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Product Details
| ISBN-13: | 9781574670523 |
|---|---|
| Publisher: | Rowman & Littlefield Publishers, Inc. |
| Publication date: | 03/01/2003 |
| Pages: | 240 |
| Product dimensions: | 5.93(w) x 9.00(h) x 0.57(d) |
About the Author
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Chapter One
DeLay's Life: A Limitless
Sense of the Possible
"She has a limitless sense of the possible," the writer Edward Newhouse has said of his wife, Dorothy DeLay, whom he married in 1941. "It is a Midwestern trait. Here is the empty prairie—let's build a city. And eventually a city gets built, along with all the various urban problems thereunto. Dottie has a way of overlooking obstacles, and sometimes, if you overlook them long enough, they tend to disappear."
DeLay was born on 31 March 1917 into a family of teachers and preachers in Medicine Lodge, Kansas, a cattle town near the Oklahoma border that had been, in DeLay's grandmother's time, an Indian stockade. Those family members who were not teachers were circuit riders, ministers who went from one town to the next on the frontier, where there were communities that had no churches.
Medicine Lodge today has a museum with a replica of that stockade, and among the items prominently on display are the enormous kettle the family used for making soap from the fat of their cattle, some clothing, and the sword that belonged to DeLay's maternal grandfather, William Osborn, at the time of the Civil War. DeLay's maternal grandmother, Jennie Stoughton Osborn, was a voluminous letter writer who learned to type when she was in her late eighties. She became a menace to the family by inundating them with correspondence—a situation that was astutely resolved by her son, who suggested that she write her memoirs.These were eventually bound and printed, and include a description of Jennie Stoughton Osborn's granddaughter, Dorothy, wire was taken by her mother to see the King of Belgium as he passed through Kansas in 1919 on a whistle-stop train tour of the United States. "Dorothy was only two years old, but she wanted to see the King, too," her grandmother wrote, "and was handed up to the platform by her mother, where she put her little arms around [the King's] neck and hugged and kissed him."
DeLay's mother, Cecile Osborn DeLay, was born in 1882, and when she was about eight years old, she was one of several little girls who accompanied Carry Nation around the state on her crusade against liquor. The little girls wore angel wings on their backs as they trooped after their formidable leader—Carry Nation was a robust six footer—on her rounds of calling the drunken sinners to repent. In the heat of her missionary zeal, Carry would invade the local barrooms to urge the patrons to take the pledge, and if she was ignored, she took her ax to the barroom shelves and mirrors. Grandfather Osborn had no patience with either Carry Nation or her cause, and once he knew what was happening, saw to it that his little daughter Cecile, perhaps to her distress, was stripped of her wings.
Kansas is a part of the world to which DeLay still feels strongly linked, and she has said that if the East Coast were to break off from the United States and sink into the ocean, she would go right back to the place where she was raised. "I would get a whole bunch of little tiny violins and a whole bunch of little tiny kids together, and we would build a violin school from the bottom up," she said, already overlooking obstacles.
When she was growing up, DeLay, who was the eldest of three sisters, always swore she would never become a teacher herself. She says she slid in by the back door, having initially planned a solo career. Her father, Glenn Adney DeLay, was the local school superintendent and an amateur cellist; her mother played the piano. Both parents were devout members of the Methodist Church, which did not prevent their little four-year-old Dorothy, an individualist from early on, from being suspended from Sunday school for refusing to believe that Jonah had been swallowed by a whale—she felt that, realistically, it just didn't make sense.
"I was brought up in a very authoritarian, religious, rigid background," said DeLay when we were talking one afternoon in her studio. "There were definite things that were just right and wrong as I grew up. They were fixed in my philosophy. The first time I consciously realized that there are many different ways of judging things, it shook my faith in the universe." DeLay rocked back in her chair and laughed.
A light dawned and I thought, My goodness, if things aren't what they are, well, what is? From the time I was very small, I knew that God was sitting up there in the sky with the book of my life in his lap, and every time I did something bad I got a black mark. By the time I was five I had black marks all over my poor book. It was just terrible. I sometimes think I understand people who are schizophrenic. There would be times when I would think to myself, I'm the only person living on this earth. All the other people are angels sent to watch me and report me when I make mistakes.
