Tor Aulin: An interview.

Q: I’ll start off by thanking you for joining me today
A: It’s nice to be here. As a musician I have not become very widely known outside of my own country. A foreigner with some interest is refreshing, even if a young and not particularly eccentric one.

Q: Why do you think that you didn’t achieve the international popularity you may have hoped for?
A: I will say, that aside from that being a rude question, I have never ever played music with the intent of becoming famous. Only to create something beautiful. As musicians, I believe that those with musical talent have the right to create their music with their own motives, however, the responsibility to carry their pieces out well, respectfully to the composer and to the artistry. It is within my knowledge that my music has only become as popular as it was meant to become, and if it has done it's job with spreading classically correct orchestra music, then I am satisfied.

I began playing the violin as a child, although not necessarily from exposure. Sweden did not have a professional orchestra at the time, so my decision to become a musician was one that I had mad through personal desire rather than influence. I was more compelled to explore the regions of musical composition and conduction before I was interested in advancing internationally.

Q: You have lived in Sweden your whole life. Where did you draw your inspiration from?
A: My sister Laura is a pianist and composer. She is six years older than I am, and very, very determined as a pianist, as an artist, and as a woman. I do not know if I would say that I draw inspiration from her exactly, but do you know how one can influence others with an attitude? I think that is how my sister served me. As an attitudinal influence. There were many other musicians in Sweden at the time as well, including a friend of mine whom I dedicated a concerto to. Near the beginning of the twentieth century, I began to focus more on conducting, and I must say that I drew some inspiration from the orchestras that I had the pleasure of conducting. Although they were sometimes lazy, they brought my music to life.

Q: Your preferred instrument is the violin. Why the violin?
A: Why does anyone prefer anything? The violin was available, and it was very beautiful. When I was very young, music had already made itself a part of my life. Even from very early on, there was piano music around me. The violin is an instrument I find interesting because of it’s potential as a solo instrument.

Q: Where did you learn most of your technique?
A: I studied at the Stockholm Royal College of Music. If I did not pick up any technique during my time there, then I would not have picked up any technique at all. I did extend my work for two years longer than required as well, to continue my studies with Emilie Sauret in Berlin. He was a violinist/composer.

Q: If there was anything you regret most in your career, what would it be?
A: I don’t regret anything I have done so far. I do wish that there had been more orchestral opportunities in Sweden, but I will always regard my career with pride. I began the Aulin Quartet in the year 1887, which was the first professional quartet in the country. I am proud of that, because it's absolutely

Q: You started the first professional quartet in the country. How do you think this affected music as a cultural concept?
A: It would have happened sooner or later. It was fortunate for me that I pioneered the project, and it was important to classical music in Sweden. I believe that it was disbanned at the right timing, however.

Q: In that case, which part are your career are you most proud of?
A: I think that the concertos I wrote for the violin may be my most popular, however, I do think that my work as a conductor may have done Sweden the most good. Before the year 1900, the country of Sweden did not have a full-time orchestra. It is from some of my contribution.

Q: That wraps it up then, probably.
A: Thank you for asking me questions...