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Updated: June 13, 2025
"As regards the theory that you can tell who a violinist's teacher is by the way in which he plays, I do not believe in it. I do not believe that you can tell an Auer pupil by the manner in which he plays.
You know in many of the celebrated ballets, Tschaikovsky's for instance, there occur beautiful and difficult solos for the violin. They call for an artist of the first rank, and Auer was accustomed to play them in Petrograd. In Russia it was considered a decided honor to be called upon to play one of those ballet solos; but in London it was looked on as something quite incidental.
Auer is a great teacher, and leaves much to the individuality of his pupils. He first heard me play at the Imperial Music School in Odessa, and took me to Petrograd to study with him, which I did for a year and four months. And he could accomplish wonders! That one year he had a little group of four pupils each one better than the other a very stimulating situation for all of them.
Naturally, the first and burning question in the case of so celebrated a pedagogue was: "How do you form such wonderful artists? What is the secret of your method?" "I know," said Professor Auer, "that there is a theory somewhat to the effect that I make a few magic passes with the bow by way of illustration and presto you have a Zimbalist or a Heifetz!
He commenced to study the violin seriously at the age of seven in Odessa, his natal town, with Max Fiedemann, an Auer pupil. A year and a half later Alexander Fiedemann heard him play a De Bériot concerto in public, and induced him to study at the Stern Conservatory in Berlin, with Brodsky, a pupil of Joachim, with whom he remained for two years.
I have read somewhere that the great fencing-masters of the sixteenth and seventeenth centuries were very jealous of the secrets of their famous feints and ripostes, and only confided them to favorite pupils who promised not to reveal them. Auer had his little secrets, too, with which he was loth to part.
By a slight turn the glass hat reminded me of Auer's light, and I knew that I was about to invent something which was to make me as rich and independent as his invention had made my countryman, Dr. Auer, of Welsbach; then I should be able to travel instead of remaining in Vienna. In the dream I was traveling with my invention, with the, it is true, rather awkward glass top-hat.
But when you say Dresden well, from Brandeis' Bazaar in Winnebago, Wisconsin, to Auer, in Dresden, Germany, is a long journey for one afternoon." "But of course you must have time to think it over. It must be brought about, somehow." "Somehow " Mrs.
There was not so much to do," said Professor Auer modestly, "a little fingering, some bowing indications and not much else. No reviser needs to put any indications for nuance and shading in Beethoven. He was quite able to attend to all that himself. There is no composer who shows such refinement of nuance. You need only to take his quartets or these same sonatas to convince yourself of the fact.
In a way it points the difference in their mental attitude: Hubay more concerned with the technical educational means, one which cannot be overlooked; Auer more interested in the interpretative, artistic educational end, which has always claimed his attention. Hubay personally was a grand seigneur, a multi-millionaire, and married to an Hungarian countess.
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