to its forbidding brand of art, to its music and ballet. We could oppose a brilliant achievement to that sorry crop of "Socialist realism." Few Europeans, however, know of our vitality. A new vigor and energy filters from American sources to other nations. We are very much alive. An active program of exchange exhibitions would displace misconceptions with insight and respect on both sides of the Atlantic. We therefore hope that the members of the subcommittee and the Congress recognize in this bill an opportunity for service to the people of the United States and an opportunity to assert the vitality and value of our cultural heritage and faith in our cultural future. Respectfully yours, LEON BERKOWITZ, Program Director. STATEMENT OF MRS. ALLEN CHAIMAS, DIRECTOR, HANS KINDLER MUSIC BUILDING FUND, WASHINGTON, D. C. Mr. Chairman, distinguished members of the subcommittee, my purpose in addressing you is to try to picture for you, as clearly as possible within my limited capacities, the state of music in America and to affirm the evergrowing need of an opera house and music center in Washington, D. C. While music is not a universal language (the Pythagoreans to the contrary), it certainly is a universal medium of expression. It is quite appropriate that our United States Government, in keeping with its "world community" spirit, should devote time, intelligence, and, yes, even money toward an appropriate national home for that phase of the arts relating to music, the common bond among peoples everywhere since the beginning of time. The dream of an opera house and music center for our beautiful Capital is as old as George Washington, yet it remains as new as each new day that finds it still alive. The muses' pet, it may well be, but at the same time, it is a "bread and butter" kind of dream and as realistic as that daily cup of morning coffee. It is well to keep in mind, among other facts, that Washington as the Capital of our great Nation, is literally democracy's showcase for the entire world. Hundreds of thousands of persons from the world over visit here yearly. Daily more than 2,500 tourists go through the Capitol alone. Just as the entire Nation takes pride in our beautiful Capitol, the White House, the Library of Congress, the Supreme Court Building, etc., so will our fellow citizens, nationwide, share the pride, the advantages, and values of an appropriate "focal point" or "music capital," which such a building would actually be. Because I believe that we, as Americans, must build and grow according to our own needs and circumstances, I do not adhere to the thought that we must build an opera house and music center or offer other support to the arts merely to "impress" foreign nations. However, the fact does remain and should not be overlooked, that in following our good old American custom of being true to ourselves we will be following the one truly impressive" course. Americans, since the first settlers reached these shores, have been their own pacesetters. We do not need to "follow" a pattern just because it has been followed by some other nation or nations. Magnificent mediocrity is not our goal. Recognition or support of our Nation's cultural needs will impress other countries not because we establish a fund, or another commission, or build a magnificant home for our musical arts, but rather they will be impressed by the fact that we have matured artistically and/or culturally to the point where this need can no longer remain ignored. In a chorus it does not follow that the more voices the better the work will be. but this is one instance where the more voices joined in this "song" the sooner voteless Washingtonians will have something to sing about and a suitable building in which to sing it. In our Capital City music is a sort of unofficial ambassador. Music in Washington includes musicales and serious music presentations expressing the culture of the many capital cities of countries throughout the world that are represented here by embassies, legations, and missions. The Organization of American States' recognition that music has an important role in building and maintaining international understanding and friendship has resulted in the fine and varied programs presented regularly at the Pan American Union under the able direction of Dr. Espinosa. The quality and magnificence of our National Symphony Orchestra, founded in 1931 by the late Dr. Hans Kindler, is well known. Some of the worlds' greatest musicians and music are presented at the Library of Congress through the generosity of two lovely ladies, Mrs. Gertrude Clarke Whittall (who also endowed the Poetry Series and the lovely Poetry Room) and the late Mrs. Elizabeth Sprague Coolidge. Our art galleries, which incidentally are among the world's finest present fine concerts and at the same time create opportunity for the best of our young artists to be heard and appreciated. An excellent example is that of the Phillips Memorial Gallery. Children's concerts under the direction of the National Symphony's talented young conductor, Dr. Howard Mitchell, may