Violin Mastery: Talks with Master Violinists and Teachers

by Frederick Herman Martens

HOW TO STUDY

Toscha Seidel, though one of the more recent of the young Russian violinists who represent the fruition of Professor Auer's formative gifts, has, to quote H.F. Peyser, "the transcendental technic observed in the greatest pupils of his master, a command of mechanism which makes the rough places so plain that the traces of their roughness are hidden to the unpracticed eye." He commenced to study the violin seriously at the age of seven in Odessa, his natal town, with Max Fiedemann, an Auer pupil. A year and a half later Alexander Fiedemann heard him play a De Bériot concerto in public, and induced him to study at the Stern Conservatory in Berlin, with Brodsky, a pupil of Joachim, with whom he remained for two years.

It was in Berlin that the young violinist reached the turning point of his career. "I was a boy of twelve," he said, "when I heard Jascha Heifetz play for the first time. He played the Tschaikovsky concerto, and he played it wonderfully. His bowing, his fingering, his whole style and manner of playing so greatly impressed me that I felt I must have his teacher, that I would never be content unless I studied with Professor Auer! In 1912 I at length had an opportunity to play for the Professor in his home at Loschivitz, in Dresden, and to my great joy he at once accepted me as a pupil.

STUDYING WITH PROFESSOR AUER

"Studying with Professor Auer was a revelation. I had private lessons from him, and at the same time attended the classes at the Petrograd Conservatory. I should say that his great specialty, if one can use the word specialty in the case of so universal a master of teaching as the Professor, was bowing. In all violin playing the left hand, the finger hand, might be compared to a perfectly adjusted technical machine, one that needs to be kept well oiled to function properly. The right hand, the bow hand, is the direct opposite—it is the painter hand, the artist hand, its phrasing outlines the pictures of music; its nuances fill them with beauty of color. And while the Professor insisted as a matter of course on the absolute development of finger mechanics, he was an inspiration as regards the right manipulation of the bow, and its use as a medium of interpretation. And he made his pupils think. Often, when I played a passage in a concerto or sonata and it lacked clearness, he would ask me: 'Why is this passage not clear?' Sometimes I knew and sometimes I did not. But not until he was satisfied that I could not myself answer the question, would he show me how to answer it. He could make every least detail clear, illustrating it on his own violin; but if the pupil could 'work out his own salvation' he always encouraged him to do so.

Toscha Seidel

"Most teachers make bowing a very complicated affair, adding to its difficulties. But Professor Auer develops a natural bowing, with an absolutely free wrist, in all his pupils; for he teaches each student along the line of his individual aptitudes. Hence the length of the fingers and the size of the hand make no difference, because in the case of each pupil they are treated as separate problems, capable of an individual solution. I have known of pupils who came to him with an absolutely stiff wrist; and yet he taught them to overcome it.

ARTIST PUPILS AND AMATEUR STUDENTS

"As regards difficulties, technical and other, a distinction might be made between the artist and the average amateur. The latter does not make the violin his life work: it is an incidental. While he may reasonably content himself with playing well, the artist-pupil must achieve perfection. It is the difference between an accomplishment and an art. The amateur plays more or less for the sake of playing—the 'how' is secondary; but for the artist the 'how' comes first, and for him the shortest piece, a single scale, has difficulties of which the amateur is quite ignorant. And everything is difficult in its perfected sense. What I, as a student, found to be most difficult were double harmonics—I still consider them to be the most difficult thing in the whole range of violin technic. First of all, they call for a large hand, because of the wide stretches. But harmonics were one of the things I had to master before Professor Auer would allow me to appear in public. Some find tenths and octaves their stumbling block, but I cannot say that they ever gave me much trouble. After all, the main thing with any difficulty is to surmount it, and just how is really a secondary matter. I know Professor Auer used to say: 'Play with your feet if you must, but make the violin sound!' With tenths, octaves, sixths, with any technical frills, the main thing is to bring them out clearly and convincingly. And, rightly or wrongly, one must remember that when something does not sound out convincingly on the violin, it is not the fault of the weather, or the strings or rosin or anything else—it is always the artist's own fault!