MUSICAL COURIER	23
MR. AND MRS. L. E. BEHYMER CELEBRATE
THIRTY-SEVENTH WEDDING ANNIVERSARY
Presented with Silver Loving Cup by Los Angeles Gamut Club
Murillo Photo
L. ־E. BEHYMER
the Russian Symphony have trouped to Los Angeles. For eighteen years ‘‘Pop” Behymer was manager of the old Los Angeles Symphony Orchestra and for four years manager of the present Philharmonic Orchestra.
Three children, Mrs. Roy Malcom, Mrs. E. E. Moody and Glen Behymer, and six grandchildren assisted in yesterday’s celebration.
managers have seen a chance to profit by catching some reflected glory of the real article, to get in, as it were, on publicity legitimately obtained by the real Ukrainian Chorus created by the genius of Alexander Koshetz.
“Another instance is that of some Russian refugees who got together in Siberia, provincials who had sung, some of them professionally, others only in amateur performances, and formed an opera company. This was all right, of course. But when they landed on the Northwest Pacific Coast in America, some managers saw. an opportunity to appeal to public sympathy by making much of the heroism of this brave band, of the hardships they had endured, and their escape, their art intact and unimpaired, from the terrible conditions of revolution, famine, and so on. Americans are a sentimental, generous people. Russia was on the front page as to news, its art in vogue, its people objects of pity, so why not make money out of the situation? So, this organization was brought to New York, and largely advertised as the real thing in Russian grand opera, its educational and cultural value was greatly enlarged upon, along with the appeal for aid for a meritorius cause. This sort of thing is not fair, for not one of the singers appearing in this organization, however commendable their native ability, had ever sung at the Moscow, Petrograd, or any other really important opera house in Russia. The result, naturally, was disappointment, all around. The public was fooled, Russian art was misrepresented, betrayed and belittled. The whole thing was all wrong.
“But the big managers are not alone to blame. The local man in smaller cities should investigate these claims and then protect his particular public, to whom he owes the duty of sincerity. It is really shameful that so-called reputable business men, Who would scorn to act as a common thief, and put their hands in another man’s pocket, will, nevertheless, lend themselves to methods that are decidedly questionable. Everyone who has any influence should emphatically discourage th״se practices by showing them up in no uncertain manner.
“I feel very strongly about this phase of 'management.’ ” ___________________________________	G. V.
Alfred Hertz Re-engaged for Two Years
At a meeting held by the directors and the board of governors of the Musical Association of San Francisco, Alfred Hertz was chosen to be the conductor of the San Francisco Symphony Orchestra for the seasons of 1923-24 and 1924-25. This meeting was held on the afternoon of January 22 and the formal notice was given to the public in the following announcement by John D. McKee, president of the Musical Association:
The board of governors of the Musical Association of San Fran-cisco takes great pleasure in announcing that Alfred Hertz, now in his eighth season as conductor of the San Francisco Symphony Orchestra, has been, by unanimous vote at the meeting today, reengaged for the seasons 1923-24 and 1924-25.
The board of governors takes this opportunity to express again its keen appreciation of the spirit of generosity so definitely evidenced bjf members of the Musical Association of San Francisco, by subscribers to the emergency and other funds and to ticket purchasers. Only through this spirit has the continuation of the orchestra been made possible.
The board of governors confidently expects a continuation of this generous support in increasing measure, in order that the constant artistic progress so definitely evidenced may be continued to the end that our orchestra, in point of artistry and personnel, will be second to none.
The appointment of Alfred Hertz sets aside rumors to the effect that a change in conductors was being contemplated. He has done much to make San Franciscans true lovers of symphonic music, and under his continued guidance we can anticipate several years of fine performances.
С. H. A.
Out in Los Angeles they are always doing something to L. E. Behymer, impresario ordinary and extraordinary to the ■Pacific Coast, president emeritus of the National Concert Managers’ Association, and a lot of other things. Just because he and Mrs. Behymer had been married for thirty-seven years the other day (no excuse at all!) the Gamut Club insisted on presenting them with a silver loving cup and christening him “Pop.” But let the Los Angeles Evening Herald (January 11) tell the story:
“Pop” Behymer, who, as impresario in chief for California, Arizona and .New Mexico, has been responsible for bringing to the Southwest many of the greatest concert artists, orchestras and ballets of two continents, today, with Mrs. Behymer, received many congratulations on the thirty-seventh anniversary of their marriage.