very well be without parallel elsewhere. During past years the Corcoran Gallery's annual Saturday morning children's concert conducted by Richard Bales, gifted young composer and conductor of the world-famed National Gallery of Art Orchestra, has been one part of that gallery's significant contribution to the musical life of our Capital City. Certainly the leader in museum music is the National Gallery of Art with 40 outstanding concerts and recitals conducted by Richard Bales each season in the beautiful west garden court. One greatly appreciated music series was the Composers' Forum, a part of the Music Division of the District of Columbia Public Libraries, and directed by George Henderson when he was Chief of the Libraries' Music Division. The beauty and value of the magnificent contribution of Washington's churches and cathedrals to our city's music life is tremendous. In this connection I might mention, among others, Paul Calloway, Richard Dirksen, and Ronald Arnatt. It is indeed a paradox that our Nation's Capital, sans a suitable music house, is at the same time so richly endowed with truly fine music, and amazingly enough, a very great part of it is free. One might safely add that, musically speaking, Washington is one of the richest cities in the world. Washington is the capital of a nation that enjoys 952 major and minor symphony orchestras. Of this number nearly 30 are major orchestras with annual budgets exceeding $100,000. More than half of these have come into being within the last 23 years. Recently added to our long list of "symphony orchestra cities" is Savannah, Ga., with a first year budget of $25,000 and the happy prospect of 5 concerts this season. The United States has something like 80 active opera companies and at least 35 various music festivals during the spring and summer months. Last year music lovers paid $45 million for tickets to symphony concerts, surpassing the $40 million baseball games' receipts. Instrument manufacturers report that there are 30 percent more musical instruments in use now than there were as recently as 15 years ago. More than 3 million adults are making their own music on everything from the piccolo to the piano and more organs are selling for home use than ever before. Many of these adults only recently started to study music. Others are reviving long neglected skills from early childhood studies. Many are being helped by modern teaching methods, after years of fearing that they did not have a talent nor an ear for music. More than 20 towns with less than 5,000 population, including 6 with little more than 2,000 residents, have their own amateur symphony orchestras. Practically every village has its outdoor concerts, summer theater, art exhibits, music competitions, etc. There are some 300 companies producing microgroove classical records. During the past year there were an average of 125 new LP record releases each month. Record playing and collecting are a hobby second to none and still growing. Four of every 10 records sold are classical, and record sales will pass the $200 million mark this year. During the last few years FM radio sets have sold by the thousands. Surveys are quoted as showing that while average radio programs have suffered listener loss up to 32 percent, concert and good music-type programs lost only 3 percent. There are innumerable indications that musically America has matured. No longer is it necessary for young singers to go to Europe to study and return home with a foreign sounding name in order to find opportunity here. Students of music from every nation in the world come to our country to study and to receive their professional training. America has emerged from the static quest of "more of the same" to a fullfledged art of its own, and has achieved a maturity and respect not in the world's market place alone, but also in the field of significant art. This emergence has been so quiet as to go almost unnoticed by too many of us. Fostering American culture in foreign lands and cementing international relationsips as well as carrying our own music to the boys and girls in all the services in other countries, the United States Air Force Symphony Orchestra serves as a notable example of music's great potential in the field of foreign relations. Here at home, this orchestra's radio program, Serenade in Blue, is heard weekly over 2,000 radio stations throughout the United States. Salute to Britain, recorded for British Broadcasting Corp., was a successful radio program especially tailored for the British audience. The United States Air Force Symphony Orchestra, which presents 65 concerts during its 9 weeks' tours, to date has visited Canada and 14 other foreign countries including the United Kingdom and North Africa. Under its able, gifted conductor, Col. George S. Howard, the United States Air Force Symphony Orchestra (and Band) presents well-balanced programs including the beloved classics and contemporary American music as well as local folk music dear to the particular locale where the orchestra and/or the band plays. The Singing