Price: $650.00



Autographed original, matte 7” x 9” Chambers of Chicago, blind embossed photograph of the legendary then 80 year violinist and pedagogue posed with his 1925 Master Class at the Chicago Musical College.

From a 1925 Musical America article, we are able to identify each person in the photograph:

First row: Arthur E. Gripp, Lola Mundy, Mrs. Wanda Auer, President Carl D. Kinsey, Professor Leopold Auer, Ruth Dadley, Victor Kuzdo, Herman Silverman

Second row: Mary Briggs, Hazel Sweat, Alice Holcomb, Mattie Tarry, Emma Fisher, Blanche Jackson, John Bebbington, Armand A. De Mond, D. P. Naxon, Elsie Steele, Mary Porter

Third Row: Glenn Halik, Charles Stokes, Robert Neighbor, Bernice Bird, H. H. Ryan, Caryl B. Oakes, Peter Kurtz

From this group, Victor Kuzdo (1868-1966) was the most important, a child prodigy and concert violinist, Kuzdo toured Europe and made his American debut in 1884.  A pupil of Auer, he came to America in 1894 and became a naturalized citizen.  He played both solo recitals, chamber music, taught and composed music.  He taught Gunther Schuller’s father Arthur who played in the violin section of the New York Philharmonic.  Mrs. Wanda Auer was Leopold’s second wife and accompanies him on piano during several of his recordings.  Carl D. Kinsey was a founder of the Chicago Musical College, Treasurer, General Manager and later President of the Institution.  Glenn Halik toured the country with his sisters in the Halik Trio, Alice Holcomb toured the country as a child prodigy.  The rest of the students listed were music educators and violin teachers in later life.  There are citations in various musical journals of their recitals  and concerts for most of the names listed. 

 Auer (1845-1930) was perhaps the greatest violin pedagogue of the late 19th and early 20th Century.  Perhaps more important pedagogue then his mentor Joseph Joachim, Auer, Hungarian-Jewish by birth ran the elite violin program at the St. Petersburg Conservatory.  Among his pupils included Russian born violinists; Jascha Heifetz, Efrem Zimbalist, Mischa Elman, Nathan Milstein, Paul Strassevitch, Maia Bang, Jaroslav Siskovsky Roman Fiedelmann, Joseph Achron, Davidovitch Malkin, Lev Tseitlin, Cecilia Hansen, Richard Burgin and Toscha Seidl, but also North Americans who came to Russia to study with him, like Eddie Brown, Benno Rabbinof, Oscar Shumsky, Thelma Given and Kathleen Parlow.  He knew and worked with the legendary Russian and European composers and virtuosi of the period, Piotr Johannes Brahms, Piotr Tchaikowsky, Richard Strauss, Max Bruch, Franz Liszt, Henri Wieniawski, Pablo Sarasate, Hans von Bülow, Anton and Nicolai Rubinstein, Alexandre Glazounov, Mikhail Ippolitov-Ivanov, Anatoly Liadov, Jan Paderewski and Ludwig Minkus were among the many with whom he had an important musical relationship.  Many of the Russian composers wrote works for him; Tchaikowsky wrote his famed “Serenade Melancolique” and “Violin Concerto” for Auer.

Auer left Russia in 1918 at the time of the Revolution and came to New York.  He made a brief recital tour with pianist Wanda Bogutska-Stein of primarily Baroque works (Handel, Bach, Nardini, Locatelli, Haydn-Auer and Vitali) which included Carnegie Hall in New York City (March), Symphony Hall in Boston (April),  The Academy of Music in Philadelphia (April) and Orchestra Hall in Chicago (April).  He then set up shop in Manhattan teaching violin during most of the year and Lake George in the Summer.  Pupils such as Max Rosen, Oliver Colbertson, Victor Kuzdo, Lacey Coe, Clara Rockmore, Harry Fratkin and Vladimir Graffman, either were full time pupils of Auer in New York, Philadelphia, or Chicago and or went to him to brush up on their technique.  Auer was on the faculty of the Chicago Musical College during the early and mid 1920’s, until he joined the Institute of Musical Arts (Which became Juilliard) in 1926.  He was also on the Curtis Institute Faculty as of 1928.  He would appear in Chicago annually for Master Classes while he was on the faculty of the Chicago Musical Collage. 


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