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1Title:  Oral history: conducted by George Diehl, November 16, 1975   
 Creator:  Ormandy, Eugene, 1899-1985 | Diehl, George K. (George Karl), 1924- 
 Notes:  Recorded on the 75th anniversary of the first concert given by the Philadelphia Orchestra, Ormandy discusses various topics, including trends and challenges in orchestral programming, music education and the role of programming in educating the public, what he looks for in choosing new players for the orchestra, how he maintains the high level of performance standard in the orchestra, and the legacy left to him by Leopold Stokowski. Recorded in Philadelphia, Pennsylvania. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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2Title:  Oral history: conducted by Sharon Eisenhour, January 27, 1993   
 Creator:  De Pasquale, Joseph 
 Notes:  De Pasquale describes how he attained his positions with the Boston Symphony, the Philadelphia Orchestra, and at Curtis Institute of Music, and the efforts of Eugene Ormandy that caused him to move to Philadelphia. De Pasquale discusses various aspects of Ormandy's career and personality, including his relationship with the Phila. Orch. players and board of directors, his longevity, stamina (especially in recording sessions), skill as an accompanist, memory, skill at learning new works of music, conducting and rehearsal technique (and the relationship between his downbeat and the type of attack he sought), his concept of orchestral sound and how he achieved it, his association with Curtis Institute, his choices in contemporary music, his reaction to string instruments made by contemporary makers, his regard for Arturo Toscanini, his later years, his generosity, and his stature as a conductor. In this context De Pasquale makes comparisons between Ormandy and other conductors, Serge Koussevitsky, Charles Munch, and Riccardo Muti. De Pasquale also discusses other matters, including his family (brothers William, Robert, and Francis, and the De Pasquale String Quartet), the unionization of the Boston Symphony, the relationship between touring and recording, details concerning the construction of the viola, and a comparison between the Boston Symphony and the Phila. Orch. (especially in regard to tuning pitch). Opinions and anecdotes are offered concerning others, including Efrem Zimbalist, Leopold Stokowski, Pierre Monteaux, Herbert von Karajan, William Primrose, Walter Piston, and Anshel Brusilow. Recorded in Merion, Pennsylvania. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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3Title:  Oral history: conducted by Sharon Eisenhour, June 18, 1993   
 Creator:  Page, Robert, 1927- 
 Notes:  Page discusses his background, how he attained the position at Temple University, his first experience working with Eugene Ormandy and the Philadelphia Orchestra in performances of Carl Orff's Trionfo di Afrodite, what he learned about conducting from Ormandy, his process of preparing a chorus for performances with the Philadelphia Orchestra (especially Krysztof Penderecki's Utrenja and Samuel Barber's The Lovers), and his working and personal relationship with Ormandy. Page also talks about various aspects of Ormandy's characteristics as a conductor, including his process of learning a score, his rehearsal technique, his concept of orchestral sound and how he achieved it, his sense of time, his conducting technique, and his approach to contemporary music. Page also offers anecdotes and opinions concerning others, including Elaine Brown, Margaret Hillis, Lorin Maazel, Zubin Mehta, Claudio Abbado, Martial Singher, Phyllis Curtin, Jon Vickers, Dag Hammarskjold, Leopold Stokowski, Seth McCoy, John McCollum, and William Smith. Recorded in Philadelphia, Pennsylvania. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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4Title:  Oral history: conducted by Sharon Eisenhour, June 22, 1993   
 Creator:  Valente, Benita. 
