“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 order to be able to give scholarships to the deserving of limited means.  In this way no real violinistic genius, whom poverty might otherwise have kept from ever realizing his dreams, was deprived of his chance in life.  Among the pupils there in my class, having scholarships, were Kathleen Parlow, Elman, Zimbalist, Heifetz and Seidel.