Sergeants, a group of vocalists made up of musicians of the band, sing programs integrated with the band programs chosen with the same discerning care. Iceland, a traditionally and historically great cultural nation, is one country which the Communists have tried to influence to believe that the Russians are the cultured ones and that we are barbarians. The Communists have brought their ballet companies, symphony orchestras, individual artists such as pianists, violinists, etc., to demonstrate that Russia is to be looked to as the country leading in culture. Insomuch as we do not own our important bases in Iceland, we must negotiate with its Parliament every year. Communist members of Parliament make these negotiations very difficult for us. At a most crucial time in our recent negotiations with the Iceland Parliament, our United States Air Force Symphony Orchestra and its conductor, Colonel Howard, accompanied by the distinguished Congressman from Pennsylvania, the Honorable Carroll B. Kearns, visited that country. In packed houses, before an extremely critical audience, Mr. Kearns would make a brief speech and then step to the podium and conduct the symphony orchestra. These programs were enthusiastically received, and even the Communist press was so impressed that attention was called to the fact that there was not a Communist Member of Parliament who could conduct a symphony orchestra. These joint community-military visits have had a tremendous impact in every community of every size, including Berlin, Germany, where an audience of 120,000 enthusiastic listeners crowded into the Olympic Stadium. In terms of goodwill and friendship, as well as American prestige, the beyond measure success of these music tours is further indicated by the fact that wherever they have played this fine group of American musicians is widely sought after for return concert visits each year. Musically, America has matured and is still growing. As a matter of fact, like spring, it's bustin' out all over. We can no longer ignore this waking giant in our midst. We cannot afford to wait another 154 years, or 50 years, or even 4 years, to answer this simple question. Why should Washington, the musically rich capital of a musically rich young nation be without an appropriate opera house and music center? We must ask our fellow Americans to have in mind that Washington as a city is unique. It cannot spend a penny of municipal funds without an act of Congress. Only by an act of Congress can any objective of the District of Columbia government be effectuated. The Congress of the United States acts as a city council for the city of Washington even though this city's population exceeds that of 13 of our 48 States. In effect, Washington cannot so much as build a sewer without the approval of the Congress of the United States. Therefore, it is important to remind our fellow Americans throughout the United States that the residents of the city of Washington are not seeking a special act of charity in requesting Congress to make possible a suitable building for the music arts in our Nation's Capital. An act of Congress is required to pave the way for the construction of an opera house and music center in this city because of the city of Washington any construction involving the expenditure of municipal funds requires an act of Congress. Our Nation as well as our Nation's Capital City are indeed fortunate that the distinguished chairman and members of this subcommittee and other Members of the House of Representatives and the Senate have indicated an interest in this need and have sought suggestions and opinions as to how this need could best be fulfilled. Hon. ALBERT H. BOSCH, [Telegram] NEW YORK, N. Y., June 9, 1954. House Office Building, Washington, D. C.: Actors Equity Association and Chorus Equity Association, representing all actors, singers, and dancers of the dramatic and musical theater, endorse principle of Howell bill now before your committee. We regret that present bill is so loosely drawn and so indefinite in financial and administrative procedures that it is unlikely to achieve its goal. We suggest withdrawal of Howell bill for rewriting to clarify its aims, make its procedures more simple and direct and give it a realistic financial basis from which to operate and we pledge our cooperation in such revision. RALPH BELLAMY, President Actors Equity Association and Chorus Equity Association. Hon. ALBERT H. BOSCH, AMERICAN VETERANS COMMITTEE, INC.. Committee on Education and Labor House of Representatives, Washington 25, D. C. DEAR CONGRESSMAN BOSCH: I am writing to endorse H. R. 9111 and similar bills to establish an American National War Memorial Arts Commission. Although my organization has taken no official stand on this legislation, I am glad to support these measures, personally, as an American citizen and as a veteran. There can be, I believe, no finer type of tribute to those who died in defense of their country and its high ideals than a living war memorial of the type contemplated in these measures. I note with particular satisfaction