BULLETIN

C E N T R A L O P E R A S E R V I C Esponsored by

THE NATIONAL COUNCIL of the METROPOLITAN OPERA ASSOCIATION

147 West Thirty-ninth Street, New York 18, N.Y. Telephone: PEnnsylvania 6-1200

JANUARY 1962

NEW OPERASOf great interest to opera workshops will be the premiere of an opera by PaulHindemith with a libretto by Thornton Wilder which took place at the MannheimNational Theater in Germany, December 17th. It is a one act opera with a singleset and no great production problems."The Long Christmas Dinner" takes place entirely at the dinner table of anAmerican family that is celebrating Christmas. Although the scene remains un-changed, almost a century passes in the course of the fifty minute act. Throughthe Door of Life on one side of the room new members of the family join themeal 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 MortonWishengrad. It was presented under the series "Direction '62",

Theodore PRESSER is the publisher of yet another American chamber opera "TheBrute", music by Lawrence Moss, libretto by Eric Bentley, based on a play byChekov. 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 Outcastsof Poker Flat" by Samuel Adler (l act, 2 scenes, cast of 5 and chorus), anda 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 pictureswith 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 onPurcell and Handel called Purcell—Handel Festival Program. Price: Si.20.

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

DEWITT MCLAUGHLIN T E K H E U N , HENRY F. L E N N I N G , Editor JAMES BROWNING, AdministratorJULIUS RUDEL, Chairmen EILEEN O'BRIEN, Secretary

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catalogue of music books, both contemporary and old,- out-of-print, rare andantique books on music, musicians, as well as many first editions of such booksand also of music scores* There is also a full catalogue on the latter.

COMPETITIONS AND SCHOLARSHIPSThe P r e s i d e n t ' s Music Commi t t ee , W a s h i n g t o n , D.C. send u s t h e f o l l o w i n g i n f o r m a -t i o n on I n t e r n a t i o n a l S i n g i n g C o m p e t i t i o n s :

Brussels, Selgium; May 7-25? 1962. Deadline for application is Jan.31st,'62.The application must be accompanied by a) a legal certificate establishingidentity, age (not younger than .twenty, not older than thirtyfive), residence,and nationality; b) a curriculum vitae containing exact details of musicalstudy, 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 nameof candidate on reverse; e) a written declaration by the candidate submit-ting to the rules of the competition and expressly stating to exempt theorganizer from any responsibility toward the applicant. All these documentsmust be in French or Dutch (Flemish) or else must be accompanied by Frenchtranslation. Entrance fee is $10.- to be paid after acceptance. Total prizesamount to $8,000.- of which the first prize is $2.000.There is also a Mozartprize of $1,000. For further information contact:Secretariat du ConcoursInternational 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 informationcontact: The Secretary of the Foundation 's-Hertogenbosch Musiekstad,'s-Hertogenbosch, Holland.

The F o r d F o u n d a t i o n has announced grants for choral directors,opera singers and concert singers. The recipients are to be chosen by directorsof professional opera companies and some thirty young singers are to receiveawards of $2,500.

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METROPOLITAN OPERA, SEASON 1962 - 63On Jan. 5"th, Mr. Rudolf Bing announced plans for the longest season of the Met'shistory. 1962-63 will run for 26 weeks, one week longer than the current seasonand 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 willbe added to the repertory and a number of important new singers and conductorswill join the roster. The new productions are: "Ariadne auf Haxos" (Karl Boehmcond.,Carl Ebert, st.dir., Oliver Messel, sets; singers in different casts willinclude Rysanek, Delia Casa, d'Angelo, Peters, and Jess Thomas American tenor willmake his debut as Bacchus); "La Sonnambula" (Varviso,cond., Henry Butler, st.dir.,Rolf Gerard,sets, with Sutherland, Gedda,TozziJ; "Adriana Lecouvreur" (SylvioVarviso,cond., Nathaniel Merrill,st.dir., sets loaned from Teatro San Carlo,Naples,

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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 conductorErnest Ansermet will make his first appearance at the Met, and young Americanconductor Lorin Mazel will make his Met debut with "Don Giovanni" and alsolead "Der Rosenkavalier". Regine Crespin, French soprano and Belgian Rita Gorrwill make their debuts respectively in "Rosenkavalier" and "Cavalleria".Other operas of the season will include "Ernani", "Der Fliegende Hollaender","Fidelio", "Tristan und Isolde", "Die Fledermaus", "Boris Godunov", "Pagliacci",and retained from the current season are "Madame Butterfly", "Aida", "Un Balloin Maschera", "Salome", "Traviata", "Turandot".

METROPOLITAN OPERA, TOUR 1962Here 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, AtlantaApril 30-May 5, Memphis May 7? Dallas May 8-13, St. Louis May 14»15» MinneapolisMay 16-20, Detroit May 21-26, Chicago May 27-30.

