Scan 9
Musical Courier 1928-09-06: Vol 97 Iss 10, 1928
95 lines. Read by computer on 28 September 2026. Printed page 10. See the scan on archive.org.
1Around the World a-Singin'
2(Continued from page 9)
3Turkish coffee. And, of course, we went to the Pyramids and saw the Sphinx, and the old lady was having her face done over. A scaffolding had been built about her, and I insisted she was having her face lifted. Certainly, after all these years she must have needed it.
5Before I left Cairo I determined to visit Jerusalem, and if possible sing there. The Holy Land had been a goal for years; I had been singing about Jerusalem and Jericho for a long time, and I wanted to see what they were like. I went by train from Cairo and gave my concert in Jerusalem in the Y. M. C. A. hut, in the presence of the military governor of the city, the governor of Palestine and their staffs. It seemed to go very well. It was curious to see the posters and cards that were displayed throughout Jerusalem announcing my concert. They were all in Hebrew. During my stay I had time to visit the spots of biblical interest, and with a woman companion I motored over to Jericho. One pleasing incident was the gallantry of a ragged old orange vender, who was selling marvelous Jericho oranges at a penny each. I thought I would buy a few, and proffered some coins. To my amazement he shook his head and made a declining gesture with his hands, at the same time uttering something I could not understand.
7I turned for explanation to the driver of the car, who was laughing.
9"He says," he explained, "that he will not take any money from you because of your eyes."
11This was flattering, but the driver went on:
13"Yours are the first blue eyes he has ever seen," he informed me, "and he begs to make you a present of as many oranges as you wish."
15However, I finally induced the vender to take my pennies. Back to Egypt by train, and to Port Said, I caught the first available steamer for Marseilles. Was it the complement of the old orange vender that had made me think of Paris?
17Anyhow, there were good and sufficient reasons for Paris. I had had no new clothes of any kind since I had started off for England two years before with my two trunks, my home-made outfit and my seven hundred and fifty dollars. I know I will strike sympathetic and perhaps responsive chords among my feminine readers when I say that in Paris practically every cent of the rather substantial sum I had made in Egypt I spent on a new wardrobe!
19Simple worth may make the man, but clothes are certainly a most necessary part of a woman's make-up, despite Lady Godiva and the rotogravure bathing beauties. And as for pretty clothes—one might say that without them, an artist—well, I will just put it tat a long and suppressed and almost strangled craving for things that were new and of the latest mode developed into a regular orgy among the Paris dressmakers and milliners and such as offer "what the well-dressed woman should wear!"
21(This is one of a series of articles by Edna Thomas which will be published in the MUSICAL COURIER from time to time.—The Editor.)
23Arnold Powell, Teacher of Violin, Theory and Composition
24Arnold Powell was born in the city of Vilna, Russia, a member of a family of distinguished musicians. From his father he inherited a pronounced talent for composition. At the age of six years he commenced the study of the violin with local teachers. Two years later he was accepted as a pupil in the Vilna Royal Music School, where he studied under Prof. Malkin, who was also the teacher of Jascha Heifetz. After graduation from the Vilna Royal Music School in 1898 with highest honors, young Powell was taken to Moscow to continue the study of the violin under Prof. Hrimaly, widely known as the compiler of the work, "Scales for the Violin." At the same conservatory he commenced the study of the piano.
26After completing his studies under Prof. Hrimaly, Mr. Powell went to St. Petersburg, where he studied musical theory, harmony, counterpoint and orchestration with Alexander Glazounow, at that time dean of Russian composers. The study of canon, fugue, and musical form composition was pursued under the celebrated Russian composer, Anatole Liadoff. Later Powell went to Germany, where he became a pupil in violin of the famous August Wilhelmj, and in composition of the eminent German musical scholar, Dr. Hugo Riemann.
28As a composer Mr. Powell has achieved signal success. He has just completed a choral and grand fugue, scored for large orchestra, which will be performed by one of the prominent orchestral associations early next season. The fugue is highly polyphonic in treatment, a dominant characteristic with the composer. The influence of Brahms is seen in his theme development, and his instrumentation is of the most modern order. He has also written several choral works, such as cantatas with orchestra, two sonatas for piano, a string quartet and many songs and smaller pieces for piano and violin. At present he is at work on a symphony.
