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Dr. Irvin Stein collection of Eugene Ormandy material

Ms. Coll. 1249

Dr. Irvin Stein collection of Eugene Ormandy material

Ms. Coll. 1249

Dr. Irvin Stein collection of Eugene Ormandy material

Ms. Coll. 1249

Dr. Irvin Stein collection of Eugene Ormandy material

Ms. Coll. 1249

This is a finding aid. It is a description of archival material held at the University of Pennsylvania. Unless otherwise noted, the materials described below are physically available in our reading room, and not digitally available through the web.

Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Stein, Irvin, 1906-
Title:
Dr. Irvin Stein collection of Eugene Ormandy material
Date [inclusive]:
1953-1990
Call Number:
Ms. Coll. 1249
Extent:
0.2 linear feet (1 box)
Language:
English
Abstract:
Dr. Irving Stein (1906-2000) was an orthopedic surgeon and professor at the University of Pennsylvania, who also served on the board of the Philadelphia Orchestra. This collection documents his relationship with Eugene Ormandy (1899-1985), the conductor of the Philadelphia Orchestra, and his efforts to memorialize Ormandy's accomplishments following his death.
Cite as:
Dr. Irvin Stein collection of Eugene Ormandy material, 1953-1990, Ms. Coll. 1249, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Ormandy, Eugene, 1899-1985
Title:
Eugene Ormandy oral history collection
Date [bulk]:
1990-1993
Date [inclusive]:
1969-1997
Call Number:
Ms. Coll. 59
Extent:
3.75 linear feet (9 boxes)
Language:
English
Language Note:
The bulk of the materials in this collection are in English.
Abstract:
Eugene Ormandy (1899-1985) was a Hungarian-born violinist and conductor best known for his association with the Philadelphia Orchestra. Ormandy’s characteristic conducting style resulted in the “Philadelphia Sound,” which he brought around the world through recordings, international tours, and guest conducting engagements. This is a collection of transcripts of oral history interviews conducted with Eugene Ormandy and others connected to him or to the Philadelphia Orchestra about Ormandy and his influence on the Philadelphia Orchestra.
Cite as:
Eugene Ormandy oral history collection, 1969-1997 (bulk: 1990-1993), Ms. Coll. 59, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Ormandy, Eugene, 1899-1985
Title:
Eugene Ormandy papers
Date [inclusive]:
1921-1991
Call Number:
Ms. Coll. 91
Extent:
78 boxes (+ 2 map drawers)
Language:
English
Abstract:
Ormandy served as the onductor/musical director of the Minneapolis Symphony Orchestra (1931-1936) and the Philadelphia Orchestra (1937-1980). His collection includes general and interoffice correspondence; administrative files concerning programming; notes; programs and itineraries; clippings; and awards. The majority of the materials concern Ormandy’s tenure at the Philadelphia Orchestra.
Cite as:
Eugene Ormandy papers, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Ormandy, Eugene, 1899-1985
Title:
Eugene Ormandy photographs
Date [inclusive]:
1880-1992
Call Number:
Ms. Coll. 330
Extent:
16.75 Linear feet (76 volumes and boxes)
Language:
English
Abstract:
Eugene Ormandy served as the conductor/musical director of the Minneapolis Symphony Orchestra from 1931 to 1936 and the Philadelphia Orchestra from 1937 to 1980.This collection of photographs documents the career and life of Eugene Ormandy from the early 1880s to the early 1990s, with the bulk of the photographs dating from the 1940s to the 1970s.
Cite as:
Eugene Ormandy photographs, 1880-1992, Ms. Coll. 330, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Biography/History

Dr. Irvin Stein was born in North Carolina in 1906 and died in Philadelphia on February 3, 2000. At age fifteen, Dr. Stein enrolled in the University of North Carolina and went on to medical school at Jefferson Medical College in Philadelphia. Stein completed his intern and resident training at Johns Hopkins University Medical Center and at the University of Pennsylvania. He then went on to work as a surgeon at the Philadelphia General Hospital and to teach orthopedic surgery at the University of Pennsylvania Medical School. In addition, Stein served on the board of the Philadelphia Orchestra and appears to have developed a friendship with Eugene Ormandy, the conductor of the Orchestra. In 1971, Stein operated on Ormandy, correcting a 55 year-old injury during a famously successful hip surgery. An article in the Philadelphia Inquirer quotes Ormandy, "Dr. Stein has become my dearest friend--like a younger brother," (October 12, 1971).

