Healthy Signs

Before she left for Europe this winter, Soprano Mary Garden behaved in a fashion unusual for a concert artist. She volunteered to cut her $3,000 concert fee. "Butter & eggs are cheaper," she said brusquely to her new managers, "why not concert artists?" No foolish virgin, Mary Garden was doing of her own accord what many another artist is being forced to do. Last week with the booking season at its height it was evident that artists' fees are well on the road to deflation. A dozen music salesmen were on the road selling singers, fiddlers & pianists 10% to 25% cheaper than ever before.

Music managers regard the cut in fees as a healthy sign. In the past artists have often spoiled all chances for profitable tours by demanding exorbitant fees. Few local managers could afford to present Basso Feodor Chaliapin or Violinist Jascha Heifetz three years ago. They drew big crowds but after fees of $4,000 and $5,000 were paid, the cost of the hall and advertising taken out, there was often little or nothing left for the manager. Heifetz and Chaliapin will play now for much less money, get more engagements.

Next season's bookings prove that music as a whole is withstanding Depression better than most businesses. Music became thoroughly organized last year when the two great radio chains, Columbia Broadcasting System and National Broadcasting Co. took over individual concert managements. Set fees are down but artists who draw heavily are seeing the advantage of playing on a percentage basis, setting lower minimum fees, then taking a share of the box-office over & above the amount needed for expenses. Paderewski, playing on percentage, will make approximately $250,000 for himself from his 65 concerts this season. Baritone Lawrence Tibbett's cinema success has made him the season's second best money-getter.

Good artists who ask nominal fees can command as good tours as ever. Baritone John Charles Thomas sings for $1,500 but his 92 engagements will make him a big earner this year along with Pianist Jose Iturbi who is giving 68 concerts at an even more reasonable figure. Violinists Albert Spalding and Efrem Zimbalist have profitably kept their fees down. So have Pianists Harold Bauer and Ossip Gabrilowitsch, Soprano Florence Austral, Contralto Sigrid Onegin.

Variety, theatrical tradesheet, last week prophesied an end to fee inflation, printed the prices asked by some 50 artists: Soprano Amelita Galli-Curci, $4,500; Violinist Fritz Kreisler, $4,500; Tenor John McCormack, $4,000; Soprano Rosa Ponselle, $3,500; Pianist Sergei Rachmaninoff, $3,000. . . . Such lists are misleading. Galli-Curci may ask for $4,500 but she seldom gets it now. Many people prefer to hear Lily Pons, the pretty French coloratura who is a novelty and only a little more than half Galli-Curci's age. Kreisler makes $4,500 on many a concert but he makes it on percentage. He will play for less. Any artist will cut his fee for the honor of soloing with a symphony orchestra.

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