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, on