Violin Mastery | Page 5

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, with its splendid teachers. So is Kreisler, one of the greatest artists, who studied in Vienna and Paris. Eddy Brown, the brilliant American violinist, finished at the Budapest Conservatory. In the Paris Conservatory the number of pupils in a class is strictly limited; and from these pupils each professor chooses the very best--who may not be able to pay for their course--for free instruction. At the Petrograd Conservatory, where Wieniawski preceded me, there were hundreds of free scholarships available. If a really big talent came along he always had his opportunity. We took and taught those less talented at the Conservatory in