Eugene Ormandy was born on November 8, 1899 in Hungary and died in Philadelphia on March 12, 1985. He became internationally famous for his 44-year role as the conductor of the Philadelphia Orchestra. Under his leadership, the Philadelphia Orchestra received three gold records and won two Grammy Awards. At age five, Ormandy began studying violin at the Royal National Hungarian Academy of Music, giving his first concerts at age seven and graduating with a master’s degree at age fourteen. He moved to America in 1921 and became a violinist at the Capitol Theatre in New York City. In 1931, Ormandy served as a substitute conductor for the Philadelphia Orchestra which ultimately led to his first major appointment as a conductor in Minneapolis. In 1936, Ormandy began his work with the Philadelphia Orchestra as associate conductor under Leopold Stokowski. After two years, he became the lead conductor and remained so until his retirement in 1980.

Biography/History

Eugene Ormandy (1899-1985), was a violinist and conductor, best known for his 44-year association with the Philadelphia Orchestra.

Ormandy was born Jenö Blau in Budapest, Hungary to Rosalie and Benjamin Blau. He was a musical prodigy; beginning his violin studies at the age of five at the Royal Hungarian Academy of Music, he had his first concert at 7, and graduated with a master’s degree at the age of fourteen. His first musical engagement upon arriving in the United States in 1921 was as a violinist at the Capitol Theatre in New York. The orchestra played concerts and provided live musical accompaniment for silent movies. Ormandy quickly became concertmaster and eventually conducted the group.

Ormandy first conducted the Philadelphia Orchestra in 1931 when Arturo Toscanini, a famous Italian conductor, fell ill and a last-minute replacement was needed. This opportunity led to Ormandy’s first major appointment as the conductor of the Minneapolis Symphony Orchestra (now Minnesota Orchestra), where he served until 1936. Ormandy joined the Philadelphia Orchestra as associate conductor under Leopold Stokowski and became music director in 1938. He served as lead conductor until his retirement in 1980 when he was appointed conductor laureate. Ormandy’s conducting style was known to produce a particular "Philadelphia Sound" and he was alternately praised and denounced for it by critics. Under Ormandy’s direction, the Philadelphia Orchestra often performed in other American cities and internationally in locations such as Finland, Latin America, and China. Though he retired in 1980, Ormandy occasionally appeared as a guest conductor for the Philadelphia and other orchestras. His last concert was in 1984 at Carnegie Hall, conducting the Philadelphia Orchestra. He died in 1985.

For a more complete biographical note, please see Eugene Ormandy papers, 1921-1991, Ms. Coll. 91.

Biography/History

In 1976 conductor Eugene Ormandy, who was often badgered by would-be biographers, replied to one with the declaration, "I don't believe that a performing artists' [ sic] biography should be written by himself or anyone else." Ormandy was, in fact, remarkably reticent about discussing details of his past or his personal life. Though by all accounts he possessed a raconteur's easy affability, his stories, like the interviews he gave, tended to cover familiar ground . A very public man, Ormandy nevertheless kept his private life carefully protected from public scrutiny. If what follows, then, seems less a biographic account than a record of professional achievements, that fact reflects the paucity of biographic materials available on Ormandy.

Eugene Ormandy, born in Budapest in 1899, grew up Jenö Blau, first son of Benjamin Blau, who began training his son on the violin at an early age. A musical prodigy with perfect pitch, he studied as a child at the Royal Academy of Music under the tutelage of his namesake, Jenö Hubay. By the age of 17 Ormandy had not only graduated (three years prior) but was teaching at this same academy, and soon thereafter he began touring Europe as a soloist. In 1920, after a concert in Vienna, two American entrepreneurs, who claimed to be concert agents, persuaded Ormandy to come and concertize in America, where they promised to procure for him 300 performing venues and to pay him a total of $30,000 in fees. Ormandy accepted the offer, anxious to go to the United States, where opportunities for musicians seemed to abound.

Upon his arrival in New York in December, 1921, however, the promised contract evaporated. In need of money, Ormandy found a job with the orchestra of the Capitol Theater, a movie house that featured musical concerts as well as silent movies with live musical accompaniment. Ormandy rose in the ranks quickly, becoming concertmaster within a week of taking the job. By 1926, having occasionally substituted for the conductor Erno Rapee, Ormandy had become the Capitol Orchestra's associate music director. In that capacity he was eventually discovered by the manager, Arthur Judson, who, taking the young conductor into his stable of performers, began to employ him in the Dutch Master Hour and other radio programs. Judson also began booking important live performances for him. In 1929 Ormandy appeared at the Lewisohn Stadium in New York, conducting the New York Philharmonic-Symphony, and in 1930 he made his conductorial debut in Philadelphia, where he conducted the city's orchestra at the Robin Hood Dell. Over the next year several subsequent Philadelphia appearances included a successful two week guest engagement substituting for Arturo Toscanini, who had been suddenly taken ill at the start of the fall season. As a result, the Philadelphia Orchestra's administrators, who had begun thinking about a successor to Leopold Stokowski, invited Ormandy back as guest conductor many more times over the next few years.

