Evening star., 1947-12-28
Patrons Should
HelpDetermine
Cost of Music
By Alice Eversmon

The great decline in audience at
tendance at concerts this season, as
compared to last, brings out sharply
a very important fact. Music costs
too much. In prosperous days, few
mind what they pay to have 1t or
to hear 1t but let the income shrink
and music in practically all its
forms suffers 1t is one of the first
things stricken cut for economy
reasons. With all the effort being
made to incorporate music in some
way into daily living, it is still re-
garded as a luxury that belongs
principally to the times of plenty.
This is a sad commentary on the
cultural instincts of a people.
1t Is not the individuals who
are to blame for this state of affairs.
Many make sacrifices to hold on to
what they consider of vital impor-
tance in the scheme of living. 9th
ers, it Is true, could make more
effort towards its support and re-
place an ordinary and less reward
ing recreation by concert of some
sort. But individuals form the
cultural policies of nation and it
would seem that those less active
in its preservation are in the ma
jorlty.
Trouble at High Level.
Yet the trouble really starts at
the top. 1t begins with the man
ayers and the fees they demand
for their artists. Of course, they
feel also the financial difficulties of
the time but the proportion is
not the same. The artists have al
ways been paid high fees and they
are now going higher. The local
managers profits are cut consider
ably when the public stays away
but the cost of staging an event
plus the artists remuneration re-
mains the same.
To be accepted by manager,
whose name is q guarantee Of the
artists ability because he has had
on his roster only those who have
made good, is both difficult and
expensive. He will require New
York recital, a most costly under
taking, and thousands of circulars
and pictures, the providing OF which
mounts into real money. His over
head expenses must be counted in
and when all that is added up.
the launching of career involves
considerable outlay. 1t takes years
before real returns on the invest
ment come in and when that occurs,
the manager Immediately increases
the artists selling price.
That is all very well and legiti-
mate. Yet the whole idea has
gotten out of bounds and become
a fabulous industry in this country.
Singers, accustomed to a modest
weekly wage in European opera
houses, get several times that
amount at the Metropolitan. Con-
cert artists are paid. and have
been paid less in Europe than
here. Why must the price be in
creased in this country when the
talent and its exposition remain
the same?
Beginners Need Aid.
Perhaps no where in the entire
world Is so much done for the
young musicians as in the United
States. If they are gifted they will
be helped and opportunity given
them to prove their worth. But
that only starts them on their way.
To continue costs money. which
few of them have to spend to the
extent needed. They have not yet
become interesting personalities to
the public, which still turns to old
favorites in blind loyalty.
The only solution, it seems, would
be for some kind of compromise
to be arranged. Let the public
patronize more the less expensive
artists in an honest endeavor to
help them, and. incidentally. ma
tional culture Then the big-name
artists, who have had monopoly
Of the high-bracket fees. would be
forced to accept less, the local man
ayers could continue bringing them
here without worry as to financial
loss, and the whole tone of musical
presentation would be healthier A
musical season could be run less
expensively and concert going could
be included in a rigid budget. Music, !
which should be accessible to every
one. is too expensively operated at
preSent