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Violin Playing as I Teach It, by Leopold Auer
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- Published on: 2016-01-25
- Released on: 2016-01-25
- Original language: English
- Dimensions: 10.00" h x .60" w x 7.00" l,
- Binding: Paperback
- 264 pages
From the Back Cover
Leopold Auer (1845–1930) belonged to that select company of violin virtuosos who not only established the level of artistic excellence for the nineteenth century, but also trained many of the violinists who surpassed that level in the twentieth. Mischa Elman, Jascha Heifetz, and Efrem Zimbalist (Sr.) were among Auer's students. Himself a pupil of the great Joseph Joachim, Auer will always be regarded as one of the most important violin pedagogues in history.
This exemplary collection of principles and guidelines was set down by the master after a lifetime of playing and teaching. Auer taught by example, and he directs violin teachers to inculcate the intricacies of execution by means of the violin itself, not simply by verbal instruction. He then devotes the rest of his advice to the violin pupil: how to hold the violin and bow, how to practice, and how to approach such matters of technique as tone production, vibrato, bowing methods including the legato, left-handed technique, double stops, trills, pizzicato, harmonics, and phrasing. In the concluding chapters Auer takes up the more general topics of style, stage fright, changes in the violin repertory, and, of great historical interest, his practical repertory hints―what he gave his own students to play. Many of the book's chapters are illuminated by biographical details and anecdotes about famous musicians whom Auer knew: Davidov, Wieniawski, Seidel, Wilhemj, Sarasate, and von Bulow.
Receiving poor direction at an early age is disastrous for a violinist. As Auer says, "There is no instrument whose absolute mastery at a later period presupposes such meticulous care and exactitude in the initial stages of study as does the violin." With this book every beginning violin student will have the benefit of the finest guidance.
Most helpful customer reviews
30 of 32 people found the following review helpful.
Witty, opinionated, and insightful
By Clare Chu
This little gem of a book reads like a tip book, expose, soapbox, gossip column and memoir. Auer is witty and funny, sometimes he had me laughing in stitches. For example, his description of chronic vibrato, "this physical evil generally may be traced to a group of sick or ailing nerves, hitherto undiscovered." Another diatribe on the lack of standards for violin teachers: "Many are indeed desirous of doing their best, but alas, having themselves been ill-taught, they spread the poison of their own ignorance broadcast, a plague which carries off many hapless innocents, victims of their pernicious teaching methods."
Auer was in the position to learn from, observe, and teach some of the best violinists of the last two centuries. He studied with Jacob Dont in Vienna and Joachim in Hanover, was a contemporary of Davidov, Wieniawski, Seidel, Wilhelmj, Sarasate, von Bulow, and taught Elman, Zimbalist, and Jascha Heifetz. Who would have known that Joachim had such stage fright, or that Mischa Elman almost died of coal-gas fumes the night before his debut?
The book has nice tips on fingering, bowing and tone production. He also devotes a chapter to nuance, the soul of interpretation and phrasing and another chapter to Style, where he wisely suggests that each generation interprets the music to suit the style of that era. No one really knows how Bach played baroque music, and no one can claim to be authentic to a time period that has long since passed away. "The musical spirit of Bach transcends all narrow limitations of period, and the artist of today who truly enters into this spirit will play Bach as he should be played, and will play Bach better because he will play him in the interpretative spirit of our own generation, not that of 1720." He deplores the blind upholders of "tradition" and insists that the violinist must form his own style, not just copy that of another.
On the famous shoulder-rest controversy, Auer comes down strictly on the "no-shoulder-rest" school claiming that it makes the player lose a third of the whole body of tone. One look at a picture of Auer playing the violin and you can see why his physique is suited to no-shoulder-rest. He has no neck, a protruding chin, and a squat frame upon which he can rest the violin on his chest, with relatively short arms, so he can hold the instrument directly in front of him. He also insists that you hold the violin as high as possible, especially when playing on the G string. You can see the results with Jascha Heifetz, who holds his violin up high and uses no shoulder rest. Of course, men of those days had padded shoulders on their suits and tuxedos, so the violin fit right up there.
This book is of interest in learning about violin pedagogy as taught in the Russian conservatories at the turn of the last century. And has valuable tips and technical aids. However, it does not substitute for a good teacher. And Auer would wholeheartedly agree, especially for beginners: "There is no instrument whose absolute mastery at a later period presupposes such meticulous care and exactitude in the initial stages of study as does the violin."
17 of 18 people found the following review helpful.
Excellent resource for teachers and more advanced student
By taihiong
I find this book invaluable as a resource for serious violin students and teachers. Leopold Auer elaborates a lot of insights and perspectives on better techniques to play the violin. This book is not merely about performing certain violin techniques, but also about the logic behind better ways of executing them.
I would agree, however, that this book is not for beginner level violin students. Auer does say that correct foundation should be built since the early stage, but many of the explanations are beyond the reach of those beginner who can't even produce the techniques way too difficult for their stage; say, vibrato, double-stops, spiccato, etc. However, this is a good resource for violin teachers to lay correct foundation step by step following the progress of their students. Also, this is a good book for more advanced students as a comparative reference on how well they have understood the techniques, at least as another perspective.
Overall, this book is highly recommended for serious students and teachers of violin.
33 of 40 people found the following review helpful.
Over my head
By A Customer
Whereas I'm sure there is no doubting Mr. Auer's ability in playing the violin, as a beginner, I found alot of what he had to say here, irrelevant for my needs. Perhaps I thought that by the word 'teach' in the title, that it would assist, but in fact, it didn't at all. If anything, it made me wonder why I was attempting to start this instrument so late in life!
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