Violin Playing as I Teach it by Leopold Auer

February 6, 2004 at 07:43 AM · I am curious as to what people think of this book, and the ideas, and logistics as to why Auer taught certain things the way he did. I received this book for Christmas, and have found it very interesting, and just was curious what others thought of it, and if you're a teacher, are there any of the principals in here that you apply to your own teaching?

Replies (11)

February 6, 2004 at 04:25 PM · I'm sorry I haven't read the book, and so I can't say anything as to its contents...

But since he taught Mischa Elman, Jascha Heifetz, and Nathan Milstein I'd listen very carefully to everything Auer says.

February 6, 2004 at 05:01 PM · I love the book and everything he had to say about tone, bowing, posture and how to hold the violin etc.

When I first started it was helpful to introduce me to alot of music I didnt know about.

I dont think it really helped me understnad how to play better but its a great book for a low price. I mean 6 some dollars to read the words of one of the greatest teachers is worth it for sure.

February 6, 2004 at 04:54 PM · I have'nt read the book but I kwow "Graded course of Violin Playing (1925)" . It deals with details (such as testing the purity of strings,size of vln and so on )that I 've seen nowhere else. Many exercices introduce accompaniement rythm at a early stage (open string). I believe the bow technique described in here has been changed after Heitfez and must be different in the book. Could anybody confirm?

February 6, 2004 at 11:59 PM · Auer's book is very helpful in understanding the artistic and technical measures he had put in place for all his famous pupils. Some are very insightful, some outdated by new discoveries of his students. Out of all his disciples, Raphael Bronstein, teacher of Elmar Oliveira and myself, was the only one who devoted to pedagogy and had written a book on his own findings. It is called: "The Science of Violin Playing". In it are many modern approaches that incorporated Auer's methods and artistic refinements Bronstein learned from fellow legendary artists. Prof. Bronstein also left a study guide for Bach's Solo Sonatas and Partitas, a book of rare value, worshiped by violinist Henryk Szeryng and highly respected by Milstein. Sadly both books are out-of-print. They were published by Paganiniana Publications. Many of Bronstein's pupils are in major orchestras, teaching in schools, and performing. They carry the traditions that reach back to the great Auer studio at turn of the 20th century that produced the golden age of violin performance.

February 7, 2004 at 03:54 AM · its a very good book..ive read it like 3 times.....its written very well even though auer was a violinist and not a writer....great book...one of the best out there

February 7, 2004 at 04:51 AM · Great book I give it to all my students to read, and I have read it countless times myself I always find something new in this wonderful little book.

February 8, 2004 at 02:30 AM · I read this book last year. I found I too be quite good, but it can be discouraging in certain ways. I like its definition of a teacher, and its wonderful defintions of tonality, technique, and etc.

February 8, 2004 at 08:39 AM ·

February 8, 2004 at 11:27 AM · i have his book, Graded Course book 1. Copyright 1926. In it he states never to use a shoulder cushion. It will hamper playing position and vibrations.

February 8, 2004 at 01:06 PM · I agree with the idea that a really good teacher must be able to work with with all kind if students... whether they are specially "talented" or the sort that have special problems. There are not many great teachers around. The so-called artist teachers often don't know how to really teach, but just share their musical ideas... As for Auer book, it is good for historical reasons, but it is outdated in some areas by now. Its interesting, but I wouldn't use it to teach or to learn too much... He also has a very old fashioned approach to violin playing and violinists that should not be part of today's violin playing art (not talking about technique, but about certain outdated prejudices and out of fashion philosophy)

February 10, 2004 at 01:47 AM · um, I'd give Auer a lot more credit Dan k if I were you, because Heifetz himself said that Auer was a great teacher, as did Milstein, Zimbalist, Rabinoff, and many others. Also, he knew the playing styles of Joachim, Sarasate, and others of the past, so he was a man who knew and implemented into his students some very important things. I agree with you on Carl Flesch though. I think he must've been a great teacher, if not the best ever. Some things I'm surprised at about Flesch students are their up bow staccattos, their unique sounds, and their individualities. I don't know any Carl Flesch student who performed with the same interpretations as another Flesch student, whereas today, I see it happen all the time between Dorothy Delay students.

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