John Dalley

For the Australian journalist and novelist, see John Bede Dalley.

Early History

John Dalley (born 1935 in Madison, Wisconsin), the son of Orien Dalley and Gretchen Smoot. John was raised in a musical family. His father was an orchestra conductor, violinist, instrumental teacher, and music educator. His mother, from Bloomington, Illinois, was a cellist, music teacher, and music publisher. Orien Dalley is nationally recognized for his work in assisting Dr. Joseph E. Maddy to organize the National High School Orchestra in Michigan, a massive project that provided the impetus for the Interlochen National Music Camp. now Interlochen Center for the Arts. He was one of the original faculty at Interlochen. John's parents had met during Orien's early association with the National High School Orchestra. The couple had four children, Nielson, John, Melinda, and Elaine. The entire family has had close ties with Interlochen, with Gretchen as cello instructor and program director, and Orien teaching violin and conducting at Interlochen. Three of Orien and Gretchen's grandchildren grew up as summer camp students there. Orien Dalley was the first conductor of the Wichita Symphony Orchestra, until 1949, when he left for northern Michigan.

John Dalley, American Violinist

John began playing the violin when he was three years old with his father as his first teacher. His early studies were under Virgil Person at College of Emporia, the predecessor of Kansas State Teachers College at Emporia, Kansas (now Emporia State University). "During his formative years, his father held a number of positions in different parts of the country, exposing the young violinist to many musical influences."

With his family's stay in Wichita, Kansas, during his father's tenure with the Wichita Symphony, John Dalley played in his junior high school orchestra. As a teenager John participated as a violinist in the annual all-state school musical competitions for youth orchestras, bands and choral groups under the direction of Dr. Joseph E. Maddy. At that time Wichita, Kansas, and nearby Winfield, Kansas were communities blessed with a commitment to music in their schools. Beginning instrumental classes started in grade school, and junior high school orchestras and bands gave students a real first taste of group and solo performance. High school concert orchestra and concert band, and marching and pep band let students continue in their formal music education and in the performing arts. At this time Wichita was the largest city in Kansas, and nearby Winfield was just a small town. As good as Wichita was, Winfield was even greater in its musical education. Winfield had a long history of musical greatness in education due to the time when Dr. Joseph E. Maddy was in Winfield directing its high school music program. Later, Howard Halgedahl, world class bassoon player directed the high school music program in Winfield. Howard Taubman stated in the "New York Times": "Do we, in the East, realize that the town of Winfield, Kansas, population 12,500, has one of the most admirable high school orchestras in nation?". Halgedahl was principal bassoonist with the Wichita Symphony at the time that John Dalley's father, Orien Dalley was conductor. Joseph E. Maddy, Orien Dalley and Howard Halgedahl) all left strong imprints in Kansas music education and at the National Music Camp, as teachers and mentors in the hearts and minds of the youthful students who were privileged to attend. Wichita Municipal University (now Wichita State University was well known for its ambitious educational programs in performing arts and education of future music teachers. In the 1950s the Wichita Symphony was ranked very high among the professional symphonies in the U.S. The excellent musicianship of some local students while still in high school earned themselves performing places within the ranks of the professional Wichita Symphony Orchestra. Among young musician friends, a union card for work in the symphony proudly proclaimed status as a profession musician.

In the late 1940's one of the nation's first youth orchestras, the Wichita Youth Symphony, drew aspiring young musicians from all over the State of Kansas for their regular Saturday rehearsals held at Wichita University. Orien Dalley was conductor of the youth orchestra until 1949. John Dalley played first violin in the Wichita Youth Symphony. "John was already playing string quartets every Saturday, sometimes with his father." It was in this intense, rarified near-total immersion in music in which John Dalley participated in Wichita and during his many summers at Interlochen.

In Michigan during the summers, many other National Music Camp participants got to spend only a relevantly short time at Interlochen absorbing music instruction. Because of his parents' professional involvement at the music camp, John was able to spend entire summers with his family constantly living and breathing music daily during his family's many years at Interlochen. He improved his performance skills there as he soaked up the musical performing arts on his way to becoming a world-class violinist.

