Scan 8
Violin master works and their interpretation, 1925
8 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1volume which proves how adequately its author has handled his delicate and elusive subject. It was a request with which the writer was happy to comply, since it has given him an opportunity of outlining the work's outstanding qualities.
3Some will be so self-evident to the student that they do not call for extended consideration. It is at once clear that the author is modest. He brings no tablets from the Mount. He presents his own opinions with respect and tolerance for those of others. He is neither an individualist nor a traditionalist, but renders unto artistic individuality and tradition that which is due to each.
5Then, too, the plan of the work is elastic. From the great body of violin literature Professor Auer has chosen for detailed interpretative analysis and discussion some seventy odd major compositions; in practically every case "living" works, compositions which form a vital part of the existing violin repertoire. They follow each other in an informal chronological sequence and, though he is careful to establish the character of the individual work and of its period, the author has eschewed extended biographical or other digressions not bearing on the subject. "After all," he remarked to the writer, "there are enough good biographical dictionaries and individual biographies to which any student may refer. I feel that my book will be practically useful in direct proportion to the fullness of detail with which it considers its subject—the interpretation of the masterworks written for the violin."
7And with due regard for the personal equation in interpretation, which Professor Auer never forgets, he has concentrated on analyzing the masterworks of violin literature in clear, practical expositions of how each should be played in order to do justice to the work and to the player. Noteworthy are the invaluable hints and directions regarding the technical minutiæ of interpretation: special bowings; mood and tempo variants; artistic effects; methods of individual procedure which Professor Auer uses with his own pupils; individual "cuts" which enhance the audition of a work on the recital stage, etc., all drawn from the author's rich fund of artistic experience. And in many cases the author supports his interpreta-
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