Violin Mastery | Page 5

A METHOD WITHOUT SECRETS
"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! But the
truth is I have no method--unless you want to call purely natural lines
of development, based on natural principles, a method--and so, of
course, there is no secret about my teaching. The one great point I lay
stress on in teaching is never to kill the individuality of my various
pupils. Each pupil has his own inborn aptitudes, his own personal

qualities as regards tone and interpretation. I always have made an
individual study of each pupil, and given each pupil individual
treatment. And always, always I have encouraged them to develop
freely in their own way as regards inspiration and ideals, so long as this
was not contrary to esthetic principles and those of my art. My idea has
always been to help bring out what nature has already given, rather than
to use dogma to force a student's natural inclinations into channels I
myself might prefer. And another great principle in my teaching, one
which is productive of results, is to demand as much as possible of the
pupil. Then he will give you something!
"Of course the whole subject of violin teaching is one that I look at
from the standpoint of the teacher who tries to make what is already
excellent perfect from the musical and artistic standpoint. I insist on a
perfected technical development in every pupil who comes to me. Art
begins where technic ends. There can be no real art development before
one's technic is firmly established. And a great deal of technical work
has to be done before the great works of violin literature, the sonatas
and concertos, may be approached. In Petrograd my own assistants,
who were familiar with my ideas, prepared my pupils for me. And in
my own experience I have found that one cannot teach by word, by the
spoken explanation, alone. If I have a point to make I explain it; but if
my explanation fails to explain I take my violin and bow, and clear up
the matter beyond any doubt. The word lives, it is true, but often the
word must be materialized by action so that its meaning is clear. There
are always things which the pupil must be shown literally, though
explanation should always supplement illustration. I studied with
Joachim as a boy of sixteen--it was before 1866, when there was still a
kingdom of Hanover in existence--and Joachim always illustrated his
meaning with bow and fiddle. But he never explained the technical side
of what he illustrated. Those more advanced understood without verbal
comment; yet there were some who did not.
"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. And I am
proud of it since it shows that my pupils have profited by my
encouragement of individual development, and that they become
genuine artists, each with a personality of his own, instead of violinistic

automats, all bearing a marked family resemblance."
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. 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."
HOURS OF PRACTICE
"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 is better
to play with concentration for two hours than to practice eight without.
I should say that four hours would be a good maximum practice time--I
never ask more of my pupils--and that during each minute of the time
the brain be as active as the fingers.
NATIONALITY VERSUS THE CONSERVATORY SYSTEM
"I think there is more value in the idea of a national conservatory than
in the idea of nationality as regards violin playing. No matter what his
birthplace, there is only one way in which a student can become an
artist--and that is to have a teacher who can teach! In Europe the best
teachers are to be found in the great national conservatories. Thibaud,
Ysaye--artists of the highest type--are products of the conservatory
system,