teacher. I think I was with Professor Auer about six years, and I had
both class lessons and private lessons of him, though toward the end my
lessons were not so regular. I never played exercises or technical works
of any kind for the Professor, but outside of the big things--the
concertos and sonatas, and the shorter pieces which he would let me
prepare--I often chose what I wanted.

"Professor Auer was a very active and energetic teacher. He was never
satisfied with a mere explanation, unless certain it was understood. He
could always show you himself with his bow and violin. The Professor's
pupils were supposed to have been sufficiently advanced in the technic
necessary for them to profit by his wonderful lessons in
interpretation. Yet there were all sorts of technical _finesses_ which
he had up his sleeve, any number of fine, subtle points in playing as
well as interpretation which he would disclose to his pupils. And the
more interest and ability the pupil showed, the more the Professor gave
him of himself! He is a very great teacher! Bowing, the true art of
bowing, is one of the greatest things in Professor Auer's teaching. I
know when I first came to the Professor, he showed me things in bowing I
had never learned in Vilna. It is hard to describe in words (Mr. Heifetz
illustrated with some of those natural, unstrained movements of arm and
wrist which his concert appearances have made so familiar), but bowing
as Professor Auer teaches it is a very special thing; the movements of
the bow become more easy, graceful, less stiff.

"In class there were usually from twenty-five to thirty pupils. Aside
from what we each gained individually from the Professor's criticism and
correction, it was interesting to hear the others who played before
one's turn came, because one could get all kinds of hints from what
Professor Auer told them. I know I always enjoyed listening to Poliakin,