The anniversary was formally celebrated yesterday and last night, but messages of felicitation continued to pour in today.
The effect of Mr. Behymer’s personality upon tempestuous prima donnas and choleric concertmeisters has been of so soothing a quality that in inner musical circles the world over he is known as “Pop.”
Loving Cup Presented
As the peak of yesterday’s celebration a dinner was tendered, and a loving cup presented Mr. and Mrs. Behymer by the entire membership of the Gamut Club, of which Mr. Behymer is president. Seward Simons made the presentation speech; Ben Field, vice-president of the club, was toastmaster, and all the members of the Los Angeles artistic colony were present to honor “Pop.”
Thirty-five of the thirty-seven years of the Behymers’ married life have been .spent in Los Angeles. During those years Mrs. Behymer has interested herself in rearing her family, in making her home a center of artistic life and in organizing the Progress Club, of which she is president.
Her husband has pioneered in bringing opera companies and ballet dancers to this coast. Years ago La Boheme was given its first performance here by a company which came from Mexico City, but in which Melba sang Mimi. Nórdica, Calve, Pavlowa and Daghlieff have appeared locally under Behymer management.
Famous Orchestras
Under his management, also, the New York Philharmonic Orchestra, the Damrosch Symphony, the Minneapolis and
“THE PUBLIC PAYS”
Max Rabinoff Comments on Russian Art, Real and Near ־
AN INTERVIEW BY GLEN VISSCHER.
Max Rabinoff had just returned from Mexico City, where his Ukrainian National Chorus enjoyed a truly phenomenal success, giving seventeen concerts instead of the four originally planned, and singing on one occasion, in an outdoor .concert in the bull ring, to an audience of over 32,000 spectators. Seen at his office in the Fisk Building, he was bubbling over with ideas about the exploitation of Russian art in America. There are several things about it—as the reader will gather from the following interview—that he does not like.
Mr. Rabinoff needs no introduction to Musical Courier readers. He is the impresario who introduced Pavlowa and her Ballet Russe to America, who brought oyer the Balalaika Orchestra, who gave fine opera on tour with his Boston National Company, and who imported the splendid Ukrainian National Chorus this season.
“Misrepresentation is not only ethically wrong,” he began, “but commercially the height of folly. America now has the opportunity, the first opportunity practically as far as the whole country and the mass of people are concerned, to learn something of Russian art, in a way, a chance to profit and benefit by Russia’s misfortune. For, under the Czars’ regime, Russia always kept her art to herself, bottled up for the sole pleasure of the Court and the nobility. It now sees the light of day in the outer world, the Western world, for the first time, even though Europe is still holding, as close as she can, the most and the best of Russian art. But from what America has had the chance to see and hear, she thoroughly appreciates Russian art and music, so that it is very much in vogue, which means it is a money-maker.
“This'brings out the money-wolves on the scent, arouses the cupidity, not only of some American managers, big and little, who are perfectly willing to take in a gullible public, if only they can put its dollars into their pockets, but even a certain class of Russians, and many near-Russians; are willing to prostitute their mother country’s highest and best in art, betray her ideals, for personal profit. However, I do not think they are so much to be censured, since most of them owe no particular duty to the American public, as the misleading manager, who acts the part of the dog that bites the hand that feeds it.
“And this is the pity of it; the public pays and is the loser. For, after having been fooled a number of times, people cannot ’be blamed for refusing to believe in the real thing when it comes along, which they often do. Yes, the public, like woman in melodrama, ‘pays and pays and pays,’ only to have false and inferior misrepresentations of art thrust upon it, trash for gold, until, discouraged and disgusted, it finally shuts its doors and hearts—and pocketbooks—stays at home and goes to bed, and misses the real thing. Fooled repeatedly by the cry of ‘Wolf! Wolf!’ when the real wolf comes, no attention is paid to the cry.
