Show Summary Details

Page of

Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for personal use (for details see Privacy Policy).

date: 19 September 2019

Dalton, Sand Nevinlocked

  • Janet K. Page

Extract

(b Minneapolis, MN, Aug 4, 1952).

American oboist and maker of historical oboes. He trained as an artist and oboist at the California Institute of the Arts, receiving a BFA in 1975. He began playing baroque oboe the same year, and has become one of the leading players of historical oboes in North America. He taught at the New England Conservatory and the Longy School of Music from 1985 to 1989. Dalton began to make oboes in 1976, one of several American makers then beginning to focus on that instrument.

As an oboe maker, Dalton is primarily self-taught, although he was influenced by the flute maker Rod Cameron and the recorder maker David Ohannessian. He began with drawings (of Michel Piguet’s Rottenburgh oboe) obtained from Friedrich von Huene, and from 1977 he studied instruments in museum collections. Dalton tries to revive an instrument’s intrinsic playing qualities, as revealed by its materials, proportions, and music, and he has experimented with construction techniques, finishes, key-making, and staple and reed design. He has devoted special attention to tuning and pitch and was one of the first Americans to make oboes at a′ = 392. His baroque oboe production includes several instruments by J.H. Eichentopf (oboe d’amore, oboe, taille de hautbois); he also makes models after N. Hotteterre, the “Galpin” oboe, J.C. Denner (taille de hautbois), and Anciuti. He is especially noted for his classical-period instruments, after Grundmann and Floth. Except for the period from ...

You do not currently have access to this article

Login

Please login to access the full content.

Subscribe

Please subscribe to access the full content.