DeLay's childhood fantasy of God and his book may have resonated for her through the years. As a teacher, she scrupulously avoids making any lasting black marks on the music of her students.
I asked DeLay if her sisters felt the same way about God and the book.
No, I don't think so, because I was the eldest. My next sister is Nellis, and the youngest is Louise. My mother used to get terribly upset with my sister Nellis and me when we were naughty, when I was around six or seven, and she would say, "I don't know what's happening. My two good little girls are gone and there are these two horrible little girls in my house. I am going out, and when I come back"—only it never sounded like "when I come back," but "if I come back"—"I hope those horrible little girls are gone, and my good little girls are here again." And she would go sailing out to have tea with a neighbor. So I would be sitting on the floor with my feet in front of me and big tears rolling down my cheeks, and my sister Nellis, who was much smarter, being the younger, would say, "Good. I'm glad she's gone. Now I can do what I want."
DeLay said that, this story notwithstanding, she got tremendous support and encouragement from her mother. DeLay's father, by contrast to her mother, was never particularly approving of her. He appears to have been a man who was difficult to please and judgmental of many of the people around him. DeLay clearly inherited her mother's optimistic nature and adventurous spirit.
My husband laughs at me because I have always had the feeling that nothing is impossible. My mother used to tell me life is so full of opportunities—there are so many things you can do. You can do just anything you want. She was exaggerating, but I took it literally. When I first met my husband, we got to talking about how people feel about doing things, and I said, "Well, you know, given enough time, I think I could do anything that anybody has ever done." He started citing the great sculptors of the past, and I said, "Sure, I just need enough time"—a bit like the aide principle that given enough time they could type out all of Shakespeare.
At the age of three, DeLay was already reading. She started taking violin lessons when she was four and gave her first concert at a local church the following year. She said she can still remember how good it felt to have her mother be so proud of her on that occasion. When she was attending Neodesha High School, DeLay was found to have an IQ of 180 and was among a group of a hundred students nationwide selected for a survey by the Stanford-Binet research team that was gathering information to check the accuracy of IQ ratings. The study tracked those one hundred students for a period of ten to twelve years following their graduation from high school, to see how they fared compared to a control group of the same number. Neither the high-IQ children nor the parents were told who had been selected. The only person who knew the identity of the chosen students was the school principal, whose responsibility it was to complete the necessary documentation and pass it on to the local superintendent of schools—who was, in DeLay's instance, her father, so the cover of secrecy was inadvertently blown.
DeLay was the top student in all her classes, either because of or in spite of her notion that she had to be the best, or something terrible would happen: "If I came home with a score of ninety-six, the response was 'Who got a hundred?'" She was also the concertmistress of the high school orchestra. By this time, Neodesha, where the family lived, had come a long way from its dusty frontier town origins, and the orchestra included roughly a hundred of the school's four hundred students—a statistic that any school today would envy, if it is lucky enough to have an orchestra at all.
Because of the disparity in age between herself and her classmates—DeLay entered her senior year of high school at the age of fourteen—DeLay says she had difficulty making friends. The seventeen- and eighteen-year-old girls in her class were mainly interested in discussing their boyfriends, the last thing in DeLay's mind at the time, and her presence cramped their style. Being so extremely bright did not help, either. She described herself as the kind of person who knew all the answers—hardly a social asset under any circumstances. DeLay had to wait a year and a half after graduation before entering college since her parents felt that she was still too young to be away from home.
DeLay entered Oberlin College in Ohio at sixteen, and took violin lessons with Raymond Cerf, a student of Eugène Ysaÿe, but at the end of her freshman year her father decided that a conservatory education was too limiting, and DeLay transferred to Michigan State University, where the violinist Michael Press was on the faculty. Press, a product of the Moscow Conservatory, had emigrated after the Russian Revolution and in 1922 came to the United States, where he proceeded to make a considerable reputation as a violinist, conductor, and teacher. DeLay studied with him until she graduated from Michigan State at the age of twenty, and then, this time defying her parents' wishes, she headed for the Juilliard School in New York with thirty dollars in her pocket.
