, etc., were generally recognized as artists eo un try of the same yoeution ill their various professional eapacities, of distinguished merit and ability; it was further and a finding' that 8uch is a fae( llaS been made by tlw Secretary provided that an artist should be considered of of Labor in aeconlance with section two of this act. See. 2. The SperctHl'Y of Labor, after full investigation and distinguished merit or ability if he had, continu­ hearing, shall deterlnille whether any foreign country dops not afford ously, for a period of five years prior to his appli­ citizens of the United States the rights and priyileges described in cation for entry to the United States been em­ scdiall 1 of this aet, Sneh illYestigation or hearing may be instituted ployed by a recognized and established musical or by thr Sceretary of Labor upon his own motion or upon complaint by reputable organizations and associations of actors, singers, theatrical group abroad. dancers. solo inst.rullHmtalists or orchestral conductors, or of 111a11- Section 3 provided that the number of artists agel'S or producers or by others huving a lllunugeriul interest, and at auy sneh hearing suell orgallizations, associations or persons admitted to the United States from any country and any representative of such foreign country or of any artist in any year should be exactly equal to the number therein, sball 1>e given an opportunity to oe heard, 'l'he findings of of American artists admitted to the same country the Secretary of Labor shall be final and eonclusiye and shall not in the same year. be subject to reyiew, Sec,;j, .:\'otwithstunding the proyisions of section one of this act The remaining part of the bill was designed to the Secretary of Labor may authorize the admission (for a tem­ guide the Secretary of Labor in his issuance of porary period or for perluHn(:'nt residence) for the purpose of pro­ fessional engagelnents of any alien actor, Singer, duncer, solo entry permits under the provisions of the bill and instl'lllllel1talist, or ol'ehestral conductor, if otherwise adluissible instructed thal: t1ntler the iUlllligrutioll laws upon application Illade to and avproveu 1>y the Secretary of Labor prior to the alien's departure from any The Secretary should issue permits to appli­ foreigll country, and npon a finding' after full hearing and investi­ cants in cases where it was demonstrated that an gation, that an artist having similar qnalitieations to the artist artist having similar qualifications to the appli­ seeldng adnlission under this section cannot 'be found anlong un­ cant was not available already in America. employt'd citizens or lawful (permanent) resident aliens, In reaching It determination under this section the Secretary of Labor is author­ Permits should be issued where it was shown ized to seek the counsel of reputable American organizations or that the admission of the applicant would not dis­ assoeiatiolls of actors, singers, duneers, solo illstrunlentalists or place an artist already employed in the United orchestral conductors, and other interested parties, 'Where temporary admission is authorized admission shall be States. lIndt'r such conditions as may be prescribed by the Secretary of The Secretary of Labor, in determining the Labor, including, where aeeuleu necessary, the giving of bond ,vith "ufliciPnt surety to insure maintenance of status and departure from situation in regard to the two previous provisions the United States in accordance with the tenl1s of adlnissioll. should seek the advice of American organizations .:\'othing contained in this act shall he construed as authorizing of artists . the admission to the United States of an instrumental musician who is inadmissible under the act apjJroycd March 17th, 1932 (+7 StaL (7), A summary perusal of H. R. 12325 will show Sec. 5. 'rhe COllllUissioller of IUlIuigratioll and Naturalization, that its primary and almost sole aim was to ex­ with theapproyal of the Secretary of Lahor, shall prescribe the clude ordinary "run-of-the-mill" musicians who rule" and regulations for the enforcement of the provisions of this a('t: hut all rules and regulations insofar as they relate to the could easily be duplicated in the United States and adlllini"tration of this aet by consular officers a1>road shall be pre- whose entry was not necessary either from an 8('rilled by the Secretary of State, OIl the recolllmendation of the economic or an artistic point of view. Despite the Secretary of Labor. r.rhis act and rules and regu1ations issued horrified howlings about the exclusion of "Tosca­ pursuant thereto are in addition to and not in substitution for the ninis and Kreislers" the bill, it will be seen, ex­ existing iUlIHigration laws and shall be enf()re(~(l Hl-j part of snell laws, rnles allll regnlllliolls, (II. R :lO,) pressly provided.in Section 2 that "This act shall