 Notes:  Valente discusses her experiences performing with the Philadelphia Orchestra, conducted by Eugene Ormandy. In this context she talks about aspects of Ormandy's personality and characteristics as a conductor, including his treatment of vocalists in rehearsals, his programming and rehearsing of contemporary music, his devotion to the Philadlephia Orchestra, his skill as an accompanist, his relative strengths and weaknesses as a conductor, and the end of his career. Valente also offers opinions and anecdotes concerning others, including Rudolf Serkin, Seth McCoy, Simon Estes, Maria Stader, Riccardo Muti, Nicholas Maw, David Del Tredici, and Gretel Ormandy. Recorded in Philadelphia, Pennsylvania. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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5Title:  Oral history: conducted by Herbert Kupferberg, October 1969   
 Creator:  Ormandy, Eugene, 1899-1985 
 Notes:  Ormandy discusses his experiences as a conductor, including his tenure as Music Director of the Minneapolis Symphony, his first appearance with the Philadelphia Orchestra when he filled in for Arturo Toscanini, how he was chosen as the successor to Leopold Stokowski as Music Director of the Philadelphia Orchestra, the years of transition bewteen Stokowski and himself and how they divided the programming, his philosophy upon replacing Stokowski, how and why Stokowski parted with the orchestra and his attempts at arranging return engagements for Stokowski, how his concept of orchestral sound compares to that of Stokowski, the relationship between a conductor and the board of directors of an orchestra, his recording career and the financial aspects of recording, his desire and attempts to perform the Eighth Symphony of Gustav Mahler with the Philadelphia Orchestra, the Hungarian tradition of musicianship, the benefits of government support of the arts, and his view of music critics. Ormandy also talks about various practical matters related to conducting, including the use of the eyes and hands in conducting technique, the differences between live and recorded performances, the challenges of programming and performing contemporary music, the audition process, the importance of good sight reading skills in a player, his concept of orchestral sound, especially in regard to the string section (in which he refers to a concept he calls "multiple string quartet"), how he achieves this sound when guest conducting other orchestras, the longevity of conductors, and advice to young conductors. He also offers opinions and anecdotes concerning other people, including Arthur Judson, Arturo Toscanini, Karlheinz Stockhausen, Pierre Boulez, Leonard Bernstein, Pierre Monteux, Igor Stravinsky, Sergei Rachmaninioff, Béla Bartók, Zoltan Kodály, Jeno Hubay, Georges Enesco, Serge Koussevitsky, Jack Pfeiffer, and Virgil Thomson. Recorded in Philadelphia, Pennsylvania. 
 Extent:  2 sound cassettes : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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6Title:  Oral history: conducted by Herbert Kupferberg, October 1969   
 Creator:  Ormandy, Eugene, 1899-1985 
 Notes:  Ormandy discusses various aspects of the conducting profession, including approaches to teaching conducting, the programming of contemporary music for orchestra, the changes that have occurred in the nature of a conductor's job, why he devoted himself to the Philadelphia Orchestra, the problems of choosing a successor, the characteristics of audiences in Philadelphia (compared to those in New York City) and the days that they attend concerts, and his skill at memorizing scores. He also offers opinions and anecdotes concerning other conductors, including Leonard Bernstein, William Steinberg, Artur Nikisch, and Pierre Monteux. Recorded in Philadelphia, Pennsylvania. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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7Title:  Oral history: conducted by Sharon Eisenhour, December 14, 1992   
 Creator:  Montanaro, Donald | Montanaro, Margarita Csonka 
 Notes:  Montanaro, and his wife, harpist Margarita Csonka Montanaro (Philadelphia Orchestra, 1963- ), describe their backgrounds, how they attained their positions in the orchestra, and the audition process. They also discuss various aspects concerning the career and personality of Eugene Ormandy, including his treatment of the orchestra players, his concept of orchestral sound and its effect on their playing, his additions to scores, his memory, sense of pitch and preference in tuning, his generosity, his programming, his stamina (especially in recording sessions), his knowledge of harp parts and his demands on harpists, his conducting technique (especially his downbeat), his rehearsal technique, his flexibility in tempi, his later years, and his last concert at Carnegie Hall. Opinions and anecdotes are offered concerning others, including Alexander Hilsberg, Jose Iturbi, Carlos Salzedo, Mason Jones, Marcel Tabuteau, Leopold Stokowski, and Sam Krauss. Recorded in Philadelphia, Pennsylvania. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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8Title:  Oral history: conducted by Sharon Eisenhour, June 30, 1993   
 Creator:  Ma, Yo-Yo, 1955- 
 Notes:  Ma discusses his experiences of performing and recording the Shostakovich Violoncello Concerto with Eugene Ormandy and the Philadelphia Orchestra, and his experience of performing with the orchestra as a member of the violoncello section. In this context, he talks about Ormandy's skill as an accompanist and his conducting technique. Recorded in Philadelphia, Pennsylvania. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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9Title:  Oral history: conducted by John Bewley, November 5, 1993   
