Background
Ormandy was born in Budapest, Austria-Hungary as Jenő Blau, the son of Jewish parents Rosalie and Benjamin Blau, a dentist who was also an amateur violinist.
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Ormandy was born in Budapest, Austria-Hungary as Jenő Blau, the son of Jewish parents Rosalie and Benjamin Blau, a dentist who was also an amateur violinist.
Ormandy began studying violin at the Royal National Hungarian Academy of Music (now the Franz Liszt Academy of Music) at the age of five. He gave his first concerts as a violinist at age seven and, studying with Jenő Hubay, graduated at 14 with a master's degree. In 1920, he obtained a university degree in philosophy.
Ormandy served until 1936 as conductor of the Minneapolis Symphony Orchestra (now the Minnesota Orchestra). During the depths of the Great Depression, RCA Victor contracted Ormandy and the Minneapolis Symphony for many recordings. A clause in the musicians' contract required them to earn their salaries by performing a certain number of hours each week (whether it be rehearsals, concerts, broadcasts, or recording). Since Victor did not need to pay the musicians, it could afford to send its best technicians and equipment to record in Minneapolis. Recordings were made between January 16, 1934, and January 16, 1935. There were several premiere recordings made in Minneapolis: John Alden Carpenter's Adventures in a Perambulator; Zoltán Kodály's Háry János Suite; Arnold Schoenberg’s Verklärte Nacht and a specially commissioned recording of Roy Harris's American Overture based on "When Johnny Comes Marching Home". Ormandy's recordings also included Anton Bruckner's Symphony No. 7 and Mahler's Symphony No. 2, which became extremely well known.
Ormandy's 44-year tenure with the Philadelphia Orchestra began in 1936 and became the source of much of his lasting reputation and fame. Two years after his appointment as associate conductor under Leopold Stokowski, he became its music director. (Stokowski continued to conduct some concerts in Philadelphia until 1941; he returned as a guest conductor in 1960.) As music director, Ormandy conducted from 100 to 180 concerts each year in Philadelphia. Upon his retirement in 1980, he was made conductor laureate.
Ormandy was a quick learner of scores, often conducting from memory and without a baton. He demonstrated exceptional musical and personal integrity, exceptional leadership skills, and a formal and reserved podium manner in the style of his idol and friend, Arturo Toscanini. One orchestra musician complimented him by saying: "He doesn't try to conduct every note as some conductors do." Under Ormandy's direction the Philadelphia Orchestra continued the lush, legato style originated by Stokowski and for which the orchestra was well known. Ormandy's conducting style was praised for its opulent sound, but also was criticized for supposedly lacking any real individual touch. In the book Dinner with Lenny, containing one of the last interviews of Leonard Bernstein, Ormandy is criticized by Bernstein for applying the same lush sound to every piece that he conducted, even if the composer of the piece in question did not call for it, a criticism that Bernstein voiced indirectly in The Sound of an Orchestra, one of the Young People's Concerts.
Ormandy was particularly noted for conducting late Romantic and early 20th century music. He particularly favored Bruckner, Debussy, Dvořák, Ravel, Richard Strauss, Tchaikovsky, Sibelius, and transcriptions of Bach. His performances of Beethoven, Brahms, Haydn, and Mozart were considered less successful by some critics, especially when he applied the lush, so-called "Philadelphia Sound" to them. On the other hand, Donald Peck, principal flute of the Chicago Symphony Orchestra, reports that a fellow flutist was won over when Ormandy conducted the Chicago in Beethoven's Ninth Symphony; he told Peck that it was the greatest Ninth he had ever heard. He was particularly noted as a champion of Sergei Rachmaninoff's music, conducting the premiere of his Symphonic Dances and leading the orchestra in the composer's own recordings of three of his piano concertos in 1939–40. He also directed the American premiere of several symphonies by Dmitri Shostakovich. He made the first recording of Deryck Cooke's first performing edition of the complete Mahler Tenth Symphony, which many critics praised. His recording of Camille Saint-Saëns' Third Symphony received stellar reviews and is held in high regard. He also performed a great deal of American music and gave many premières of works by Samuel Barber, Paul Creston, David Diamond, Howard Hanson, Walter Piston, Ned Rorem, William Schuman, Roger Sessions, Virgil Thomson, and Richard Yardumian.
In 1947, Ormandy appeared in the feature film Night Song in which he conducted Leith Stevens' Piano Concerto, with Arthur Rubinstein as soloist.
The Philadelphia Orchestra under Ormandy's direction frequently performed outside of Philadelphia, in New York and other American cities, and undertook a number of foreign tours. During a 1955 tour of Finland, Ormandy and many of the Orchestra's members visited the elderly composer Jean Sibelius at his country estate; Ormandy was photographed with Sibelius and the picture later appeared on the cover of his 1962 stereo recording of the composer's first symphony. During a 1973 tour of the People's Republic of China, the Orchestra performed to enthusiastic audiences that had been isolated from Western classical music for many decades.
Ormandy and the Philadelphia Orchestra, as well as smaller ensembles composed of its members, often collaborated with Richard P. Condie (and later Jerold Ottley) and the Mormon Tabernacle Choir to produce many recordings still considered definitive today, most notably the Grammy- winning recording of the Peter Wilhousky arrangement of the Battle Hymn of the Republic.
After Ormandy officially retired as music director of the Philadelphia Orchestra in 1980, he served as a guest conductor of other orchestras and made a few recordings.
Ormandy died of pneumonia at his home in Philadelphia, Pennsylvania, on March 12, 1985. His papers, including his marked scores and complete arrangements, fill 501 boxes in the archives of the University of Pennsylvania Library.
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