• 10 AGMA not be construed to limit or restrict the entry into had this desired effect it might have resulted in the the United States under contract or otherwise of breaking down of the immigration barriers for any alien . . . who is generally recognized as of artists between the European countries themselves distinguished merit and ability professionally and and thus become an incalculable boon for Euro­ who seeks entry to fill engagements in the United pean artists. States of a character requiring superior talent." In its new form, as AGMA prepared it and as Far from excluding Toscanini or Kreisler or Rach­ Congressman Dickstein so helpfully cooperated in maninoff, this section could easily be twisted by a drawing it up, the Dickstein Bill (newly intro­ half clever lawyer to admit a trained seal. duced as H. R. 12913) was as follows: As it then stood, the Dickstein Bill, H. R. 12325, Its provisions were extended to include solo in­ was intended by its framers to put a curb to the strumentalists and solo dancers as well as actors, entirely unlimited flow of mediocre musicians who vocal musicians, operatic singers and orchestral came to this country with nominal short term conductors. The reciprocal clauses with the same contracts and remained in the country upon specu­ qualifications and the same plan for administra­ lation after the contracts had expired and as such, tion were retained. in spirit if not in letter, it was, perhaps, to be ap­ plauded. In testifying for the Guild before the House Committee on Immigration and Naturalization, However, it was not in any restrictive feature Lawrence Tibbett, heading an AGMA committee of the bill that AGMA was interested. It was the composed of Charles Hackett, Don Voorhees, opinion of the Board of Governors that this un­ Efrem Zimbalist and Leo Fischer, said in connec­ natural and wasteful influx of persons who had tion with the Dickstein Bill: "We fully believe no reason for being here was the result of the un­ that the passage of this bill would, in great meas­ balanced condition which obtained with relation ure, bring about the tearing down of these exist­ to immigration provision of this and other coun­ ing barriers by giving rise to the necessity of tries. The United States had no immigration re­ reciprocal agreements between nations. Nothing strictions; nearly all countries had very strong is further from our minds than to urge a ban on restrictions. It was the belief of the Board that if alien artists. RECIPROCITY IS THE KEYNOTE these restrictions of other countries could be OF OUR PLEA-NOT RESTRICTION." broken down the influx of mediocrity would auto­ This statement of Mr. Tibbett perfectly outlines matically stop because it would no longe?' be profit­ the Guild's stand then and the Guild's stand now. c(ble for it to continue in competition with recog­ This stand has not been contested by foreign art­ nized and distinguished American and foreign ists of distinguished merit and ability in the artists and the Board preferred this method of United States. These artists have been welcomed brec(king down ba,rriers to the method of cotmter here and treated with hospitality and adulation. restriction which the original framers of the Dick­ They know how different immigration conditions stein Bill had decided upon. are here in comparison to immigration conditions The Board then set to work to prepare a redraft in some countries of Europe-in many cases in of the Dickstein Bill, which would make the reci­ their own countries. We think that they must be procity clause (Section 3) the most important part grateful to the American people for their whole­ of the bill so that countries which persisted in some and rational outlook in these matters and excluding American artists would find it more we hardly suppose that they can resent the efforts difficult to continue their unfair practices. of American artists to gain for themselves the same rights in Europe which they enjoy here. In this task they faced many grave difficulties. As has been pointed out in a previous "AGMA" The opposition which came to H. R. 12913 was article om this same subject, the United States not from foreign artists in America but from Government cannot bring any direct pressure to American managers and producers in America. bear on these foreign countries to induce them to These persons can be supposed to have an imme­ temper their immigration regulations. The only diate financial interest in preserving the unfair thing which could be done was to provide for some and unbalanced immigration situation although in direct form of reaction agc(inst the particular coun­ the long run their financial interests must suffer tries which offended and the Board believed that by its preservation. However, consideration ,of some fOTln of reciproca1 arrangement would best their financial interests must be left to themselves. serve thi8 purpose. Thus, if a European country re­ H. R. 12913 passed the House of Representa­ fused to allow the admission of an American artist, tives and was sent to the Senate Committee with under the new form of the Dickstein Bill which two days for its passage before the end of the ses­ the Guild drew up, the citizens of that particular sion. In the late afternoon of the second day, as country would find it more difficult to enter the the bill was being polled out of committee for a United States. At the scone time the new f01'm of vote in the Senate, a telegram arrived from Henry tne bill would not have prevented the enhy of Moskowitz, now deceased, then president of the anyone in actual fact. Its sole effect would have League of New York Theatres, who asked for ex­ been. if pCLssed, to act as n sort of official protest tensive hearings in the Senate Committee before to those countries which imposed restrictions the bill was sent for vote to the Senate Chamber. ngainst Amer1:can artists and in this way, possibly, With the session ending in a few hours the bill to bring about the abolition of all restrictions. In­ died. cidentally, it may be remarked that if the bill had (Col1tinUl~d on Pnge 12)