 Creator:  Braverman, Gabriel 
 Notes:  Braverman discusses his background, how he achieved his position with the Philadelphia Orchestra, the transition from Leopold Stokowski to Eugene Ormandy as Music Director of the orchestra, and the differences between Stokowski and Ormandy in regard to their conducting techniques, concepts of orchestral sound, and their treatment of players. In this context he also describes Stokowski's coloristic approach to orchestral sound and his experimentation with a color machine in performances. Braverman also recounts his experiences as a copyist for Ormandy and the orchestra, including his work on Ormandy's orchestral arrangements, their working relationship and process, and the job of correcting and emending orchestral parts to agree with Ormandy's editing. He discusses various aspects and characteristics of Eugene Ormandy, including his generosity, memory, skill as an accompanist, longevity, his part in creating the "Philadelphia Sound" (and how the style of string playing contributed to it), his use of doublings to create the sound he wanted, and his programming of contemporary music. Opinions and anecdotes are also offered concerning others, including Dmitri Mitropoulos, Leonard Bernstein, Fritz Reiner, Riccardo Muti, Richard Yardumian, Arturo Toscanini, and Sergei Rachmaninoff. Recorded in Philadelphia, Pennsylvania. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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10Title:  Oral history: conducted by John Bewley, September 15, 1993   
 Creator:  Dodson, Glenn 
 Notes:  Dodson discusses his background, experiences performing with the Marine Band, New Orleans Symphony, and Chicago Symphony, and the audition process that led to attaining his position with the Philadelphia Orchestra. Dodson also talks about various characteristics of Eugene Ormandy as conductor of the Philadelphia Orchestra, including Ormandy's rehearsal technique, conducting technique (especially his downbeat) and its effect on the performers, his concept of orchestral sound (the "Philadelphia Sound") and the role of the brass section in that concept, his use of instrumental doublings, his musical memory, his skill as an orchestral accompanist, his strengths in relation to repertoire, and his final years. In addition, Dodson offers comparisons between the playing styles of the Philadelphia Orchestra and the Chicago Symphony (especially the brass sections) and between the conducting styles of Eugene Ormandy and his successor Riccardo Muti, describes his experiences performing as soloist with the orchestra, the problems involved with recording sessions under Ormandy, and his opinion of the attention New York performances by the orchestra receive. Recorded in Philadelphia, Pennsylvania. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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11Title:  Oral history: conducted by Sharon Eisenhour, October 31, 1992   
 Creator:  Munroe, Lorne 
 Notes:  Munroe discusses his background, how he came to the Philadelphia Orchestra, his studies at Curtis Institute of Music with Gregor Piatigorsky and William Primrose, how the Philadelphia Orchestra and Eugene Ormandy helped him acquire his violoncello, his experiences performing and recording under Ormandy, the subject of women in orchestras, his reasons for leaving the Philadelphia Orchestra, and his experiences performing with the ensemble, Amerita Strings. He also discusses characteristics of Eugene Ormandy's conducting career, including his skill as an accompanist, his conducting technique, his manner of relating to his players, and his stature as a conductor. Anecdotes and opinions are also offered concerning Zubin Mehta, Samuel Mayes, Antal Dorati, George Szell, Leonard Rose, Elsa Hilger, Jake Krachmalnik, Veda Reynolds, Martin Ormandy, Pierre Boulez, Leonard Bernstein, the New York Philharmonic, Luigi Dallapiccola, and Anshel Brusilow, among others. Recorded in New York, N.Y. 
 Extent:  2 sound cassettes : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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12Title:  Oral history: conducted by Sharon Eisenhour, August 2, 1992   
 Creator:  Stein, Joseph H. | Stein, Joyce 
 Notes:  The Steins discuss aspects of their friendship with Eugene and Gretel Ormandy. They also discuss Ormandy's skill as a conductor, especially as an accompanist, and characteristics of his personality, including his sense of humor, love of children, awareness of time and punctuality, his taste in clothes, his social skills, his conditioning and health, and his generosity. Other personalities mentioned include Andrew Wyeth, Richard Nixon, Ronald Reagan, Vladimir Horowitz, and Jascha Heifetz. Recorded in Philadelphia, Pennsylvania. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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13Title:  Oral history: conducted by Sharon Eisenhour, August 24, 1992   
 Creator:  Anders, Mariedi 
 Notes:  Anders relates the background of the Goldner family, Stephanie and Eugene Ormandy's visits to the Goldner home in Vienna, Ormandy's assistance to family members and friends, and his personal attributes. Among other personalities, Anders discusses Lawrence Tibbett, Arthur Judson and Arturo Toscanini. Recorded in San Francisco, California. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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14Title:  Oral history: conducted by Sharon Eisenhour, March 31, 1993   
 Creator:  Garner, Fleetwood | Garner, Anna 
