Follow The Conductor
EUGENE ORMANDY QUOTATIONS
Collected by members of the Philadelphia Orchestra.
... He is a wonderful man and so is his wife.
(On the occasion of the death of David Oistrakh) I told him he'd have
a heart attack a year ago, but unfortunately he lived a year longer.
I conduct faster here so you can see my beat.
The next movement is still in the factory.
At every concert I've sensed a certain insecurity about the tempo.
It's clearly marked quarter note = 80, uhh, 69.
It's difficult to remember when you haven't played it before.
I'm conducting slowly because I don't know the tempo.
I don't want to repeat this 100 times. When you see crescendo, it
means p.
I was trying to help you so I was beating wrong.
The minute you slow down a fraction, you're behind.
Who is sitting in that empty chair?
Bass Clarinetist: What note do I have? EO: The score is written out
the way you hear it the way you play it - and I have to transpose
back to normal.
Tubist: Long note? EO: Yes, make it seem short.
Even if the right instruments are not here, we will play it anyway.
It's only a short piece.
I can conduct it better than I count.
Intonation is important, especially when it is cold.
It is not together, but the ensemble is perfect.
I purposely gave you a slower tempo, because I did not know what the
right one was.
Something went wrong. It was correct when I studied it.
Don't play louder, just give it more.
I purposely didn't do anything and you were all behind.
EO: To the Woodwinds: There are no woodwinds at Number 6. Woodwinds: We're at number 15. EO: I know. that is why.
Did you play? It sounded very good.
I never say what I mean but I always manage to say something similar.
EO: Percussion a little louder Percussion: We don't have anything.
EO: That's right, play it louder.
If you don't have it in your part, leave it out because there is
enough missing already.
Why do you always insist on playing while I'm trying to conduct?
We can't hear the balance yet because the soloist is still on the
airplane.
The tempo remains pp.
We have to play it longer because there are no numbers or letters.
That was perfect. It was just the opposite from what I said yesterday.
Q: is that a G or a G# Maestro? EO: Yes.
Bizet was a very young man when he composed this symphony, so play it
softly.
Let's start at 35 because I don't know where it is.
This is a very democratic organization, so let's take a vote. All
those who disagree with me, raise their hands.
During the rests -- pray.
Collected by members of the Philadelphia Orchestra.
... He is a wonderful man and so is his wife.
(On the occasion of the death of David Oistrakh) I told him he'd have
a heart attack a year ago, but unfortunately he lived a year longer.
I conduct faster here so you can see my beat.
The next movement is still in the factory.
At every concert I've sensed a certain insecurity about the tempo.
It's clearly marked quarter note = 80, uhh, 69.
It's difficult to remember when you haven't played it before.
I'm conducting slowly because I don't know the tempo.
I don't want to repeat this 100 times. When you see crescendo, it
means p.
I was trying to help you so I was beating wrong.
The minute you slow down a fraction, you're behind.
Who is sitting in that empty chair?
Bass Clarinetist: What note do I have? EO: The score is written out
the way you hear it the way you play it - and I have to transpose
back to normal.
Tubist: Long note? EO: Yes, make it seem short.
Even if the right instruments are not here, we will play it anyway.
It's only a short piece.
I can conduct it better than I count.
Intonation is important, especially when it is cold.
It is not together, but the ensemble is perfect.
I purposely gave you a slower tempo, because I did not know what the
right one was.
Something went wrong. It was correct when I studied it.
Don't play louder, just give it more.
I purposely didn't do anything and you were all behind.
EO: To the Woodwinds: There are no woodwinds at Number 6. Woodwinds: We're at number 15. EO: I know. that is why.
Did you play? It sounded very good.
I never say what I mean but I always manage to say something similar.
EO: Percussion a little louder Percussion: We don't have anything.
EO: That's right, play it louder.
If you don't have it in your part, leave it out because there is
enough missing already.
Why do you always insist on playing while I'm trying to conduct?
We can't hear the balance yet because the soloist is still on the
airplane.
The tempo remains pp.
We have to play it longer because there are no numbers or letters.
That was perfect. It was just the opposite from what I said yesterday.
Q: is that a G or a G# Maestro? EO: Yes.
Bizet was a very young man when he composed this symphony, so play it
softly.
Let's start at 35 because I don't know where it is.
This is a very democratic organization, so let's take a vote. All
those who disagree with me, raise their hands.
During the rests -- pray.
posted by Richard Wilson at 11:30 AM
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