天才を育てる 名ヴァイオリン教師ドロシー・ディレイの素顔 単行本 – 2001/11/5
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The insights of former students, DeLays husband (New Yorker writer Edward Newhouse), and DeLay herself, paint a rich portrait of pedagogy techniques that adapt to the student and the situation, and of a tenacious, loving, and brilliant woman whose motivating challenge is to find the approach that will lead to her charges success. But this motherly woman is hardly just a nice lady who teaches the fiddle. Where her students are concerned, this kindly presence is capable of behaving more like a lioness, defending them from outside predators, such as overambitious parents or managers; insisting that they listen to their own musical instincts; and finally, making sure that they gain the skills and independence they will need to survive and flourish in the jungle of the professional concert world that awaits them.
Almost all of todays major violinists spent their musical childhoods under the watchful eye of Dorothy DeLay. Writer Barbara L. Sand spent ten years as a "lesson junkie" in DeLays studio at the Juilliard School of Music in New York, observing and analyzing the legends styles and techniques in a quest to understand what sets DeLay apart from other teachers. What Sand discovered is difficult to quantify, so instead of making pronouncements, she presents stories and conversations gleaned from those ten years.
"With Miss DeLay, we could have a good discussion and we could have a good fightforget about doing that with Galamian! For example, if there was a note out of tune, he would say, 'What's the matter, it is out of tune!' Miss DeLay would say, 'Sugarplum, what is your concept of F sharp?' which means your F sharp is out of tune. It is a different style of teaching that puts the student at ease." Itzhak Perlman, violinist, former student of Ivan Galamian and Dorothy Delay
"She was teaching me to teach myselfand that's why she is a great teacher." Nadja Salerno-Sonnenberg
similar books - I am a classical violinist myself and have known of Dorothy DeLay forever. I am an enormous
fanatic of one of her most prized of pupils, Nadja Salerno-Sonnenberg, who has always sung the "Ms. DeLay Praises".
Sarah Chang, another product of the DeLay Juilliard stable of players, developed far more than I ever expected. She made the transition from prodigy to virtuoso with aplomb - and it is probably - with an emphasis on probably - due in some part to Dorothy DeLay.
As for this book by Ms. Sand - well, it's not bad. It tells a lot about how Dorothy lived her life as master teacher of well over a thousand violinists, her teaching partnership with Ivan Galamian, who has long since been credited with making Perlman, Kyung-Wha Chung, the late Michael Rabin, and a whole host of others, into the incomparable performers they were. And it tells of DeLay's eventual split from Galamian (which ended - completely and totally - in a single phone call, as detailed here.) And it tells of DeLay's clout - how conductors, managers, concert promoters, came to her when they were in search of a fine young artist. How she helped steer her students along the path of righteousness in the often cold and calculated upper echelon of classical music. We get a good inside look at DeLay's studio and how she works. And, it tells of how her husband was involved in the process as well, fielding some of the hundreds of phone calls that came in to the DeLay house
every day. I found that interesting and was previously unaware of it.
Her approach of teaching students to teach themselves is indeed a noble one, but it doesn't work for everyone - and there were those naysayers who said that she never really taught anything. Basically this book is a compilation of many interviews with DeLay and her students, and observations of Ms. Sand's that were recorded during an extended period of time spent in her studio; I don't know if Sand is a violinist or not. I'm guessing not, judging from the way she writes. It's astonishing, the achievements of some of the 7 and 8 year old children whom Dorothy DeLay worked with - some of them had learned nearly the whole standard repertoire by the time they'd reached their teenage years or before. Yet the majority of them will never be heard, never sign with a record company, never make it to the top of the figurative Mount Everest. We'll never hear them in any major concert halls throughout the world. And there's some insight here as to why not.
This book is geared primarily toward those who are not real familiar with the violinistic world - perhaps interested concertgoers who regularly hear Midori or Perlman or Sarah Chang or Nadja who have seen "a pupil of master pedagogue Dorothy DeLay" in the concert program notes, and wonder just how they got where they are, other than the endless hours of practice. For the benefit of the casual reader, Sand gives quite a bit of background about other legendary teachers of the past century, and what it means and takes to "become a violinist." In this regard, the book succeeds. There are chapters detailing Sarah Chang and Itzhak Perlman (and one with Toby Perlman, his wife). Parts of other chapters contain info about some of her other major pupils; hardly anything on Midori though, who some say was DeLay's most gifted pupil and I wholeheartedly concur. Some of the other material presented might be a little much for the average reader, though. The things that go on behind very closed doors are not covered in this particular book, or probably any book; a student's life on the trail from student to professional in the "New York classical music community" - getting jobs, getting representation, getting booked for concert dates, etc. etc. It's a unique thing for every musician and while the rewards are great, they are only given to a minuscule number of individuals. That's why the vast majority give up after awhile, despite the rigorous training, and play in orchestras and/or teach and/or play chamber music and make a modest living.
Again, back to my opening statement about not knowing what to think of this book... Dorothy DeLay had quite a bit of controversy surrounding her. Despite this, she had a way of
teaching - perhaps it wasn't teaching so much as guiding - her students. And for many of them, it worked very well. She was not a stern taskmaster or overly critical. Was she an important teacher as Galamian was? Or just a good mentor? Did she really shape the lives and careers of her students? Did parents from around the globe practically demand that she teach their children because there was literally no one else who matched up to Dorothy Delay? Did Delay have something that no one else did? Was she, to some people, "the joke of New York who couldn't even remember her own pupil's names?" (direct quote to me from a Juilliard student.) To all of these queries, the answer is "perhaps."
Dorothy DeLay died in 2002 but her legacy lives on. This is the woman responsible for teaching Perlman, Sarah Chang, Midori, Salerno-Sonnenberg, Nigel Kennedy, Cho-Liang Lin, Mark Kaplan, Shlomo Mintz, Gil Shaham, Simon Fischer, and too many more to mention.
I never played for her, but did watch a lesson she taught once. Admittedly, it was rife with many of the things of which her critics complain: She arrived about three hours late (Getting "DeLayed"), and once the lesson began she was constantly answering the knock at the studio door, the phone ringing, etc.
However, knowing that many people sought to play for her at least once, so they could then put her name on their resume, she didn't always take these occasions seriously, especially given the hundreds and hundreds of violinists she heard in her life.
Those special musical geniuses that DeLay *did* take a special interest in, though, she took a long way. While some violin teachers like to focus only on developing technique through scales and exercises, DeLay never failed to emphasize the musical, expressive, artistic side of the violinist's development. Whereas her contemporary Ivan Galamian would say "I don't teach music," meaning he only taught technique, musical interpretation notwithstanding, Dorothy DeLay would constantly ask her students things like "Where do you think this phrase is going?" and "What do you think is the most important note in this phrase?" and "What do you think Beethoven might have been thinking when he composed this passage?" So many music teachers today, of all instruments, neglect this area of development as they view performance as an olympic sport of technique. Yes, the profession is extremely competitive, but in such competition, when there are 1000 violinists that can hit the notes, the ones that stand out are the ones with a superior *artistic* finish.
This book is an excellent survey of the inner world of Dorothy DeLay's studio; her philosophy, her former students, and much more. She was the single most influential violin teacher of the 20th century.