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FEW COS MEMBERSMiss 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., CanadaMrs. 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, CaliforniaShreveport 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

APPOINTMENTSMr. John Cosentino, Director of the Institute of Vocal Arts, N.Y., tothe 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, SantaBarbara, Calif., succeeding Lotte Lehmann.

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PRODUCTIONS BY COS MEMBERS

ARIZONASCOTTSDALE CHAMBER OPERA, Josepf Esile, Scottsdale, Arizona1/19/62 SLOW DUSK (C.Floyd) and SUNDAY EXCURSION (A. Wilder) double "billpresented by OPERA GUILD OF SOUTHERN ARIZONA at Crowder Hall, Univ. ofArizona 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 Saturdayafternoon broadcasts are discussed.

CALIFORNIASANTA BARBARA CIVIC OPERA ASSOC,, W.B.Collier,1521 Dover Rd.,Santa Barbara2/9,10/62 LA BOHEMEA warm welcome to COS to this valiant organization, now in its ninthconsecutive season.

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

DISTRICT OF COLUMBIA

FLORIDA

INDIANA

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 yearsMet Audition's winner George Shirley, L'HEURE ESPAGNOL's cast featuresJeanette Scavotti and John Reardon and includes also a MetropolitanOpera Auditions' winner of 196O,Mr. Spiro MALAS, who has sung withNY 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 byConstance Mellen and James Waring, respectively.

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

MASSACHUSETTSOPERA 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 Centennialinforms us that a limited number of libretti are available fordistribution.from Vassar College,Music Dept., Poughkeepsie,N.Y.

cont.

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PRODUCTIONS BY COS MEMBERS (cont.)

OHIO

NEW YORK

KARAMU THEATRE, 2355 E. 89th Str., Cleveland 6, Ohio12/29/61 and 2/24/62 Weill's LOST IN THE STARS. Also for child-ren 4 matinees and 3 evening performances of musical SEVENTEEN.

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 whichthis company performed in its American premiere last Spring, inthe 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 thecampus,for tickets contact Music Dept.,Adelphi College,price $1.25.

INWOOD CHAMBER OPERA PLAYERS, Susanne Popper, New York City10/23, 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. EmersonBuckley.l/l2,13/62 8pm MADAME BUTTERFLY. Double bill, presenting theoriginal one act play by Belasco, staged "by Basil Langdon, inits entirety and a substantial part of Puccini's opera of theJohn Luther Long story. Both, play and opera will use youngJapanese 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 withMet 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 HochsteinMemorial Music School, 12 Hoeltzer Str.,Rochester 5> NY.Alsonews 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.20excerpts program presented by Tri-Cities Opera Guild for guildmembers.

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

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PUBLIC RESPONSIBILITY FOR THE ARTS

Harold WestonChairman, 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 artsor of artists is not generally accepted in the United States* The artist is oftencastigated as a lazy, long-haired, amoral if not immoral egoist who can and shouldfend for himself. The citizens of European countries by tradition value their artsand their artists to a degree matched here only by the small critical elite. Inpractically all highly developed countries the arts are recognized as an essentialelement of the public welfare and of that nation's international status. Conse-quently, the arts receive government support through various systems, broadlyspeaking 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 tothe arts floundered on the Plymouth Rock. We are only now recovering from thepuritanical attitude towards the arts which has afflicted English-speaking coun-tries since the days of Cromwell. Art in the American colonies, except for thehandicrafts, was looked at askance by the God-fearing public as frivolous, oftendisreputable amusement, particularly the theatre. When good Quakers objectedviolently to the erection of the first theatre in the city of brotherly love, thePhiladelphia 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 didnot 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 housewhere operas were rarely heard; none had a theatre.

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

Before we explore these questions, a few facts and figures should be givenabout our current series of cultural explosions for they are impressively in themegaton range. In this article, incidentally, reference is purposely to all artfields. 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 onlybe accomplished by collective action, not only by artists of all fields and art-minded civic leaders but also by enlightened public opinion concerning the aitsand greater recognition of the responsibility of the public for the arts.

7Americans 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. Morethan 40 cities already have them and some hundred other cities are in the processof organizing them. A significant consequence of the tours up-state of performingart groups sponsored by the New York State Council on the Arts has been theimpetus given to the formation of such local bodies to the great advantage ofall participating art societies and the community.

There are wide differences of opinion about whether this mass interest incultural activities will dilute or increrse the quality of art produced. In amass medium, like television, the sad tendency has been to reduce the aestheticquality 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 ofthe Madison Avenue advertiser. Leaders of the arts have a real responsibility tobend every effort to see that mass interest in cultural activities does not sooneror later enslave or emasculate the arts for commercial purposes or lower standardsto the popular level. To prevent this, public understanding and appreciation ofthe arts must be developed by all possible methods. It can and I believe thatit will be.