At age 18 Dalley entered the prestigious Curtis Institute of Music in Philadelphia on full scholarsip. He studied under concert violinist Efrem Zimbalist, Sr. whom had studied at the Saint Petersburg Conservatory in Russia, under the teaching of violinist Leopold Auer. John gave solo recitals, chamber music recitals, and played in concert and opera orchestras. In a 1957 listing of Curtis recitals and events, John Dalley is noted as first viola player in the production of Giacomo Puccini's opera Gianni Schicchi. "Curtis Institute has served as a training ground for orchestral players to fill the ranks of the Philadelphia Symphony Orchestra, although composers, organists, pianists, and singers are offered courses of study as well. All pupils attend on full scholarship, and admission is extremely competitive. Besides composers, conductors, organists, and pianists, only enough students are admitted to fill a single orchestra and an opera company. Accordingly, enrollment is in the range of 150 to 170 students. According to statistics compiled by "U.S. News & World Report" it held the lowest acceptance rate of any college or university, making it the most selective institution of higher education in the United States." Curtis produces elite, finely polished musicians who will populate their future musician's world, while making life-long friends embued with musical excellence. Sometimes the musician and singer met his/her future spouse at Curtis. Other notable alumni who attended Curtis are Leonard Bernstein (composer and conductor), Nino Rota (conductor and composer (film music for movie "Godfather')), Gian-Carlo Menotti, Pulitzer Prize winner (opera composer and conductor), Jorge Bolet (concert pianist), Lang Lang (concert pianist), Leonard Rose (concert cellist), Samuel Barber Pulitzer Prize winner, (composer), and Miles Davis (double bassist, composer, and jazz musician), as well as other Guarneri Quartet members Arnold Steinhardt, Michael Tree, David Soyer and Peter Wiley."

Summer time was always a time of study for John. Seeking new professional opportunities, venues, and experiences during his college years at Curtis, he spent three summers in Tuscaloosa, Alabama, living with Ottokar Čadek and his family, while he studied violin and chamber music with "Papa Čadek." . Čadek had been first violinist of the New York String Quartet, an ensemble that was formed with the help of Ralph Pulitzer, the son of St. Louis newspaper magnate Joseph Pulitzer. Čadek had been the first violinist since the inception of that quartet in 1919, until he left in 1933 to become concertmaster, then later conductor of the Birmingham Symphony Orchestra (npw Alabama Symphony Orchestra...

After graduation from Curtis, John joined the faculty at the Oberlin Conservatory of Music | Oberlin Conservatory in Ohio, and played second violin in the resident string quartet, while performing regularly in recital and as soloist with orchestra. Eventually, he moved to New York City where he free-lanced, then joined the short-lived American String Quartet with cellist David Soyer."

Dally held teaching positions at the Curtis Institute of Music in Philadelphia, and was artist-in-residence at the University of Illinois at Urbana-Champaign | University of Illinois. At the University of Maryland all four members of the Guarneri Quartet were artists-in-residence. at the University of Maryland School of Music. The Guarneri Quartet has taught, in various combinations at Rutgers State University of New Jersey and the Manhattan School of Music.

Oberlin String Quartet

The Oberlin String Quartet was formed in 1955 by violinist Andor Toth who was a member of the Oberlin faculty from 1955. Other members were Matthew Raimondi (violin), William Berman (viola), and John Frazer (cello). In 1957 John Dalley joined the Oberlin String Quartet. In the summer of 1958, the Oberlin String Quartet won a bronze medal in the Concours International de Quatuor sponsored by H.M. Queen Elizabeth Music Competition in Liege, Belgium.

