conservatory orchestra while studying with Hubay. There should be a
national conservatory of music in this country; music in general would
advance more rapidly. And it would help teach American students to
approach the art of violin playing from the right point of view. As it
is, too many want to study abroad under some renowned teacher not,
primarily, with the idea of becoming great artists; but in the hope of
drawing great future commercial dividends from an initial financial
investment. In Art the financial should always be a secondary
consideration.

"It stands to reason that no matter how great a student's gifts may be,
he can profit by study with a great teacher. This, I think, applies to
all. After I had already appeared in concert at Albert Hall, London, in
1909, where I played the Beethoven Concerto with orchestra, I decided to
study with Auer. When I first came to him he wanted to know why I did
so, and after hearing me play, told me that I did not need any lessons
from him. But I knew that there was a certain 'something' which I wished
to add to my violinistic make-up, and instinctively felt that he alone
could give me what I wanted. I soon found that in many essentials his
ideas coincided with those of Hubay. But I also discovered that Auer
made me develop my individuality unconsciously, placing no undue
restrictions whatsoever upon my manner of expression, barring, of
course, unmusicianly tendencies. When he has a really talented pupil the
Professor gives him of his best. I never gave a thought to technic while
I studied with him--the great things were a singing tone, bowing,
interpretation! I studied Brahms and Beethoven, and though Hubay always
finished with the Bach sonatas, I studied them again carefully with
Auer.