 Notes:  Garner, and his wife Anna, reminisce about their friendship with Gretel and Eugene Ormandy. In this context they discuss aspects of Ormandy's personality and career, including his generosity, sense of humor, and his patriotism. Opinions and anecdotes are offered concerning others, including Seiji Ozawa, Paul Lucas, Norman Carol, Isaac Stern, and Beverly Sills. Recorded in Philadelphia, Pennsylvania. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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15Title:  Oral history: conducted by Sharon Eisenhour, July 10, 1991   
 Creator:  Sokoloff, Boris, 1912- 
 Notes:  Sokoloff discusses the process by which the Philadelphia Orchestra chose Riccardo Muti as the successor to Eugene Ormandy as Music Director. In this context he also mentions Lorin Maazel, Orville Bullitt, and Dan Webster. Recorded in Berwyn, Pennsylvania. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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16Title:  Oral history: conducted by Sharon Eisenhour, October 9, 1991   
 Creator:  Schoenbach, Sol 
 Notes:  Schoenbach discusses various aspects of the personality and career of Eugene Ormandy, including his early years in New York City, his generosity and sense of humor, his background as a violinist, his preference for high quality instruments, his health, and his retirement and final years. Schoenbach also talks about the transition from Leopold Stokowski to Ormandy as Music Director of the Philadelphia Orchestra, his decision to leave the orchestra to become director of the Settlement School of Music, and the orchestra's participation in the first television broadcast of an orchestra concert. Anecdotes and opinions are offered about others, including Arthur Judson, Frederick Dorian, Arturo Toscanini, Jascha Heifetz, Marcel Tabuteau, Rudolf Serkin, Igor Stravinsky, Leonard Bernstein, Virgil Thomson, and Stephanie Goldner, Eugene Ormandy's first wife. Recorded in Philadelphia, Pennsylvania. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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17Title:  Oral history: conducted by Sharon Eisenhour, January 11, 1993   
 Creator:  Wilford, Ronald A. 
 Notes:  Wilford provides some background concerning the history of Columbia Artists Management and Arthur Judson, the first manager of Eugene Ormandy, including his influence on Ormandy's career. Wilford discusses various aspects of Ormandy's career and personality, including his concept of orchestral sound (the "Ormandy" or "Philadelphia" Sound), his contractual dealings with the Philadelphia Orchestra and recording companies, his loyalty to the Philadelphia Orchestra, his programming, his part in finding his successor as music director, Riccardo Muti, his attitude towards guest conducting and guest conductors, his later years, his reaction to resigning as music director, and his last concert at Carnegie Hall (and the orchestra's reaction). In this context Wilford also discusses his working relationship with Ormandy, the responsibility of a manager to an artist, the changing roles of unions and music directors, and the treatment of conductors and other artists by the press. Opinions and anecdotes are offered concerning others, including Leonard Bernstein, Herbert von Karajan, Charles Munch, Pierre Monteaux, Frederick Mann, Fritz Reiner, Leopold Stokowski, and Seiji Ozawa. Recorded in New York, New York. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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18Title:  Oral history: conducted by Sharon Eisenhour, February 19, 1993   
 Creator:  Ozawa, Seiji, 1935- 
 Notes:  Ozawa recollects how he first met Eugene Ormandy, the personal and working relationship that developed between them, Ormandy's influence on his career, Ormandy's qualities as a conductor and person, experiences from early in his career and from conducting the Philadelphia Orchestra, and the "Ormandy Sound" (and Ormandy's practice of using doublings in the orchestra). In this context he also offers opinions and anecdotes concerning other artists, including Leonard Bernstein, Zubin Mehta, Arturo Toscanini, and Herbert von Karajan. Recorded in Boston, Massachusetts. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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19Title:  Oral history: conducted by Sharon Eisenhour, December 5, 1992   
 Creator:  Warfield, William 
 Notes:  Warfield recounts his experiences as soloist with Eugene Ormandy conducting the Philadelphia Orchestra. In this context he discusses aspects of Ormandy's career, including his skill as an accompanist, his conducting technique (and his downbeat), his memory skills, sense of pitch, and the range of his repertoire. Warfield also discusses the effect race had on his own career. Opinions and anecdotes are offered concerning other artists, including Peter Serkin, Leonard Bernstein, Charles Munch, Bruno Walter, Otto Klemperer, Leontyne Price, and Paul Robeson. Recorded in Philadelphia, Pennsylvania. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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20Title:  Oral history: conducted by Sharon Eisenhour, December 7, 1992   
 Creator:  Firkušný, Rudolf, 1912-1994 
 Notes:  Firkušný discusses the personal and working relationship he had with Eugene Ormandy, his experiences as a soloist with the Philadelphia Orchestra, Ormandy's skill as an accompanist and stature as a conductor. He also discusses the characteristics unique to the Philadelphia Orchestra under directors Leopold Stokowski, Ormandy, and Riccardo Muti. Recorded in Philadelphia, Pennsylvania. 
 Extent:  1 sound cassette : analog, stereo., Dolby processed. 
 Subjects:  Oral histories

 
Collection:  University of Pennsylvania 
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