Guarneri Quartet

Dalley was a regular participant at Vermont's Marlboro Music Festival. In the summer of 1963, the ensemble was brought together partly at the instigation of Rudolf Serkin," conductor, and Alexander Schneider, violinist of the Budapest String Quartet, who had begun summer teaching at the Marlboro Music School and Marlboro Music Festival. The four men who had performed with each other before on various occasions came together to found America's newest chamber music group: Arnold Steinhardt (first violin), John Dalley (second violin), Michael Tree (Michael Applebaum)>Arnold Steinhardt, Indivisible by Four: A String Quartet in Pursuit of Harmony, Farrar Straus and Giroux, New York, 1998, 2000. ISBN 0-374-527000-8</ref> (viola), and David Soyer (cello), calling themselves the Guarneri Quartet. They gave their first concert on August 2, 1964 at the Marlboro Music Festival.". Arnold Steinhardt was born in Los Angeles and debuted with the Los Angeles Philharmonic Orchestra at age 14. Winner of the Philadelphia Youth Competition in 1957, and the prestigious 1958 Leventritt Award. Violist Michael Tree was born in Newark, New Jersey. He studied the violin with Efrem Zimbalist at the Curtis Institute of Music. He has concertized throughout the world and recorded more than eighty chamber music masterpieces; prominent among them are ten piano quintets and quartets with Arthur Rubinstein. David Soyer] began cello lessons at age 11. When his family moved to Mew York City, he studied cello with Diran Alexanian, an associate of cellist Pablo Casals. Before Guarneri, during World war II David played [[euphonium}} in the U.S. Navy Band in Washington, D.C. Before 1964, David free-lanced. He supplemented his solo appearance with the NBC Symphony Orchestra under the baton of Arturo Toscanini and performed in the studio band for the very first Ed Sullivan Show. He performed with singer Nat "King" Cole, backed jazz singer Billie Holliday on her final major album, and soloed on singer Joan Baez's 1964recording of Aria from Hector Berlioz Bachianas Brasileiras No.5. He also had written musical jingles for radio advertising.

Upon hearing the quartet perform in 1964, "New York Times" music critic Harold Schonberg called it the "awesome foursome" and wrote that "a very important string quartet is on its way.". This musical group, still with its four original members, defied the odds for the longevity of its musical partnership that lasted until Soyer retired in 2001. David Soyer chose as his replacement his one-time cello student Peter Wiley, also a Curtis graduate, who had for many years been the cellist with the Beaux Arts Trio. When the Quarneri Quartet was disbanded in 2009, it had been on a continuous concert circuit for forty-five years. According to its members. the longevity of Guarneri was due to several factors. One was playing music that they loved as well as playing compositions that presented musical and performance challenges. These kept boredom away and performances fresh. Although the four performed together in concert, and they practiced together for three hours a day, "on tour the members travelled independently, and booked hotel rooms on separate floors." Little of their private lives away from the stresses of concert and touring life was shared with the other members of the quartet. "The members famously kept their distance from one another when they weren't rehearsing or performing." Two other rules were 1) No wives were allowed to be involved with the quartet business, and 2) The inner dynamics of the rehearsing and concert venues made it a compliment-free zone between the four. If there was nothing to complain about, the group moved on to the next order of business. Steinhardt explains, "Those of us who choose to live and work in this little chamber-music capsule have a stronger need than most to guard our personal lives and keep them private. We draw the curtain somewhat on our families' goings-on, our joys, our sorrows . . . things of a truly private nature we speak only very guardedly if at all."

Dalley's Violin and Performances

Dalley plays a Nicolas Lupot violin, crafted in France in 1810. Some years ago the quartet members were approached by the Corcoran Gallery in Washington, D.C., to make a very generous offer of for possible extended use their quartet of its rare Stradivarius instruments to the Guarneri Quartet's artists. Antonio Stradivarius of Cremona produced a life-time of fine instruments. At the time of the offer, there were only 500 violins, fifty cellos, and ten violas still extant in the world. Although much less rare than the Stradivarii, the specific venerable instruments owned and played by the quartet's members, with their craftsmanship, type of wood, varnish, and all of substantial age, together "created such a warmth and complexity of sound that enticed, then seduced each of us." The offer to use the Stradivarii was politely declined. At this writing John Dalley has been playing the violin for 75 years, He refers to his violin as his friend.