Ormandy had, in the meantime, become engaged by the Minneapolis Symphony as its conductor. From 1931 to 1936 Ormandy did what he could to improve the orchestra and to bring it into more national prominence. Ormandy, with the help of Judson, obtained a recording contract with RCA Victor, and soon this Midwestern orchestra was the most recorded orchestra in the country. Though neither Ormandy nor the players received extra compensation for their recordings, the orchestra and perhaps particularly Ormandy profited from the increased publicity produced by their popular recordings. Ormandy and the Minneapolis Symphony were the first in the United States to record Mahler's Symphony No. 4, Rachmaninoff's No. 2, and Sibelius' No. 1.

When Ormandy's five-year contract with Minneapolis ended, the Philadelphia Orchestra invited him to become its co-conductor, an invitation Ormandy readily accepted. For the next four years Ormandy shared the podium with Leopold Stokowski, an arrangement that apparently went smoothly enough, even after Ormandy was made music director in 1938. When Stokowski finally left, at the end of the 1940-1941 season, Ormandy made no big adjustments in programming or in the management of the Orchestra.

But these years, however successful professionally, were decades of personal challenge and even upheaval for the maestro. He had married professional harpist Stephanie Goldner in 1922, who gave up a position with the New York Philharmonic in 1931 to join her husband in the Midwest. The couple twice had babies that subsequently died of RH complications. Furthermore, with the advent of World War II and then, later, the Soviet occupation, Ormandy expended no small effort and money assisting family, friends, and friends of friends out of Europe, many of whom he put up at his own home (at one time the Ormandy's lived in a house in Wynnewood that they called "Journey's End," where they accommodated some of the emigrés). Among those he helped were members of his wife's own family, emigrating from Austria. Yet despite all the couple had been through together in these decades, or perhaps because of it, Ormandy and his wife Stephanie divorced in 1947. In 1950 he married Margaret (Gretel) Frances Hitsch.

While the new Mrs. Ormandy devoted herself to her husband, he devoted himself to the Orchestra. This is not to say that he did not care about the people in his life. Indeed he dedicated himself to the welfare of his brother, Martin, whom he assisted financially and professionally (Ormandy was estranged from his other brother Laszlo). He kept in touch with family back in Hungary, telephoning and sending money whenever he could, and he also continued to assist his first wife and her family. In 1952 Mrs. Ormandy and he also unofficially "adopted" a young Austrian woman from Czechoslovakia named Renata Huebscher (later Harrison); the Ormandys helped put her through Bryn Mawr College and remained close to her after she married. Thus in many respects, Ormandy's familial relationships seem to have been fairly simply defined; though his work generally came first, he used his earnings and his position to help anyone for whom he cared. The only return he apparently expected was loyalty. And he had need for family loyalty and affection during two difficult occasions in the 1960s. The first one involved an automobile accident in which both Ormandy and his wife were terribly injured, and from which it took them months to recover. The second incident was the death of Stephanie Ormandy in 1962 from cancer. In these instances, family and friends, including members of his first wife's family, rallied to lend their support.

In contrast with these relationships, his relationship to the Orchestra, his other "family," was more complex. He liked to view himself as a kind of father or uncle to the Orchestra members, to whom he was often quite loyal, personally. He helped individuals through illness and personal problems, assisted players with obtaining loans, raises or bonuses from management, and threw the Orchestra lavish parties once a year. In general, however, he aligned himself with the Orchestra Association or Board when it came to general employment policy; he, for instance, asked all the Orchestra members to go back to work during the strike of 1966 and refused otherwise to get involved. Many say that in this instance and others, Ormandy could not, in any case, have had much influence with the Board and therefore had no choice but to take a neutral, middle ground. Yet one can easily believe--and there is evidence that some players did--that because for Ormandy work and the  business of orchestra management were so important, he would not have sided with players even if he had had more ability to affect Board policies. Likewise there are those who, in remembering Ormandy, have described him as a kind of factory foreman, particularly with regard to the production and sales of orchestra recordings. Certainly it can be said that he put the Orchestra's financial well-being and reputation above all other considerations, a priority that sometimes brought him into conflict with the instrumentalists.

