Heir to the Budapest

Now that the Budapest String Quartet has retired, who takes its place as the world's master of chamber music?

In Europe, the Quartette Italiano and the Amadeus Quartet are perhaps the best examples of the traditional Old World ensemble. In the U.S., a first-rate group like the Juilliard has proved that American string players are the equal of any produced out of the classic European mold. Yet, in the minds of many chamber music connoisseurs, another group comes even closer to the elegant perfection of the old Budapest: the Guarneri String Quartet, which made its New York debut in 1965.

Despite their relatively brief collaboration, the quartet displays a seasoned, settled style--almost as if it had been playing together for a decade. Its tone is unfailingly rich and clear; its mastery of the ensemble form is so complete that even when performing with as experienced a musician as Pianist Artur Rubinstein its relative youth as a quartet is not all apparent.

Special Resources. If the Guarneri is indeed Budapest's heir, it could not have been more properly anointed. It was founded at Vermont's Marlboro Music Festival at the suggestion of the Budapest's own second violinist, Alexander Schneider; its name was supplied by Budapest Violist Boris Kroyt, who had once played with a now defunct European quartet called the Guarneri (after the 18th century Italian violinmaker). Despite its distinguished sponsorship, the quartet's success is the result of its own special musical resources. First Violinist Arnold Steinhardt, 32, a tall (6 ft. 3 in.), darkly handsome bachelor, is a Los Angeles-born virtuoso and 1958 Leventritt Competition winner. Second Violinist John Dalley, 33, and Violist Michael Tree, 46, are both talented sons of well-known violin teachers. Cellist David Soyer, 43, the quartet's unofficial spokesman, is also its most musically seasoned member; his experience ranges from dance bands to Toscanini's NBC Symphony to solo recitals.

Though all four men are accomplished soloists, they display considerable sub-limination of artistic ego when they have their bows together. In traditional quartets, the first violinist is the unofficial leader; the Guarneri has no real chief. Though rehearsals often turn into vociferous debates, they are never allowed to get out of hand. Says Tree, "the performance always comes first." Two-to-two splits are resolved pragmatically by trying out both ideas at successive concerts.

Just a Corporation. Although they occasionally play 20th century composers like Bartok and Hindemith, they prefer the traditional repertory--as did the Budapest. "Let someone else be adventurous," says Soyer. "It is more important to do the masterpieces."

To avoid the marriage-like pitfalls of quartet life, the players follow many of Sasha Schneider's helpful guidelines. They rarely socialize together during off hours; on tour, they try to avoid the same train or plane, and often stay in different hotels. They also divvy up business responsibilities: Steinhardt handles travel, Dalley is in charge of money, Soyer manages overseas tours, and Tree is the program chairman. "We're just like a corporation," says Steinhardt. "We work together, but must we play together?" When they try, it can cause trouble. Last year Steinhardt broke his own self-imposed rule by challenging Tree on the tennis court and fractured his wrist.

No one is more surprised by its rapid rise than the quartet itself. Quartet members often make ends meet by teaching, solo appearances and freelancing. "We were prepared for a long, hard struggle," says Dalley. In fact, the Guarneri's financial worries have been so remarkably short-lived that they are reducing their outside teaching commitments. This year, the quartet will give about 100 concerts (at $1,200 each), compared with a mere dozen in 1965. Its recording work is also increasing, in anticipation of next year's Beethoven bicentennial; the Guarneri will by then have recorded all 16 of his quartets for RCA Victor.

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