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Eugene Ormandy, born Jenő Blau-Ormándy (Budapest (Hungary), 18 november 1899 – Philadelphia (United States), 12 March 1985), was an American conductor and violinist.


[hide]*1 Biography


Eugene Ormandy began his violin studies at the National Hungarian Royal Academy of music (now the Franz Liszt Academy of music) when he was five years old. He gave his first concerts when he was seven and graduated when he was fourteen. In 1920 , he obtained a university degree in philosophy. In 1921 he emigrated to the United States and changed his name by Jenő Blau Ormándy-to "Eugene Ormandy". He began as a violinist in the Major Bowes Capitol Theater Orchestra in New York, where he was concertmaster within five days. This Orchestra, of which he was also conductor, then accompanied silent films. As a violinist between 1923 and 1929 Ormandy made sixteen recordings.

Arthur Judson, the most powerful manager in the field of American classical music during the 1930s, helped Ormandy with his career. When Arturo Toscanini was too ill to conduct thePhiladelphia Orchestra in 1931, Judson asked Ormandy to take its place. This led to his first important appointment as conductor, in Minneapolis.


Minneapolis Symphony Orchestra[Edit]Edit

Ormandy was In 1931 as conductor of the Minneapolis Symphony Orchestra (now the Minnesota Orchestra) appointed. He remained there until 1936. During the dark days of the great depression , RCA Victor contracted Ormandy took and made many recordings with the Minneapolis Symphony. Here are also a number of first shots at, among others, John Alden's Adventures in a Perambulatorcarpenters; Zoltán Kodálys Hary Janos Suite; Arnold Schönberg's Verklärte Nacht and Roy HarrisAmerican Overture (based on "When Johnny Comes Marching Home").

The Philadelphia Orchestra[Edit]Edit

Ormandy's 44-year stay with the Philadelphia Orchestra began in 1936, and is the main cause of his reputation. Two years after he was appointed as a conductor in addition to Leopold Stokowski , he became principal conductor and remained so until his "retirement" in 1980. (Stokowski continued to give concerts in Philadelphia in 1941). As first conductor gave Ormandy between 100 and 180 performances a year.

Ormandy had often conducted without a score quickly under control and score or baton. He had a formal and reserved style of conducting, as his idol and friend Arturo Toscanini. One of the musicians from the Orchestra once said, "he's trying not to conduct each note, as some conductors do that". The Philadelphia Orchestra under Ormandy's direction had a "rank" legato style, which was characterized by the ironing technique that Stokowski had introduced and with which he has become known. This style was appreciated, though there was also criticism, namely that Ormandy showed a lack of originality.

Guest conducting with the Rotterdam Philharmonic Orchestra[Edit]Edit

After his "retirement" Ormandy came a number of seasons with the Philadelphia Orchestra as a guest conductor to the Rotterdam Philharmonic Orchestra, with which he, inter alia, the Mahler 'sfirst Symphony performed with great success.

Awards and honours[Edit]Edit


From 1936 until his death, Ormandy made hundreds of recordings with the Philadelphia Orchestra in any music genre. Richard Freed wrote: "Ormandy is most of all conductors come close when recording the" Complete works of anyone ", where he a fair number of compositions also took up another three or four times to meet and take advantage of the new recording techniques or to present a new soloist."

First shots[Edit]Edit

World premieres of the Philadelphia Orchestra and Ormandy:

Ormandy has also made a number of recordings, which for the first time in America are made Paul Hindemith's Mathis der Maler Symphony, Carl Orff's Catulli Carmina (which won the Grammy Award in 1968 for best choral performance), Shostakovich's Symphonies Nos. 4, 13, 14 and 15Carl Nielsen symphonies 1 & 6, Anton Webern's Im Sommer windKrzysztof Penderecki'sUtrenja, and Gustav Mahler's Symphony No. 10.

Other important recordings[Edit]Edit

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