APRIL, 1937 11- 'rh.~ Di.~kstein lUll Americans, the bill could act only as a protest and (Continued from Page 11) not as an exclusive measure, the following sections of the bill provided that such an applicant might When the bill was reintroduced into this ses­ even yet be admitted from such a country if he sion of Congress as H. R. 30, AGMA sent its com­ were of outstanding ability and if his admission mittee to Washington with further amendments would not displace an American artist holding an which were calculated to improve the bill as an engagement. instrument of protest and to remove any possi­ The campaign of publicity which was carried on bility that if passed it could be administered as a against this bill and against AGMA's stand on the restrictive measure. These amendments were of­ bill is well known to everyone. This campaign fered by Mr. Tibbett and adopted by Mr. Dick­ made use of all of the most advanced forms of bad stein. They provided as follows: taste, recrimination, misrepresentation, lies and That the numerical reciprocity clause be dis­ ignorance. It was backed by large expenditures of carded and that instead a very elastic feature be funds. It was successful. incorporated, incapable of practical application AGMA now stands \'\There it has always stood. but designed to bring a protest to the attention of It still holds up as its objective the ideal of com­ foreign governments. This feature provided that plete international freedom of art and artists, still "No alien artist be admitted to the United States pledges itself: ... for professional engagements . . . unless the country of which he is a citizen affords both in law (1) To further the development of musical art and in fact substantially similar rights and privi­ and culture in the United States. leges to citizens of the United States seeking ad­ (2) To foster and advance the musical profes­ mission (to the foreign country in question) as sions. are afforded by the United States to the applicant (3) To help open the doors in foreign countries seeking admission." for American musical artists as America has This is a purpose which none can openly chal­ opened its doors to artists from other nations. lenge. The entry of no artist would be hindered (4) To help establish free interchange of art­ unless the country of which that artist were a ists among the nations of the world so that uni­ citizen were actively engaged in enforcing restric­ versality in music may become a present reality tions upon citizens of the United States and in instead of a distant ideal. withholding rights from them which were offered The keynote of AGMA's plea is still reciprocity by the United States to the citizens of that country. -AGMA will still never be satisfied until all of However, to make doubly sure that, even in the great artists-native and foreign-who are cases where restrictions were enforced against its members have the freedom of the world.

AGl'UA~s I"irst Ymlr presented the AGMA ideal per­ sion. Let us hope and above all (Continued from Page 5) fectly to the public-the ideal of let us work for the completion cooperation and collaboration of our growth in the new year. country or from America as it is between all artists-native and We are all conscious of the for that artist to enter America foreign-for a common cause. great possibilities of AGMA. To from Europe. I am confident that The prospect for the next year bring these possibilities to bril­ you ate all with me when I say is, if possible, even more gratify­ liant consummation it is only that AGMA will never be satis­ ing than the retrospect of the necessary for us all to work to­ field until all of the great artists last. Following the overwhelm­ gether-to attend all meetings ing results of the referendum and to interchange information -native and foreign-who are submitted to the membership and ideas. Besides the regular its members have the freedom of we hope within a few weeks to meetings of the membership we the world. have completed negotiations for have now our magazine, One of the most brilliant AGMA's affiliation with the "AGMA" and I am glad to see things which we have accom­ Four A's. When this step is ac­ that the membership is already plished in this last year is the complished we will have taken contributing to it in the form of AGMA-Red Cross Flood Relief our place as the representative letters and articles. Concert which was presented at of music among the representa­ We can look forward to a year Carnegie Hall on February 20th. tives of the other arts, to guide in which, through AGMA, mu­ This was a benefit unique among its policies and shape its courses. sical artists in America will benefits-one at which all of the And we will continue to grow labor in the interests of musical artists advertised appeared and until in a short time we will have art; in which they will eradicate performed the numbers printed enrolled all of our colleagues some of the abuses and ignor­ in the program. The box office among us. We went into our first ances which have been weighing receipts topped $31,000-a rec­ meeting with twenty-two mem­ upon its development; a year in ord at Carnegie-and we turned bel's; we now number over two which young artists will be en­ over to the Red Cross over $25,- hundred and fifty. That is a good couraged and new ventures sup­ 600.00. Our Flood Relief Concert percentage of the whole profes- ported.

• 12 AGMA