“And this wretched state of affairs exists not only on the concert stage, in the theater, even in vaudeville, but also in painting, sculpture, and so on; though, from a standpoint of practically stealing money from the public pocket, more injustice is done in the theater and especially as regards the concert stage.
“For instance, up until a short time ago, no one ever heard the word, ‘Ukrainia,’ or saw it it print, unless perhaps in regard to some political point. Since Alexander Koshetz Ukrainian National Chorus, an organization that toured Europe for three years with phenomenal success, has come here, we see ‘Ukrainian’ singers springing up on all sides, which simply means that some so-called ‘sharp’ unscrupulous
February 1, 1923
neighbor : “He has double forte and is leading through strength.” If you don’t believe this, ask the neighbor.
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We are being made happy with many intended contributions for “Variationettes.” Of course we cannot publish them all, but we shall endeavor to use as many as possible. Meanwhile our well meaning coadjutors should know that we are grateful for their kindly thought.
K •ç
One who signs himself “Music Lover No. 641,-293,” complains heatedly : “It is time for someone to call attention to the way the Wagner operas are being mutilated at the Metropolitan. I attend every Wagner performance with my score and I am shocked and horrified to see how many of the most beautiful passages are eliminated by the conductor—or whoever else is responsible for the cuts, which are shameful, inartistic, and cold blooded.” Cold cuts, as it were.
H *t
St. Peter (to Chicago critic, just arrived)—“How do you like the harp-playing up here ?”
Chicago Critic (cautiously)—■“Are they Lyon & Healy harps ?”
Preachers are crowding out the prima donnas as favorites of the news editors.
n *t H
“Berlin Hears Old d’Albert Work,” Musical America tells in a headline. According to all accounts, old d’Albert still works very well.
*	K *,
The present epidemic of ladies who right their wrongs with a revolver should induce the always timely Gatti-Casazza to produce here as soon as possible, Hindesmith’s new opera, Murder, the Hope of Women, which had its première at Stuttgart.
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Some cities are visited by influenzà and others by Italian opera companies that use a piano and a violin
in place of an orchestra.
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The recent president of the Hod Carriers’ Union has been elected business agent of the Musical Mutual Protective Union. If we were a headline writer on a daily we would caption our news article : “From Brick to Bach,” “From the Hod to Haydn” or just “Gives Up Mortar for Music.”
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Nilly—“Would you like to go to a concert tonight, or what?”
Willy—“Let’s what.”
Leonard Liebling.
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THE SALZBURG FESTIVAL
Salzburg announces its annual festival for next August. It will again be under the direction of Strauss, in conjunction with his associate at Vienna, Franz Schalk. Reinhardt will supervise the dramatic part of the festival, Roller of Vienna will look out for the scenery—and another von Hofmannsthal mystery play is promised. In other words, the “gang” will be in full control again. The Vienna Philharmonic Orchestra will participate both in the operatic productions and a series of symphony concerts. It has been said that Strauss’ new opera, Intermezzo, will be produced as the feature of the festival, but the official preliminary announcement does not promise that. We hope that the Salzburg authorities will not be offended if we suggest that a few more rehearsals and a few more first rank artists would do a lot to improve the quality of their coming festival over last year’s.
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MUSIC MISSING IN CONEY ISLAND
Coney Island lost its Music last week. His first name was Morris and he was seventeen years old. He strolled away at 11 a. m., Tuesday, not to return. Right above him in the list of missing persons was Teresa Capurso, sixteen, who ran away from Brooklyn—as others have done before. “She had tattooed on her left arm an eagle and on her right arm a kew-pie.” This has nothing in particularly to do with music—Morris, or any other; but we refer to it, since tattooing is one of the sister arts. As somebody used to sing in one of Victor Herbert’s delightful light operas ;
“It is perfectly true You can beat a tattoo,
But you can’t beat a tattooed man !”
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YOUNG ARTISTS’ CONTEST
All competitors who contemplate entering the New York State Federation of Music Clubs’ contest are requested to enter their names not later than March 15. Further details will be published later.