the provision to build the John Basilone National Memorial stadium and public auditorium. I would greatly appreciate your placing this letter in the permanent record of the subcommittee's hearings on these bills. Sincerely yours, ANDREW E. RICE, Executive Director. Mr. JOHN O. GRAHAM, AMERICAN EDUCATIONAL THEATRE ASSOCIATION, UNIVERSITY OF OREGON, Eugene, Oreg., June 9, 1954. Staff Director, Committee on Education and Labor, Dear Mr. GRAHAM: As president of the American Educational Theatre Association I have had occasion to voice my opinions and those of our association on various bills which provide for Federal grants for the development of fine arts programs and projects. Some of our members have served on committees from other organizations such as the American Council on Education, and I believe that our attitude has been reflected in other communications which you have received. May I assure you of the continued interest of AETA in any legislation which affects the development of the fine arts program in America. We are particularly interested in the proposals which suggest the establishment of a commission charged with the responsibilities of furthering this work. We are also interested in the establishment in Washington, D. C. and elsewhere of suitable housing for a fine arts program. It is our belief that the National Government has been negligent in failing to provide proper incentive for the cultural development of the American people. As the representative of educational theater in this country, we are particularly concerned with the present state of both the professional and amateur theater in America. We believe that some of the bills which are currently before the Committee on Education and Labor could be of material assistance in promoting a renaissance of interest in theater activity. I would welcome the opportunity to comment specifically on the various bills which are before you. The American Educational Theatre Association will meet in convention in East Lansing, Mich., during the last week of August of this year. If you desire a nationwide reaction to any proposal, we should be glad to give you at that time a reaction from our body. Very truly yours, HORACE W. ROBINSON, President. AMERICAN FEDERATION OF LABOR, A. F. OF L. BUILDING, Washington, D. C., June 16, 1954. Hon. ALBERT H. BOSCH, Chairman, Subcommittee on Arts Foundations and Commissions, Dear Mr. CHAIRMAN. The 1953 convention of the American Federation of Labor held at St. Louis, Mo., September 21-25 adopted the following resolution: Whereas the Commission of Fine Arts has recently published a report entitled "Art and Government" on the activities of the Federal Government in the field of art; and Whereas in conducting its investigation the said Fine Arts Commission arbitrarily limited its inquiries to a few favored individuals and conspicuously failed to consult accredited representatives of numerous organizations having direct and enduring interest in the cultural and artistic life of the country; and Whereas, organizations in the fields of music, opera, theater, dance, libraries and other fine arts are a source of employment for many thousands of workers and a source of enjoyment for millions of citizens; and Whereas appointments to the Fine Arts Commission have unduly failed to include representatives of workers or of the fine arts of music, opera, theater, dance, libraries and others. Therefore, be it Resolved, That this convention of the American Federation of Labor register its criticism of the glaring inadequacy and bias of the aforementioned report of the Fine Arts Commission and its vigorous opposition to the recommendations therein made: and be it further Resolved, That the President of the United States be requested to appoint representatives of the A. F. of L. and of the heretofore neglected fine arts to the Commission of Fine Arts, and be it further Resolved, That this convention call upon the Congress of the United States to enact S. 1109 and H. R. 5397, introduced by Senator Murray and Congressman Howell, respectively since these proposals would assign to Government the desirable and necessary function of promoting and stimulating the cultural and artistic progress of America in a manner consistent with our traditional ideals of democracy and free enterprise (Pps. 451 and 656 of the proceedings). We understand that your subcommittee has before it various bills comparable in nature to those mentioned in our resolution. We urge your committee to report an appropriate measure designed to promote and stimulate cultural and artistic progress in our country. We are convinced the object of the bills you are considering is praiseworthy and that your subcommittee could render a great contribution to the cultural life of the United States by reporting an appropriate measure. It is necessary and desirable, however, that in the creation of any foundation due representation must be accorded to the artists and workers in the various branches of the fine arts. Yours very truly, ANDREW J. BIEMILLER, Member National Legislative Committee. |