This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1921 edition. Excerpt: ...a series would be played by a perfected artist. v Fingered Octaves Fingered octaves are, so far as I am able to discover, a product of the last quarter of the past century. There is a bare possibility, of course, that they were taught or used before that time, but so far as I am concerned, I never, or at least only very vaguely ever heard them mentioned during my youth, and none of my teachers--neither Hellmesberger, Jacques Dont, nor Joachim (then in Hanover--during the reign of the blind King George, 1863-1865)--ever made me practise "fingered octaves." It was not until later--when Wilhelmj played Paganini's D major Concerto, in which he introduced a scale of double "fingered" octaves in a cadenza of his own composing--that I heard them for the first time. Because of their novelty, and on account of the perfection and boldness with which Wilhelmj executed them those double "fingered" octaves produced a great effect. But to play them as he played them one would need his giant hand and his long, slender fingers. But in the violin literature of the period there is no trace of double "fingered" octaves. Neither Paganini, Vieuxtemps nor Ernst (excepting his transcription of Schubert's Erl-King), Wieniawski, nor Bazzini employed them in their works, which represent the flower of the virtuoso compositions of the time. VI Tenths In order to practise tenths successfully one need only follow the rules laid down for the first and fourth fingers in playing octaves. Short fingers will find the first position somewhat difficult because of the great stretch between the two fingers; yet if the left arm be well advanced toward the E-string, this difficulty may, nevertheless, be surmounted. VII The Trill I have no hesitation in saying that a perfect trill is one...
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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.
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