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Updated: June 13, 2025
"Auer as a teacher I found altogether different. Where Sevčik taught his pupils the technic of their art by means of a system elaborately worked out, Auer demonstrated his ideas through sheer personality, mainly from the interpretative point of view.
His bowing, his fingering, his whole style and manner of playing so greatly impressed me that I felt I must have his teacher, that I would never be content unless I studied with Professor Auer! In 1912 I at length had an opportunity to play for the Professor in his home at Loschivitz, in Dresden, and to my great joy he at once accepted me as a pupil.
Leopold Auer, for instance, is one of the most careful, exact and practical of editors, and the fact is worth dwelling on since sometimes the great artist or teacher quite naturally forgets that those for whom he is editing a composition have neither his knowledge nor resources. Auer never loses sight of the composer's own ideas.
Here he was in accord with Auer, in fact with every teacher seriously deserving of the name. Hubay was a first-class pedagog, and under his instruction one could not help becoming a well-balanced and musicianly player. But there is a higher ideal in violin playing than mere correctness, and Auer is an inspiring teacher.
Aside from what we each gained individually from the Professor's criticism and correction, it was interesting to hear the others who played before one's turn came, because one could get all kinds of hints from what Professor Auer told them. I know I always enjoyed listening to Poliakin, a very talented violinist, and Cécile Hansen, who attended the classes at the same time I did.
No autocrat could have done so much. As early as 1887 Auer, Bebel, and Liebknecht outlined the programme of the party, and this programme, again revised at Erfurt in 1891, stands as the expression of their demands. They claim that: "Die Arbeiterklasse kann ihre ökonomischen Kämpfe nicht führen und ihre ökonomische Organisation nicht entwickeln ohne politisehe Rechte."
Therefore, as has been my custom for years, I will continue to leave any ultimate decisions regarding my pupils' playing to the public and the press." "How long should the advanced pupil practice?" Professor Auer was asked. "The right kind of practice is not a matter of hours," he replied. "Practice should represent the utmost concentration of brain.
It certainly was a fact that no one ever saw the landlord of the Auer, and that the landlady's two smart boys, who helped so cheerfully in picking up the skittles, bore a striking resemblance to the major. It was in the courtyard of the Auer tavern, when, after one of these excursions of Major Schrader's, they were getting their bicycles out of the shed, that Landsberg's rancour broke out.
I played the Mendelssohn concerto in 1914, in Vienna, with Safonoff as conductor. Last season in Chicago I played the Brahms concerto with a fine and very elaborate cadenza by Professor Auer.
I studied Brahms and Beethoven, and though Hubay always finished with the Bach sonatas, I studied them again carefully with Auer. "At the bottom of all technic lies the scale. And scale practice is the ladder by means of which all must climb to higher proficiency.
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