The most prominent teacher in the violin department at Juilliard at the time DeLay entered the school in 1937 was Louis Persinger, who had been appointed to the faculty in 1930 as successor to Leopold Auer. DeLay studied with Persinger for a short time, but her chief teachers were Hans Letz and Felix Salmond. During her years as a graduate student, DeLay had to earn her living and was sometimes hard-pressed for time to practice. "There were times I went to class unprepared," she said. "I would be sitting in Felix Salmond's chamber music class, trying desperately to read my way through a trio, and all of a sudden these fingers would come down right in front of my nose, snapping the rhythm." DeLay stopped to demonstrate vigorously. "I couldn't see the notes on the page because this hand was going up and down and I was afraid to move. I would be still trying to play my part and from above I would hear, 'What are you composing there, girl?'" DeLay laughed. "It was just dreadful."
DeLay did four years of graduate work at Juilliard, where she earned her Artist's Diploma. She also began getting concert dates, both as a soloist and as a member of the Stuyvesant Trio, an ensemble that she and her sister Nellis, a gifted cellist, formed with pianist Helen Brainard. Nellis had come to join her sister in New York, and for a while the two shared an apartment, living basically on potatoes. Nellis went on to have a long and successful career as a cellist with the New York City Ballet Orchestra. She married the singer Clifford Harvuot, who was with the Metropolitan Opera for some forty years.
"If ever a girl worked her way through college and Juilliard graduate school, that was Dottie," said Edward Newhouse. "She baby-sat in exchange for room and board. She would be the concertmistress of a Broadway show for a year or more, while studying full time. These were Depression years—she and Nellis played for their dinner at restaurants, they played weddings, they did everything," Newhouse laughed.
I remember Dottie seeing a notice on the bulletin board at Juilliard from some agent or manager downtown, name unknown, saying "Girl Violinist Wanted." Here was this guy right out of central casting, feet on desk, cigar in mouth, who said, "All right, well, what do you do?"
Dottie said, "I'm answering your ad for a violinist."
"Yes, yes, I can see the violin case, but what do you do? Do you do tap or what?" So she didn't open her violin case. She just said good-bye. Besides, I think tap dancing while playing the violin might be a trick beyond her.
Dorothy DeLay and Edward Newhouse met in late 1940 on a Missouri-Pacific Railway train en route to New York. She had been playing in Leopold Stokowski's All-American Youth Orchestra, which had chartered a ship and was going around to large port cities in South America. At the end of the tour, the ship docked in Los Angeles, and the orchestra stayed on to make a couple of records. On her way back to New York, DeLay stopped in Kansas to see some of her family, and then got on the train in St. Louis. Newhouse was already on board, having come from Houston, where he had gone to visit his younger brother who had just graduated from the Colorado School of Mines. He was looking fairly disreputable, having checked his luggage, with everything but the clothes on his back, through to New York.
As Newhouse described the event, by the time DeLay got on in St. Louis, the train was practically empty, and he could not help noticing her as she sat down.
She had a lovely head of hair—a real mane. After the train got started, I pretended to be thirsty, so I could get a better glimpse of her on my way to the water cooler. She saw me looking at her rather intensely, and carefully moved her handbag to the other side, next to the window, it took me a while, but finally I asked if I could sit with her. Dottie has always been very polite, and said, "Yes, I guess so." By then we were in Harrisburg and we chatted for the rest of the journey. She told me she was a violinist, and I told her I wrote novels and stories for The New Yorker. Being shy, I didn't ask her to marry me until Trenton. She didn't say yes until New York, and in the tunnel before arriving in Pennsylvania Station, we decided we would have one son and one daughter, and she gave me her phone number.
I telephoned the next day, and when Dottie answered, she put her hand over the phone and called to her sister Nellis, who was in the shower, "It's that man from the train—what do I do?" Nellis said, "Hang up. Just hang up." Well, she didn't, and we got married four months later.
DeLay and Newhouse were married on 5 March 1941, and they in due course carried out their early decision about the number and gender of the children they would have. Their son, Jeffrey, is a professor of radiology at Columbia Presbyterian Hospital and lives in Bronxville with his wife and two children. Their daughter, Alison, is a children's librarian and storyteller, and her husband is a doctor at Massachusetts General Hospital; they have two children. Newhouse likes his son-in-law's style of medicine—whatever ailment you have, he says "Soak It." You have a sore elbow? Soak It. You have a brain tumor? Soak lt.
