I was a little suprised when I read this. But I have to admit that I agree with some of the points.

Leopold Auer on Violin Vibrato

The purpose of the vibrato, the wavering effect of tone secured by rapid oscillation of a finger on the string which it stops, is to lend more expressive quality to a musical phrase, and even to a single note of a phrase. Like the portamento, the vibrato is primarily a means used to heighten effect, to embellish and beautify a singing passageor tone. Unfortunately, both singers and players of string instruments frequently abuse this effect just as they do the portamento, and by doing so they have called into being a plague of the most inartistic nature, one to which ninety out of every hundred vocal and instrumental soloists fall victim.
Some of the performers who habitually make use of the vibrato are under the impression that they are making their playing more effective, and some of them find the vibrato a very convenient device for hiding bad intonation or bad tone production. But such an artifice is worse than useless. That student is wise who listens intelligently to his own playing, admits to himself that his intonation or tone production is bad, and then undertakes to improve it. Resorting to the vibrato in an ostrich-like endeavour to conceal bad tone production and intonation from oneself and from others not only halts progress in the improvement of one's fault, but is out and out dishonest artistically.

But the other class of violinists who habitually make use of the device—those who are convinced that an eternal vibrato is the secret of soulful playing, of piquancy in performance—are pitifully misguided in their belief. In some cases, no doubt, they are, perhaps against their own better instincts, conscientiously carrying out the instructions of unmusical teachers. But their own musical values ought to tell them how false is the notion that vibration, whether in good or bad taste, adds spice and piquancy to their playing …

With certain violinists, this undue and painful vibrato is represented by a slow and continuous oscillation of the hand and all the fingers as well, even those fingers which may be unoccupied for the time being. But this curious habit of oscillating and vibrating on each and every tone amounts to an actual physical defect, whose existence those who are cursed with it do not in most cases even suspect. The source of this physical evil generally may be traced to a group of sick or ailing nerves, hitherto undiscovered. And this belief of mine is based on the fact that I cannot otherwise account for certain pupils of mine, who in spiteof their earnest determination to the contrary, have been unable to rid themselves of this vicious habit, and have even continued to vibrate on every note, long or short, playing even the the driest scale passages and exercises in constant vibrato.

There is only one remedy which may be depended upon to counteract this ailing nervous condition, vicious habit, or lack of good taste—and that is to deny oneself the use of the vibrato altogether. Observe and follow your playing with all the mental concentration at your disposal. As soon as you notice the slightest vibration of hand or finger, stop playing, rest for a few minutes, and then begin once more, continuing to observe yourself. For weeks and months you must continually guard yourself in this fashion until you are confident that you have mastered your vibrato absolutely, that it is entirely within your control.

… As a rule I forbid my students using the vibrato at all on notes which are not sustained, and I earnestly advise them not to abuse it even in the case of sustained notes which succeed each other in a phrase.

Leopold Auer
Violin Playing as I Teach It
Lippincott, New York, 1960
pp 22-24