Among the many possible steps in this direction are the following. Performancesin the schools throughout Kentucky by the Louisville ...ymphony made possible byappropriations by the State Legislature, comparable in smaller scale and scope tothe tours referred to above in New York ...tate; expanding activities at educationalinstitutions in many fields of art, painters, poets, composers in residence; thework of the American Educational Theatre Association; etc. These are in part attax payer's expense. One might also cite many special projects initiated byprivate enterprise. For example in your field the abridged performance of "Cosifan Tutte" in schools here by the Metropolitan Opera .tudio with assistance fromthe Metropolitan Opera Guild. It would be helpful if these private efforts weregiven official encouragement by the Federal Office of Education. L'ven moresignificant, of course, would be tours of our best performing groups and fineexhibitions circulated in the United States with Government sponsorship or financialaid, 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 monthsago: "How many Americans have never seen living theatre with first-rate actorsin fine performances?—Isn't it ironic that (government) money can be found to sendour 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 worldtensions, I submit, we do not have time to wait for that slow process. Exposureto the arts and participation in cultural activities are signally effective anti-dotes to conditions of prolonged emotional stress, '..hen London was continuallybombed 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 theirpuritanical heritage, that their government should give financial help to the arts.The Arts Council of Great Britain was created, and the British Parliament hassteadily 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 ourcountry's assests and energies from creative to destructive ends. Thornton V/ildersaid recently: "The editorial writers, social scientists and ministers think they

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are infusing the people with courage and meaning. But looking backward to otherages 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 participationin the arts are presently not available or even known at first hand by themajority. 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 thecontrary, government should, without further delay, foster and financially assistthe 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 upsome form of art as an avocation, why has Congress failed to enact legislation tocreate a Federal Advisory Council on the Arts? The answer is simple. Our countryis a democracy. While the President can and should give leadership to cultural aswell as other matters of concern to the national welfare, President Kennedy, whosepersonal 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 Congressionalrepresentatives of their personal interest in the arts and their desire that theFederal Government should take steps to forward the arts. In a democracy, it isthe public and not Congress that has the responsibility to see that the artsare made'.more readily available to more of our citizens.

The recent management-union difficulties experienced by the Metropolitan Operaand the New York Philharmonic Symphony have focueied public attention on the quick-sand underlying the structure on which the livelihood of our professional artistsdepends. It is not sufficiently recognized to what degree artists in almost allfields must forge their way under conditions of great insecurity. bven the con-tinuation of their profession often depends upon the lucky chance, the whims ofa producer, a critic, a museum official, a patron of the arts, with little relationto the creative contribution which that artist's particular gifts might bring toour 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 desireto live in a homogenized society where cream is kept from working its way to thetop. From a thousand active professional artists only one or two will leave anenduring imprint. For that summit to be reached by the few, the base for artistsas professionals must be sound.

Opposition to government participation in the arts may be divided into threeparts. The largest group of opponents clings to the conservative dogma that thearts should be kept as divorced from government as government should be free fromthe church. Almost any venture undertaken with government help, except subsidiesor high tariffs for their own special interests, is, in their opinion, anotherstep towards socialization and thus should be opposed whatever its merits. Thesecond group, consisting mostly of artists, insists that government support of thearts 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 FederalAdvisory Council on the Arts acknowledges that "the growth and flourishing of thearts depend upon freedom, imagination, and individual initiative." Whatever systemor methods for government aid to the arts at whatever level of government may beadopted, the essential freedom of the artist should be vigorously protected.Creative freedom is one of those orecious intangibles which has to be fought forcontinuously. It can not be legislated, although the intention not to control orimpinge upon the freedom of the arts can and should be stated in conjunction withevery legislative measure for the arts. A majority of the members of the NCAGbelieves 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 andshifting sands of voluntary contributions, it is claimed that the essential volumeof sand will cease to flow. It will be said: "The government is behind thisproject, so let the government pay for it." That is a real possibility when directgovernment support is offered, but, when it is mandatory that governmental helpis limited to matching funds, then contributions from private sources, whetherfrom 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 thntcultural activities in communities near their plants ap ireciably reduce turnoverand increase contentment among their employees. Although the creative and perform-ing arts in the United States have reached a high peak of excellence, comparable ifnot superior to that of mo.t countries where aid is granted by the government, myconcern 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, manyyoung American artists seek maturing experiences and employment in Europe wherethe season is much longer. Private resources alone can't be expected to increasedonations to the extent that young arti::ts are joining the ranks. It is really nolonger 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 closelyassociated in the public mind with the farm lobby and huge food surpluses owned bythe Government. Whether identified as subsidies or not, the Government helps tosupport virtually al1 elements in the Nation's economic structure. The second actof the First Congress of the United states in 1789 was to grant a form of subsidyfor 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 merchantmarine, to encourage air transportation, etc. Very few people realize that thepostal deficits over a 12 year period in behalf of business just about equal thecost of farm price-support during the past 27 years. The Post Office estimate formail 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 SATURDAYEVENING PO^T, and nearly $5 million for THE READER;., DIG^.T. I am not arguing thatthese subsidies be stopped or reduced, but, in my opinion, opera,symphonies, andother art endeavors are in far greater need of governmental assistance than theabove popular and prosperous publications. All of the above figures seem picayunewhen contrasted with the t'8 billion which the Government is spending this fiscalyear for science and technology.