30Mr. Powell came to the United States in 1918 and settled in Chicago, where he opened a studio and taught violin, musical theory and harmony. For the past six years he has been a resident of New York and is now established in the Steinway Building as a teacher of the violin and all theoretical subjects, such as harmony, counterpoint, canon, fugue, composition and orchestration.
32Vera Curtis as Sieglinda
33"Sang the rôle superbly throughout."
34"Reaches dramatic climaxes which are especially stirring."
35"Sustained the taxing role with vigor and vocal purity."
36"Enacted Sieglinda with infinite perception of its possibilities."
37"Reached climaxes of stirring intensity."
39Management Vera Curtis
401 East 124th Street New York
42MUSICAL COURIER
43September 6, 1928
45Additions to College of Fine Arts Faculty
46The College of Fine Arts at Syracuse University announces the engagement for its music faculty of Kirk Ridge as professor of piano and Hazel Jean Kirk as associate professor of violin. These teachers will take up their duties at the College of Fine Arts at the beginning of the new term in September.
48Mr. Ridge is a graduate of Oberlin College. For four years after his graduation, he studied in New York City with Stojowski at the same time, doing some private teaching. He then joined the piano faculty at Oberlin, resigning there to resume his teaching in New York and his tours as a recital pianist in this country. In the fall of 1927, he left for Europe for a period of advanced study. In January, February and March of 1928, he made a recital tour through Germany, Austria, Hungary and England.
50Miss Kirk holds an artist diploma from the Cincinnati College of Music, and the degree, Bachelor of Music, from the Cincinnati Conservatory of Music, where she studied for two years with Ysaye. Upon graduation she became head of the violin department at the Miami Conservatory. Two years later, she joined the faculty of the William Woods College where she remained for four years. She then returned to the Cincinnati Conservatory as a member of the violin faculty. This position she resigned after two years to open a studio in New York City. During the past four years Miss Kirk has given recitals in the East and the Middle West and in Canada and she has played repeatedly over WEAF, WJZ and WRNY in New York.
52KIRK RIDGE AND HAZEL JEAN KIRK
54ARNOLD POWELL,
55Teacher of violin, musical theory, composition and orchestration.
57POPULAR BOOKS
58By EUGENE GRUENBERG
60Violin Teaching and Violin Study. A textbook with preface by Fritz Kreisler. Indispensable for every violin student.
62Elementary Violin Lessons. The best Primer in existence.
64Daily Bowing Exercises. Short, concise, comprehensive.
66Foundation Exercises. Melodious daily left hand studies.
68Scales and Chords. In their most important forms.
70Twenty-five Violin Exercises. In the first position. Second Grade.
72Progressive Violin Studies by Famous Masters.
73Three volumes.
74I. The first three positions. II. The first five positions. III. All the positions.
76Melodic Violin Pieces with Piano. For beginners.
77Three volumes.
78I. Fifty very easy pieces, first position.
79II. Thirty Drawing-Room Pieces.
80III. Thirty Operatic Selections. II and III for the study of shifting.
82Handel's Violin Sonatas. Carefully marked. Ditson Edition.
84Louis Maurer. Twelve Drawing-Room Pieces. Attractive and instructive. Medium difficulty. Boston Music Co.
86IN PRESS:
87Ten Pieces in Different Styles. Within the first three positions. (Playable in the first position.)
89Twenty Easy Exercises. First position.
91The Violin Student's Vocabulary. Contents:
92I. Musical Terms. II. Rudiments of Musical Knowledge. III. Practising. IV. Famous Violinists. V. Famous Violin and Bow Makers. VI. Violin and Bow. A Historical Sketch.
94Eugene Gruenberg's books are endorsed by Franz Kneisel, Fritz Kreisler, Felix Winternitz, Richard Burgin and other authorities. Introduced in many schools. For sale at any Music Store.
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