At the time she and Newhouse got married, DeLay was still a student at Juilliard. She was also doing more and more concerts, and a newspaper photograph of the Stuyvesant Trio from that time shows DeLay carefully placed in such a way as to conceal the fact that she was in an "Interesting Condition."
"I did quite a nice season," said DeLay, "and then, because of the war, our whole life was shattered, the structure was gone." Newhouse joined the army and DeLay followed along as much as she could as her husband was transferred to various parts of the country. Newhouse ended up in Washington, D.C., at the Pentagon as aide to Air Force General Henry H. "Hap" Arnold, writing his reports and speeches, and now and again accompanying him to conferences.
Living in wartime Washington proved fascinating but difficult. "I was not really equipped to deal with it terribly well," DeLay said. "We had one baby and then when the war was over we had another, and I discovered I didn't like being a soloist. I always felt stricken after a concert because I never felt I had done particularly well. Then to be faced with people in the Green Room congratulating me, and to have to go to a party afterward!" DeLay clasped her hands in mock horror. "You know how you project your feelings onto other people? I expected the audience to be knowledgeable about music and I thought, If they are knowledgeable, how can they have liked it? I didn't understand the simple fact that they came to the concert because they loved to hear live music, and that that was the most important thing."
Increasingly, DeLay found herself looking for reasons to turn down concert engagements, or even losing letters inviting her to play. It took some time for her to realize that she was setting traps for herself, and that what she really wanted was to be out of concert performance altogether. From the time their first child was three months old, DeLay and Newhouse always had a housekeeper, which enabled DeLay to pursue her performing career, but no small additional consideration was that she was loath to be away on tour from her two young children for any length of time. At this point DeLay actually considered going to medical school, but dropped the idea after a few months when her husband confronted her one day with the question of whether she really wanted to go back to college and do four years of math and the sciences. The answer, she said, was No, although it would have been Yes to chemistry or physics.
Back in New York after the war, DeLay decided to return to serious study of the violin. "I had done my four years of graduate work, but I was not satisfied," she said. "I was very uncomfortable. I just did not like very much what I had done so far, and felt there were too many things I did not know."
DeLay described herself as having gone through a period of terrible insecurity and self-consciousness at around this point in her life, which must have a great deal to do with her ability to empathize with students who are going through similar miseries. "When you feel that way, it is awfully hard to look at someone else and think about how to help that person, because you are so desperate for help yourself," she said. "I think it is because you don't understand the real purpose of being alive. You are just worried about whatever people are going to think of you."
Early in 1946 DeLay started interviewing teachers, including the legendary Ivan Galamian, who had just been appointed to the Juilliard School. She characterized him as having been a very shy person, and said she liked him the best because he was the most direct. Starting that spring, DeLay had about six lessons with Galamian over a period of three months, in the course of which they became friends. DeLay would meet regularly with Galamian and his wife, Judith, for supper on Monday nights, and most of the talk would revolve around students and teaching methods. "He listened so carefully to what I said, and responded so thoughtfully," DeLay recalled. "I really had to think very hard about what I was saying. I admired him a great deal."
DeLay's lessons in Galamian's studio were followed by a couple of weeks at his summer place near Westport, New York, in the Adirondack Mountains, to which Galamian would invite a few of his students. Hard work was the order of the day in the Galamian household, and the fortunate few who were invited spent most of their time practicing. This was the very beginning of Meadowmount, the summer camp that Gallamian and his wife established in 1944. At the time that DeLay went to stay with the Galamians, she still had no thought of becoming a teacher herself. She was wholly concentrated on her violin studies, but she was deeply impressed by the intensity of Galamian's devotion to his school. Whether she was aware of it or not, the seeds of her future career were being planted.