It is only fair to add thr.t cultural, educational, religious and philanthropicundertakings are receiving indirect subsidies from government in the form of taxdeducibility, 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 nationalbudget the total appropriations that would be authorized by all of the bills forthe arts now before Congress are infinitesimal. •..hat are the three major art billsamong 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 andthe 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

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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 Councilwould advise the Government concerning the arts, act a,;; a catalyst in forwardingthe arts but not manage or give financial aid to any art projects. Its annualcost 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 DemocraticParty Platform. H.R. 4172 was approved by the House Committee on Education andLabor, languished last summer in the Rules Committee, and was temporarily defeatedon the floor of the House in an ill-timed effort to obtain suspension of the rulesfor its consideration on September 21st. The major reason for the set-back itmet was lack of public support. Strenuous efforts should be made to persuade theRules Committee to submit it to the House during the .Second Session of the 87thCongress.

The most constructive proposal for Federal financial aid to the arts is, inthe opinion of the NCAG, the National Cultural Development Act, S. 785, introducedby Senator Clark and others, and H.R. 4174 by Rep. Thompson of Hew Jersey and fourother identical bills by members of both parties. This legislation would authorizethe yearly allotment of not more than $100,000 to any state having a state artagency and proposing specific projects or programs in any field of art for whichthe state will provide (from private or state government sources) not less than50% of the required funds. Such assistance would be limited to non-profit under-takings. The .Secretary of the Department of Health, Sducation, and 'Selfare wouldneed to approve the projects or programs as consistent with the purposes of thisiict and within the Federal funds available. The cultural activities undertakenwould originate in communities and be administered under state supervision. Thislegislation would establish for the Federal Government a coherent and continuingoutlook and policy of assistance to the arts while leaving to the states fullinitiative, responsibility and at least half the costs. This system would stimulateprivate 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. Perhapsthat share should be related to the state's population, Of course, if the systemproves effective as I believe it will, the proportion per state can be amended bya future congress. Second, instead of one Federal agency or quasi-independent groupof trustees responsible for .granting Federal funds to the arts, which could bewatched carefully, there would be a state art agency in every state that receivedFederal aid in a position to subject the arts to undesired influences. However,Americans are constantly pressured by the powerful mas.; media, advertisers and bythe aesthetic taste makevs towards conformity. Our states and our communities arefast losing their individual cultural climates. If each state and community isencouraged to advance in whatever cultural direction is most sympathetic to itsheritage and its people without subtle influences from any central source backedby Federal funds, our civilization as a whole will be thereby enriched. Third,too few states have state art agencies suitable to administer such activities andit may take many years to establish them. Furthermore, those states in greatestneed of Federal assistance to enrich the lives of their citizens through the artswill be among the last to become eligible for aid through this system. Thisparticular argument is one of the reasons why the NCAG is convinced that thissystem should be supplemented by the method which is outlined next. The ..electSubcommittee on Lducation held a hearing on H.R. 4174 last May 10th. Therecommendations of the Subcommittee have not ye;; been made to the Committee onSducation and Labor. This legislation deserves strong support.

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

Finally, I call your attention to a proposal which I hope will receive yourpersonal approval and early action whatever your own opinions about forwardingthe arts in the United States may be. The entire subject of the relationship ofthe public and of government to the arts in America needs publiP: discussion andclarification by spokesmen for all fields of art. The NCAG hoped to hold a three-day national conference on this subjext in cooperation with Columbia Universityin June, 1962. Alas, we failed to secure the necessary funds. In behalf of ourCouncil, 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 toSenator Humphrey, who is keen to forward this proposal. However, it has beenindicated to us that, before a decision is reached, the 7/hite House should beassured that an ap ̂ reciable number of cultural leaders and organizations concernedwith 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 willwill wish to bring this proposal to the attention of your national and localorganizations and your friends. :. '.hite House Conference on Government and the Artswould 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 thewelfare of the arts, of professional artists, and of the public. Both Congressand the '.hite House need to hear the voice and wishes of neople throughout thecountry concerned with forwarding the arts. The time for both collective andindividual action is now.

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