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Updated: June 13, 2025
But I also discovered that Auer made me develop my individuality unconsciously, placing no undue restrictions whatsoever upon my manner of expression, barring, of course, unmusicianly tendencies. When he has a really talented pupil the Professor gives him of his best. I never gave a thought to technic while I studied with him the great things were a singing tone, bowing, interpretation!
And the interesting fact developed that he had studied with the celebrated Bohemian pedagog Sevčik and with Leopold Auer as well, two teachers whose ideas and methods differ materially. "I studied with Sevčik for two years," said the young violinist. "It was in 1909, when a class of ten pupils was formed for him in the Meisterschule, at Vienna, that I went to him.
I know Professor Auer used to say: 'Play with your feet if you must, but make the violin sound! With tenths, octaves, sixths, with any technical frills, the main thing is to bring them out clearly and convincingly.
Colonne had a perfect horror of 'infant prodigies, and Auer had arranged for me to play with his orchestra without telling him my age I was eleven at the time. When Colonne saw me, violin in hand, ready to step on the stage, he drew himself up and said with emphasis: 'I play with a prodigy! Never! Nothing could move him, and I had to play to a piano accompaniment.
Do not ask me just how he does it, for I would not know how to tell you. But he is different with each pupil perhaps that is one reason he is so great a teacher. I think I was with Professor Auer about six years, and I had both class lessons and private lessons of him, though toward the end my lessons were not so regular.
Any ambitious student could learn much of value from either; yet in a general way one might express the difference between them by saying that Sevčik could take a pupil of medium talent and at least from the mechanical standpoint make an excellent violinist of him. But Auer is an ideal teacher for the greatly gifted.
I never played exercises or technical works of any kind for the Professor, but outside of the big things the concertos and sonatas, and the shorter pieces which he would let me prepare I often chose what I wanted. "Professor Auer was a very active and energetic teacher. He was never satisfied with a mere explanation, unless certain it was understood.
"Studying with Professor Auer was a revelation. I had private lessons from him, and at the same time attended the classes at the Petrograd Conservatory. I should say that his great specialty, if one can use the word specialty in the case of so universal a master of teaching as the Professor, was bowing.
He's begging me for an answer by to-night, before he goes back home." "I.W. Goldstone, of Goldstone & Auer, ladies' wear?" She nodded, her hand to her throat. "Well, I'll be strung up!" "He he says, Kess, it's been on his mind for a year and a half, ever since his spring trip a year ago. He wants to take me back with him, Kess, home." "Whew!" said Mr.
Replying to a question as to the value of the Bach violin sonatas, Professor Auer said: "My pupils always have to play Bach. I have published my own revision of them with a New York house. The most impressive thing about these Bach solo sonatas is they do not need an accompaniment: one feels it would be superfluous.
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