I wanted to go on with my own work, and I wanted to see what he was doing. I sat in the studio in Meadowmount sometimes and watched the process, and then I thought: something very special is happening in this room. So I said to Mr. Galamian, "Why do you come up here and break your back working so hard, when you can stay in New York and work half as much and make more money?" He was just pouring all his energy into that school. He thought for a while and then he said, "Because I would be proud of it." He had never talked that way to me before, and I thought, That's wonderful, that's really wonderful!
In the fall of that same year, a friend of DeLay's invited her to teach one day a week at the Henry Street Settlement School in Manhattan, and she decided to try it just to see what it was like. Right from the beginning, DeLay, to her surprise, discovered that she loved teaching. It appealed to her sense of adventure—of watching something change before your very eyes—as well as to her fascination with how people's minds work. She took so much pleasure in the job that the two-and-a-half-hour bus journey from her home to the school bothered her not in the least.
Three or four months after DeLay started teaching at the Henry Street Settlement School, fate threw a similar opportunity in her path, this time at the Juilliard School, where she was already well known to the faculty and the administration from her graduate student days. The Preparatory Division, as the Pre-College Division was then known, was in the process of expanding its staff, and the person in charge of the program, Fred Prausnitz, called and asked DeLay if she would teach there part-time. DeLay told him she would be delighted.
At Juilliard, as at the Henry Street Settlement School, DeLay had some little kids who were not particularly gifted. From her description, they were making the kinds of sounds that keep families from starting their children on the violin. Nevertheless, "Suddenly, I realized that I was having a good time, and that they were having a good time, and that the day I did my three hours of teaching was the nicest day of the week," she said.
Within the year more work came along. The conductor Hugo Fiorato, who was a friend of DeLay's, was teaching chamber music at Sarah Lawrence College in Westchester, New York, and needed a violinist and a cellist for a couple of hours a week. He offered the job, which paid five dollars an hour, to DeLay and her sister Nellis, and the two young women accepted with enthusiasm. DeLay started out at Sarah Lawrence as a violinist, but she stayed on as a teacher and was a member of the faculty from 1948 to 1987.
In 1948 Galamian invited DeLay to join him as his assistant at Juilliard, as well as at Meadowmount. The Newhouse family, Dorothy, Edward, and their two children, would rent a house on Lake Champlain, eleven miles away, and settle in for the summer. DeLay continued to work with Galamian summer and winter for more than twenty years. The eventual rupture between the two in 1970 over teaching methods caused a permanent upheaval in the classical music world. But that is another story to emerge in the following chapter.
Although DeLay says she slid into teaching by the back door, there seems to have been some grand design in the way the door—or doors—opened. Curiosity made her push open the first door to the Henry Street Settlement House, but the others, including Sarah Lawrence, Juilliard (1947-), Meadowmount (1948-1970), Aspen (1971-), the University of Cincinnati (1974-), the Philadelphia College of the Performing Arts (1977-1983), the New England Conservatory (1978-1987), and the Royal College of Music (1987-), unlocked as though predestined.
Edward Newhouse was born in Budapest and came to the United States at the age of twelve. He became a writer and published several novels as well as a great many short stories, almost all of them in The New Yorker. "I just wrote a lot of fiction for them, for maybe thirty years," Newhouse says. "I would have eight to ten stories a year. I haven't published a word there or anywhere since the mid-sixties." Newhouse's circle of friends was composed of many outstanding writers of the time, not only because of his life at The New Yorker, but because the part of rural Rockland County where he and DeLay settled (now the bustling community of Nyack) became a center for people in the arts. Their friends and neighbors included the writers Charles MacArthur, Carson McCullers, and Countess Alexandra Tolstoy, as well as distinguished actors, artists, and composers.
A current of gentle teasing runs through much of the conversation between DeLay and Newhouse—they are obviously not in the least bored with each other after a lifetime together. They argue, they interrupt each other, they ask each other's opinion, and they defer to each other. "Well," DeLay will say about some past incident, "the first thing that happened is that she arrived here—"
"The first thing that happened, sweetie," Newhouse interrupts, "is that before she came—" "And John said—" DeLay continues imperturbably.
"No!" Newhouse insists.
"OK, well you tell it. You give the absolute and accurate truth."
"Well, there is my version, and then there is that of my associate here," says Newhouse, turning to me as DeLay rolls her eyes and says "Oh, Eddie!" in mock despair.