European chamber ensembles usually had a leader, to whom all the others looed to for direction. in these, the second violinist was often considered to be not quite as good as the first violinist. The Quarneri quartet took a different tack. The first violinist was not the leader. All of the members were the leaders, depending on the circumstance. All had equal say in decisions. Arnold Steinhardt, said at the end of the quartet's forty-five year run, "This is an extraordinarily difficult task before us, to realize the masterpieces in our repertoire to any satisfaction. Some of it is virtuoso work, and some os work that a watchmaker might do, requiring the most delicate precision movement of ensemble and intonation and artistry. It doesn't get any easier with time." ""For his part, Dalley as been satisfied literally [playing second fiddle to Steinhardt, even though his earlier experience was as a first violinist. I've always liked where I've been," he asserts." was not really happy playng solos. It's wasn't my bag."" "From time to time Dailey has traded off with Steinhardt to play first violin in piano quartets withnthe likes of Artur Rubenstein. Later the group spent almost two seasons playing nothing bit piano uartets with Dalley in the violin seat while Steinhardt recovered from surgery on his arm."."". Dalley also could switch to playing viola should the occasion call for it. John Dalley performed extensively in thousands of performances with the Guarneri—over 3,000 by 1998." Since the quartet was disbanded in 2009, he has appeared in recital or as soloist in many cities and as teacher in master classes. Together, all of these performances have taken him to Canada, Mexico, South America, Europe, Israel,Australia, New Zealand, Japan and other parts of Asia, and widely throughout the United States. He has performed in famous concert halls throughout the world, in venerable old music schools, high school and college auditoriums, and many other places, such as the informal beach house at Half Moon Bay in Northern California where, in November 1964, he was a featured performer at one of the San Francisco Bay Area's much loved, but quirky Bach Dancing and Dynamite Society. John, as well as remaining former member os Guarneri Quartet held open rehearsals at the University of Maryland School of Music in 2009. In 2012-2013 Dalley returned to Interlochen as a "High Performing Alumni"

The list of pianists that appeared with the Guarneri Quartet during their first thirty-three years reads like a comprehensive encyclopedia of 20th century concert pianists: Reiko Aizawa, Michael Andrews, Lydia Artymiw, Emanuel Ax, Adolph Baller, Daniel Baremboim, Malcom Bilson, Jorge Bolet, Yefim Bronfman, Ena Bronstein, Stephanie Brown, John Browning, David Burge, Gaby Casadesus, Jean Casadesus, Ward Davenny, Bella Davidovich, Alicia de Larrocha, Steven De Groot, Mischa Dichter, William Doppmann, Philippe Entremont, Vladimir Feltsman, Rudolf Firkusny, Leon Fleisher, Malcom Frager, Claude Frank, David Golub, Richard Goode, Bradley Gowen, Gary Graffman, Horatio Gutiérrez, Mieczyslaw Horszowky, Eugene Istomin, Grant Johannesen, Joseph Kalichstein, Lillian Kallir, Anton Kuerti, Ruth Laredo, Cecile Licad, Seymour Lipkin, Nikita Magaloff, Anne-Marie McDermott, Elizabeth Leonskaja, Arthur Loesser, Lee Luvisi, Garrick Ohlsson, Patricia Part, Murray Perahia, Vincent Persichetti, Jean-Bernard Pommier, Menachim Pressler, Cynthis Raim, Santiago Rodriquez, Artur Rubenstein, Mikail Rudy, András Schiff, André-Michel Schub, Peter Serkin, Rudolf Serkin, Leonard Shure, Bernice Silk, Victor Steinhardt, Alexis Weissenberg, Christian Zachaarias."

