"[3] At the age of 8[4] Auer continued his violin studies with Dávid Ridley Kohne, who also came from Veszprém,[5] at the Budapest Conservatory.

[8] A performance by Auer as soloist in the Mendelssohn violin concerto attracted the interest of some wealthy music lovers, who gave him a scholarship to go to Vienna for further study.

[9] In Vienna he also attended quartet classes with Joseph Hellmesberger, Sr.[6] By the time Auer was 13, the scholarship money had run out.

The income from provincial concerts was barely enough to keep father and son, and a pianist who formed a duo with Leopold,[10] out of poverty.

Auer later wrote, Joachim was an inspiration to me, and opened before my eyes horizons of that greater art of which until then I had lived in ignorance.

[17] In the summer of 1865 Auer was in another spa village, Baden-Baden, where he met Clara Schumann, Brahms, and Johann Strauss Jr.[18] There were not so many touring violinists then as there were later, but in Vienna Auer was able to hear Henri Vieuxtemps from Belgium, Antonio Bazzini from Italy, and the Czech Ferdinand Laub; he was especially impressed by Vieuxtemps.

[19] Auer gave concerts in 1864 as soloist with the Leipzig Gewandhaus Orchestra,[20] invited by concertmaster Ferdinand David, conductor Felix "Mendelssohn's friend.

[27] In one concert, he played Beethoven's Archduke Trio with pianist Anton Rubinstein and cellist Alfredo Piatti.

[27] Rubinstein was in search for a violin professor for the Saint Petersburg Conservatory, which he had founded in 1862, and he proposed Auer.

This quartet's concerts were as integral a part of the Saint Petersburg musical scene as their counterparts led by Joachim in Berlin.

Criticism arose in later years of less-than-perfect ensemble playing and insufficient attention to contemporary Russian music.

The group also played music by Johannes Brahms and Robert Schumann, along with Louis Spohr, Joachim Raff and other lesser known German composers.

[33] Auer performed sonatas with many great pianists, but his favorite recital partner was Yesipova, with whom he appeared until her death in 1914.

Other partners included Anton Rubinstein, Leschetizky, Raoul Pugno, Sergei Taneyev and Eugen d'Albert.

He died in 1930 in Loschwitz, a suburb of Dresden, Germany, and was interred in the Ferncliff Cemetery in Hartsdale, New York.

Reviewing an 1874 appearance in Moscow, Tchaikovsky praised Auer's "great expressivity, the thoughtful finesse and poetry of the interpretation.

They show the violinist in excellent shape technically, with impeccable intonation, incisive rhythm and tasteful playing.

[45] "David edited and published these works, and Joseph Joachim was the first to introduce them to the musical world at large", making "these compositions ... a fundamental pillar of violin literature.

"[45] Auer puts special emphasis on the Chaconne from Bach's fourth sonata for unaccompanied violin (depending on editions, later known as Partita No.

He was always willing to mount the podium to accompany a famous foreign soloist—as he did when Joachim visited Russia—and did the same for his students concertizing abroad.

"[47] Many notable virtuoso violinists were among his students, including Mischa Elman, Konstanty Gorski, Jascha Heifetz, Nathan Milstein, Toscha Seidel, Efrem Zimbalist, Georges Boulanger, Lyubov Streicher, Benno Rabinof, Kathleen Parlow, Julia Klumpke, Thelma Given, Sylvia Lent, Kemp Stillings, Oscar Shumsky, and Margarita Mandelstamm.

(Paradoxically, in the years before 1900 when Auer focused more closely on technical details, he did not turn out any significant students.)

During the lesson, Auer would walk around the room, observing, correcting, exhorting, scolding, shaping the interpretation.

156–157) wrote that Jascha, as a boy ten or eleven years old, was admitted to the Conservatoire without question in view of his talent; but what was to be done with his family?

It was not until the advent of Glazunov, my last director, that I had no further trouble in seeing that the boy remained in his parents' care until the summer of 1917, when the family was able to go to America.

This was not because he regarded the work as "unplayable", as some sources say, but because he felt that "some of the passages were not suited to the character of the instrument, and that, however perfectly rendered, they would not sound as well as the composer had imagined".

British composer Eva Ruth Spalding dedicated one of her string quartets to Auer, who had been her teacher at the St. Petersburg Conservatory.

[57] Auer wrote a small number of works for his instrument, including the Rhapsodie hongroise for violin and piano.

He also wrote an arrangement for Paganini's 24th Caprice (with Schumann's piano accompaniment) later performed by Jascha Heifetz, Henryk Szeryng and Ivry Gitlis, in which the final variation is removed and his own composed.

These were both taken from a live recording in Carnegie Hall where Auer gave a sold out performance toward the end of his life.