About this title: Exemplary collection of principles and guidelines: holding the instrument, practicing, tone production, bowing, fingering, phrasing, etc.
Note: This is a general synopsis. Each listing is described below.
Description: Very Good. Great condition for a used book! Minimal wear. Shipped to over one million happy customers. Your purchase benefits world literacy! read more
Description: Good. Shows some signs of wear, and may have some markings on the inside. Shipped to over one million happy customers. Your purchase benefits world literacy! read more
Edition: 1980 reissue.
Binding: paperback
Publisher: New York: Dover
ISBN-13:9780486239170ISBN:0486239179
Description: 99pp. paperback 8vo: Fine. An attractive reissue of an instrument method classic by the famous violin pedagogue Auer (1845-1930), originally published in 1921. read more
Binding: Trade paperback
Publisher: Dover Publications
Date Published: 1980
ISBN-13:9780486239170ISBN:0486239179
Description: Very good. No dust jacket as issued. No Remainder Mark, No Damage, 100% satisfaction guaranteed. Trade paperback (US). Glued binding. 111 p. Audience: General/trade. read more
Description: New in no jacket. pp. 132. Leopold Auer was born in Hungary in 1845 and became the most charismatic and successful violin teacher of the first half of the 20th cent. He was not only a dynamic force in the teaching studio but made his mark as a concertmaster, conductor, editor, soloist, chamber music performer, and ìcourt musicianî in serving three czars. He died in 1930 but his fame and mystique as a teacher have never been equaled or diminished. Auerís book, originally pub. in 1920, should be ... read more
Binding: Paperback
Publisher: Dover Publications
Date Published: 1980
ISBN-13:9780486239170ISBN:0486239179
Description: New. Brand New! Buy with confidence-your satisfaction is guaranteed at B-Logistics! Due to the large scale of our operation, we do not have access to the specific contents/condition of our items. Please note that Expedited shipping is not available at this time. read more
Description: Fine. 0760749914 like new, Softbound, clean & tight, no markings of any kind, only very light shelfwear. Carefully packaged. (Edition: 1st Edition)...All books are packaged with care to protect the corners. Ships same or next bussness day. read more
Description: Octavo, hardcover, green boards with wear at spine and corners. Paste-on of author on cover. Hinges broken, spine sunned, else Good reading copy. 225 pages. Tells how to practice, tone production, hints on bowing, left hand technique, double stops-the trill, ornaments, harmonics, nuance and style. read more
Edition: Eleventh Edition
Binding: Hardcover
Publisher: Frederick A. Stokes
Date Published: 1938
Description: Good in Fair dust jacket. Olive green cloth, gilt lettering, portrait pastedown on front. Frontispiece portrait of Auer, with tissue guard. Interior plate illustrations include portraits of musicians Heifetz, Elman, Zimbalist, Parlow, Seidel, Brown, Rosen, Given and Piastro. Cloth boards have some discoloration and show evidence of light jacket adhesion to cover. Jacket is chipped and tattered, dampstain along spine, large piece missing on rear panel at top. Board edges bumped, with small area ... read more
Description: BRAND NEW PAPERBACK. 9 by 6 inches. This book is printed on demand [allow 1-2 weeks for printing]. (00092 pages) lang=english accessory: no accessory (Paperback ) read more
Description: BRAND NEW PAPERBACK. 9 by 6 inches. This book is printed on demand [allow 1-2 weeks for printing]. (00096 pages) lang=english accessory: no accessory (Paperback ) read more
Binding: Hardcover
Publisher: Duckworth, London
Date Published: 1921
Description: First edition. Hardcover, small 8vo, viii+182pp, music excerpts. Lacks ffep, name to half-title page, spotting to edges, G to VG no d/w. read more
Binding: Paperback
Publisher: General Books LLC
Date Published: 2009
ISBN-13:9780217805469ISBN:0217805469
Description: New. BRAND NEW and ready for dispatch. Delivery normally within 4/7 days. Our reputation is built on our Speedy Delivery Service and our Customer Service Team. read more
"This book is a great little resource of violin pedagogy because Auer forgoes any purely technical instruction in favor of broader, almost poetic descriptions and observations taken directly from his experience. He wisely observes that much of the mechanical and technical facets of playing the violin need to be patiently worked out by the student in their own fashion."
"A curious work. It does not remotely live up to the blurb at this site as far as imparting much technical violin wisdom. It has a lot more to do with some of Auer's opinions, memories, and taste. I have the impression that this book was written by the exiled post-1917 Auer from economic necessity and to exploit his name for profit. It is a slight volume interesting on its own terms. For the benefit of those who are not familiar with its author. Leopold Auer was a prominent violinist of the nineteenth century who got a the job of running the music school at St. Petersburg along with distinguished colleagues such as Nicolas Rubenstein (brother of the famous pianist Anton Rubenstein). This task was very demanding and left him with little time for performance (which is Auer's explanation for his neglect of the the Tchaikowksy concerto originally dedicated to him, but that is not discussed in this book). While in this post he was the recipient one of the greatest bounties ever bestowed upon a violin pedagogue, a monopoly on the talent pool of the Russian Jewish Pale of Settlement of western Russia. The residents of the pale could not freely move outside the pale. One exception was to be a student at the school in St. Petersburg. From this captivity emerged a stream of fabulous artists such as Elman, Seidel, Milstein and Heifetz. The exploits of these giants made his reputation as a teacher around the world, surpassing that of any other "school" of the time. To his credit, he did no harm to these prodigies, as for example a lesser pedagogue such as Joachim would have. But on the other hand his operation was sufficiently hands-off that it cannot be said that he made them either. Heifetz in particular arrived all but ready-made. (In other accounts Heifetz gives Auer credit for polishing him up socially and in proper public presentation, violinistically there was not much left to add.) All the same he did expedite the passage of these artists, with their individuality intact, to the world stage (and recordings) and for that we can be grateful. In the book, there are many reflections about the discovery and development of his more famous students. For example, Elman was having some problems with the Tchaikowsky concerto, so the author tells him to get it or he will have to do something else, and viola, Elman pulls it off. One can do this with with great talent Auer notes. And his bemused observation that Seidel and Heifetz seem to have no nerves at all, in constrast to the author who apparently has a more abundant (that is, normal) supply of stage fright.
I found among his recollections some strange tastes. For example, he regards the Bach violin concerti as inferior works with the exception of the double concerto. On the other hand he extolls the virtues of Bazzini's Ronde de Lutins, a small, charming and extremely technical display piece but no landmark of composition."
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