"Mr. Newhouse is a very sage adviser," said the virtuoso violinist Cho-Liang Lin, a former DeLay student. "He is a wonderful man—easy-going and thoughtful. There is a terrific give-and-take between them. If I need to talk about a business question or a career move, I go to him. He has a clear view from the sidelines. There is Miss DeLay out there at the center of the world. Mr. Newhouse knows he's very important to her, but he has no interest in sharing the spotlight.
After Newhouse retired from The New Yorker, his book-lined study at home became a hub from which he helps DeLay's students to write grants and applications, dispenses practical advice, fields some of the innumerable phone calls, and serves as a general store of information. If one calls Juilliard for news about a Delay student, one is frequently referred to Newhouse as a more up-to-date source. He has always had a particularly soft spot for the youngest ones and long cherished a Christmas card to DeLay from then-six-year-old Sara h Chang: "I like the Juilliard school. I like it because you teach there. Also, I like the bending [sic] machines." (I can't tell you how much better her handwriting is than my son's," Newhouse added.) He also likes to tell of a phone call from a very self-possessed ten year old whom he had not yet met. "I have heard so many good things about you, Mr. Newhouse," the child said. "I want to write to you so I would like your address and also your zipper code." A letter he passed on to me from another child is a model of realism in the face of possible disappointment: "I think that if I can't get a puppy I'll get a kitten and if I can't get a kitten I'll get another hamster." The writer of this note, by the way, was also about ten and already a formidable soloist.
Newhouse is soft-spoken and courtly. He is also enormously erudite and a splendid raconteur with a fondness for history as well as the arts. He is unabashedly proud of DeLay and is adept at providing an interviewer with catchy quotes: "William Schuman [the composer and Juilliard's first president] called her the Dottie Appleseed of the violin world," referring to the large number of her students playing all over the globe; useful pegs for writers: "I thought you might be interested to know that no fewer than five of her students will be playing with the New York Philharmonic this season"; and jokes: "Dottie has just received the Sanford Medal from Yale University. Since she is a direct descendent of Thomas J. Hooker [Hooker (1586-1647) was a Puritan clergyman and the chief founder of Hartford, Connecticut], I am suggesting that when she accepts she should say, with downcast eye, that she imagined this was the first time such an honor had been bestowed upon a Hooker."
The gentle manner can suddenly turn sharp if Newhouse feels his wife is in any way under attack. Shortly after we first met, Newhouse and I talked about a particular student who, like many, studied with both DeLay and one of her associates. I asked about the difference between what went on in the two lessons, and remember feeling as though I had stepped on a hornet's nest. "If you go that route you'll be walking a high wire and you'd better have a big net under you," Newhouse replied coldly. "Why?" I asked. "Some writers like to say that so-and-so specializes in technique, and so-and-so in musicality. None of the students they teach in common are confused," he added. "There is so much to be taught. They do not work at cross purposes." Since, in fact, I had heard no complaints of mixed signals between DeLay and her assistants, I could only assume that some previous experience had led Newhouse to regard the question as provocative.
At home in Nyack, the telephone starts ringing at nine o'clock in the morning and continues throughout the day and evening. The callers are current students with problems, both personal and professional, ex-students on tour who just want to check in, deans of conservatories looking for faculty, managements, conductors—an endless parade of people who are in one way or another connected to the violin world. After DeLay escapes to Juilliard, Newhouse remains captive to the telephone. "I impersonate somebody who knows something, although after all these years there has been a certain process of osmosis," he said.
There is this mare's nest next to the phone that she calls her address book, although actually it's more like an outrage. A conductor will call and say, "My soloist came down with tendinitis, have you got somebody?" and Dottie will start phoning around. Or a string quartet may want her advice if they have to replace one of their violinists. Sometimes one of the students is desperate for a bit of handholding: "Miss DeLay, he asked me to marry him, should I?" or, "He didn't"—tears dripping down chin. "What should I do for encores?" "Should I do encores?" "Will they expect me to do encores?" Or "My arm hurts. Should I stop practicing?" Those questions, of course, I leave to Dottie.
