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I never had any difficulty in acquiring it, and can keep on trilling indefinitely without the slightest unevenness or slackening of speed. Auer himself has assured me that I have a trill that runs on and on without a sign of fatigue or uncertainty. The trill has to be practiced very slowly at first, later with increasing rapidity, and always with a firm pressure of the fingers.
"It stands to reason that no matter how great a student's gifts may be, he can profit by study with a great teacher. This, I think, applies to all. After I had already appeared in concert at Albert Hall, London, in 1909, where I played the Beethoven Concerto with orchestra, I decided to study with Auer.
Without technical control a violinist could not be a great artist; for he could not express himself. Yet a great artist can give even a technical study, say a Rode étude, a quality all its own in playing it. That technic, however, is a means, not an end, Professor Auer never allowed his pupils to forget. He is a wonderful master of interpretation.
Pupils generally have something of the teacher's tone Auer pupils have the Auer tone, Joachim pupils have a Joachim tone, an excellent thing. But as each pupil has an individuality of his own, he should never sink it altogether in that of his teacher. It is this imitative trend which often makes it hard to judge a young player's work. I was very fortunate in my teachers.
Hubay had been a pupil of Vieuxtemps in Brussels, and is a justly celebrated teacher, very thorough and painstaking in explaining to his pupils how to do things; but the great difference between Hubay and Auer is that while Hubay tells a student how to do things, Auer, a temperamental teacher, literally drags out of him whatever there is in him, awakening latent powers he never knew he possessed.
Questioned as to how his various pupils reflected different phases of his teaching ideals, Professor Auer mentioned that he had long since given over passing final decisions on his pupils. "I could express no such opinions without unconsciously implying comparisons. And so few comparisons really compare! Then, too, mine would be merely an individual opinion.
Petersburg quartet was founded in 1868, and became one of the leading musical organisations of the Russian capital, until the death of Davidoff, the violoncellist, who was one of its members, in 1890. Auer has been very active in the musical life of St. Petersburg, and is very highly esteemed both as a man and as a musician, teacher, and performer.
And Bebel said publicly that nowhere was the socialist party more numerous or better organized than in the districts where the minor state of siege had been proclaimed. The year 1886 was a sensational one. Nine of the socialists, including Bebel, Dietz, Auer, Von Vollmar, Frohme all deputies were charged with taking part in a secret and illegal organization.
I have heard the Tschaikovsky played magnificently by Auer and by Elman; but I consider it the worst thing the composer has written." The courts of editorial appeal presided over by such men as Wm. Arms Fisher, Dr.
In my Brahms revisions I have supplied really needed fingerings, bowings, and other indications! Important compositions on which I am now at work include Ernst's fine Concerto, Op. 23, the Mozart violin concertos, and Tartini's Trille du diable, with a special cadenza for my pupil, Toscha Seidel. "Prodigies?" said Professor Auer.
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