John Dalley, American Bow Maker

When he could not find a violin bow worthy of his instrument, to bring out the best qualities of his Nicolas Lupot violin, Dalley expanded his skills by becoming a superb archetier —one who makes bows for stringed instruments. Dalley has become world-famous for the quality and meticulously fine craftsmanship of his hand-made bows for stringed instruments. In a sales catalogue, one of his violin bows is described as having an "exquisitely crafted Brazilian pernambuco shaft, elegant silk wrapping and a diamond-shaped inlaid frog.". Fellow quartet member Arnold Steinhardt is quoted: There are only a few great violinists and only a few great bow makers in the world. I know of only one person who possesses both these rare attributes -- John Dalley. This puts him in the unique position to make bows of both great craft and remarkable playing ability. It has been my deep pleasure to play on one of John's artfully made violin bows.. Another testimonial is from Amadee Williams, violist and author of Lillian Fuch, First Lady of the Viola: "My teacher and mentor, Lillian Fuch, often said to me, "Deary -- It's the bow, the bow!" She was absolutely correct in making that remark. However, good bow technique also requires a good bow. The problem is finding one. John Dalley's bows are just "those" bows. They are finely crafted and produce an unusually warm sound. His understanding of violin playing has made him one of the best modern bow makers.". Dalley brings his meticulous attention to detail and love of aesthetics to his bows that he has brought to his playing." He cites master bow maker William Salchow and the late Assistant Principal Cellist of the Metropolitan Opera and master bow makerGerald Kagan as influences on his own bow making. Dalley's craft and skill produces violin bows that are in high demand because of their quality and rarity. In 1997 when first violinist Arnold Steinhardt wrote his book about the quartet, he stated that the finest bows made by the great bow makers could sell for upwards of $100,000 apiece. All bows are not alike. The bow is matched to the artist's technique and to the instrument being played, and even to arm length and strength.

John Dalley married Nancy Pallesen, flutist whom he met when she was studying with William Kincaid (principal flutist, Philadelphia Orchestra at the Curtis Institute of Music in 1958. When he is not concertizing, John divides his time between Haworth, New Jersey and Northern Michigan. "The Guarneri String Quartet has recorded for Surroundedby Entertainment, which released a CD in Spring 2001 of Quartets by Ravel, Debussy and Fauré. Several of its recordings on both RCA Red Seal and Philips have won international awards, including its recent recording of Juan Crisostomo de Arriaga's String Quartet Nos. 1-3 (Philips), which won the 1996 Deutsche Schallplattenkritik Award in Germany. Among its other award-winning recordings are collaborations with such artists as Artur Rubinstein, Pinchas Zukerman; and Boris Kroyt and Mischa Schneider of the Budapest Quartet."

Awards of Guarneri Quartet

• 2010: The Alumni Award, Curtis Institute of Music
• 2005: The Ford Honors Award, University of Michigan University Musical Society
• 2004: The Richard J. Bogomolny National Service Award, Chamber Music America.
• 1992: The Award of Merit, Association of Performing Arts Presenters in New York City.
• 1983: Honorary Doctorate degrees by the State University of New York.
• 1982: The New York City Seal of Recognition, presented by Mayor Ed Koch.
• 1976: Honorary Doctorate degrees by the [[University of South Florida]

Films

• 1989: High Fidelity – The Guarneri String Quartet, directed by Allan Miller, who was also the director/producer of the Academy Award-winning documentary, [["From Mozart to Mao", which dealt with violint Isaac Stern's visit to China," and produced by Desmond Ryan. "Inquirer Movie Critic" of June 20, 1990 reviewed the film documentary about the Guarneri Quartet. "A Probing into Advice and Consent": "The string quartet is am enduring metaphor of harmony, teamwork and the subordination of ego in the interest of a common goal. Its 20th century repertoire may offer pieces filled with abrasive dissonance, but can there be no room for dissent? . . . A resounding yes. . . . Miller, whose special flair for communicating the intimacies and reach of great music made from Mao to Mozart: Isaac Stern in China so memorable, here ups the ante and takes up the issue of fiddlers four."

Television and Radio

The Guarneri Quartet members were interviewed by Charles Kuralt on CBS's nationwide television program, "Sunday Morning."

Related Publications

• David Blum (1986). The Art of Quartet Playing: The Guarneri Quartet in Conversation with David Blum, New York: Alfred A. Knopf Inc. ISBN 0-394-53985-0.
• Gretchen Dalley, Songs for Strings, Solo, Duet, Trio, Neil A. Kjos Music Publisher, USA, 1950.
• I. Fink & C. Merriell with the Guarneri String Quartet (1985). String Quartet Playing, New Jersey: Paganiniana Publications, Inc. ISBN 0-86622-007-0
• Helen Drees Ruttencutter (1980). Quartet: a Profile of the Guarneri Quartet. New York. Lippincott & Crowell Publishers. ISBN 0-690-01944-0
• Arnold Steinhardt (1998). Indivisible by Four: A String Quartet in Pursuit of Harmony, New York: Farrar, Straus and Giroux ISBN 0-374-23670-4.

References

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