Newhouse gives an amiable smile and says, "Part of my function is to convince all the girls in the class that they are beautiful. When the kids are having their exams, the phone sometimes goes nonstop. It is reminiscent of Secretary of State Kissinger saying 'This isn't governing— this is crisis management.'"
At the time of these particular conversations with DeLay and Newhouse, DeLay was about to be eighty-one. In addition to her Juilliard classes, a forty-five minute trip from her home, which she drove herself, she still flew regularly to the University of Cincinnati College-Conservatory of Music, where she was the Starling Visiting Professor, and spent her summers in Aspen, where she holds the Dorothy DeLay Chair. Back in New York, conductor and violinist Peter Oundjian said he saw her driving along the parkway doing seventy miles an hour. He tried to catch up with her to give her a wave, but couldn't keep up. "Absolutely characteristic," he laughed. "She was perfectly focused, knew exactly where she was going, and was doing it at speed."
While DeLay has generally kept a low public profile in the course of helping her students to get their names in lights, she is not without honor at home or abroad. She holds honorary doctorates from Oberlin College, Columbia University, Duquesne University, Michigan State University, and the University of Colorado. Yale University has bestowed on her the Sanford Medal, their highest award for "Distinguished Contributions to Music." She has received the Artist Teacher Award of the American String Teachers Association, the National Music Council's American Eagle Award, and the King Solomon Award of the America-Israel Cultural Foundation. She is a Fellow of the Royal College of Music in Great Britain.
In 1994 DeLay, along with fellow musicians Harry Belafonte and Dave Brubeck, received the National Medal of the Arts, presented by President Clinton at a White House ceremony. She was nominated for the award by the Aspen Music Festival and School, and letters of support came from her students, including Itzhak Perlman, Robert McDuffie. Gil Shaham, and others, as well as Carnegie Hall's then executive director, the late Judith Arron, and DeLay's friend and former Supreme Court Justice the late Harry Blackmun.
Newhouse likes to describe the ripple effect that DeLay's teaching has had, and even without the bias of a fond husband, the legacy is impressive. Quite apart from the star soloists, she has taught the concertmasters of orchestras all over the world, including the Berlin Philharmonic, the Philadelphia Orchestra, the Amsterdam Concertgebouw Orchestra, and the Chicago Symphony; violinists of the Juilliard. Tokyo Cleveland, American, Takács, Mendelssohn, Blair, Muir, Fine Arts, and Vermeer String Quartets have studied with her: her former students teach, passing on her ideas as well as their own, at the major music conservatories in the United States and abroad; and four violin concertos, written by major composers in her honor, have become part of the repertoire.
All in all, the little girl from Medicine Lodge, Kansas, has lived her life pretty much in keeping with Newhouse's description of the Midwestern character. Gradually, over the years, DeLay has built not just a city, but, through her students and the teachers she has trained, an entire network of cities that continues to grow.
Table of Contents
| Foreword by Zubin Mehta | 9 |
| Acknowledgments | 11 |
| Introducing Miss DeLay | 15 |
| Part One Dorothy DeLay—Her Life and Legacy | |
| 1 DeLay's Life: A Limitless Sense of the Possible | 23 |
| 2 Teaching Geniuses: Auer, Galamian, and DeLay | 41 |
| Part Two In the Studio | |
| 3 The Power of Primitive Thinking | 63 |
| 4 Saturday's Children: The Pre-College Kids and Their | |
| Parents | 73 |
| 5 The Upper School Students | 95 |
| 6 The Aspen Music School: DeLay's Summer Studio | 107 |
| 7 The Emperor's New Clothes? DeLay and Her Critics | 123 |
| Part Three The World Outside: On Stage and in Performance | |
| 8 Looking for Work | 135 |
| 9 Prodigies | 147 |
| 10 Sarah Chang's Story: How to Get to Carnegie Hall | 161 |
| 11 Itzhak Perlman's Story: Bringing Out the Best | 187 |
| 12 Toby Perlman's Story: AnotherPerspective | 193 |
| 13 Enormous Changes at the Last Minute | 203 |
| 14 Postscript | 221 |
| A Partial List of Dorothy DeLay's Students | 227 |
| Selected Bibliography | 235 |
| Index | 237 |