Ormandy was known for his business acumen, practicality, and efficiency, traits perhaps developed in his early days as movie-house maestro and radio performer. In the 44 years of his Philadelphia tenure, he and the Orchestra made many recordings with RCA (1936-1943, 1968-1985) and with Columbia Records (1944 and 1968), a great number of which sold quite well. Ormandy readily accommodated these companies' technical and economic needs, helping to make recordings in "record" time, and going along with whatever plans they had for producing a best-seller, however, gimmicky. The Orchestra also frequently went touring, in part to sell records, in part just for the added exposure, and many of their tours were historically quite significant. For instance, in making the 1949 tour to Great Britain, the Philadelphia Orchestra was the first American orchestra to play overseas since before the war. Other important tours included those to Finland in 1955 (when they met with Jean Sibelius), to Latin America (1966), to Japan (1967), and, perhaps most famously, to China (1973). While increasing the ranks of the Orchestra's overseas listeners, Ormandy also labored to obtain new audiences through the media of radio and television. In fact, the Philadelphia Orchestra was the first orchestra to appear in a televised broadcast, when on March 20, 1948, the CBS television network aired a live performance. In these and other areas Ormandy's efforts to keep the Orchestra in the public eye paid off, making the Philadelphia Orchestra one of the best known of the American orchestras.

Ormandy made such efforts not simply for profits, however, but also for the sake of music and the Orchestra's music-making capability. Keeping the Orchestra financially healthy enabled Ormandy to hire topnotch, even well-known players for the Orchestra and made possible the Orchestra Association's practice (which Ormandy established) of lending money to players, interest free, for the purchase of high quality instruments. And though he had a reputation for performing only conservative, crowd-pleasing (i.e., money-making) programs, the record shows something different. Indeed, Ormandy frequently played 20th-century composers and premiered works by such American composers as Samuel Barber, Aaron Copland, Walter Piston, and Richard Yardumian, to name a few. In addition to helping composers by performing their works, Ormandy frequently aided young performing artists. He ran conductors' workshops in the 1950s, worked directly with the Curtis Institute of Music student orchestra in the 1960s and 1970s while arranging to have other professional conductors do the same, and generally promoted any individual musician that he felt had promise. In fact, in 1972 Ormandy brought the then little known Riccardo Muti to Philadelphia to make his American debut; one of many young artists Ormandy assisted, Muti, of course, was to become the maestro's own successor.

Six years later Ormandy announced that he would retire at the end of the 1979-1980 season. By some accounts he had become somewhat sharper or more bitter in these years, and a shift in feelings towards his work seemed evidenced by such statements as th e following, written in a letter to his friend Earl Vincent Moore: "If we could steal a day between concerts we would fly down to see all of you but concert managers nowadays are cold blooded business men who have to fill in every day and the old horse has to keep on plugging" (December 2, 1976). There is some evidence that Ormandy had been running up against an increasingly u ncooperative management, but he must also have been discouraged by growing friction between himself and Orchestra members hoping for his retirement. At the same time the late 1970s saw a decrease of recording sessions with RCA, which, while it continued to make records with the Orchestra and its guest conductors, produced fewer new recordings with the aging maestro and tended instead to release previous Ormandy recordings from its archives, to his disappointment. Most of all, Ormandy was impeded by his own growing frailty. He had hip replacement surgery in 1970, which had sufficiently relieved the pain under which he had been operating to enable him to walk and to continue his work but did not eradicate that pain. There were other problems as well, such as an impairment of his vision, his hearing, and his once legendary memory. Yet Ormandy went on conducting even after his official 1980 retirement. He frequently appeared with the Philadelphia Orchestra as conductor laureate and guest conducted all over th e U.S. and in Europe, recreating the famed  "Philadelphia Sound" wherever he went. Ormandy gave his final concert at Carnegie Hall on January 10, 1984. Despite the onset during intermission of an illness that would put an end to his public appe arances, he completed the concert leading the Orchestra in a faultless performance of Béla Bártok's  Concerto for Orchestra, which he conducted from memory.

Ormandy's last ten to fifteen years were filled with honors, awards, and achievements. In 1970 he received the Presidential Medal of Freedom; in 1973 he made the historic trip to China with the Orchestra; he was knighted by Queen Elizabeth during a cel ebration of America's bicentennial; and he received the Golden Baton Award in 1979, the same year that both he and the Philadelphia Orchestra commemorated their 80th birthdays. The City of Philadelphia awarded him its Medal of Freedom in 1980, and he received Kennedy Center Honors in 1982. His life was one filled with such distinctions, and whatever the value of his accomplishment, there can be no denial that he worked hard for these honors. For 44 years he made the Philadelphia Orchestra his life, and he had little or no outside activities or pastimes. He had friendships, but many of his friends were musicians with whom he worked in some capacity. Socializing with non-musician friends often took the form of their driving Ormandy to a concert or sharing a box with his wife. Mrs. Ormandy herself, even in that most private and personal of relationships, had in a sense become a business partner to her husband. Her own early comments on this matter are telling: upon marriage she thought she might teach her new husband "how to play," but instead, she said,  "he taught me how to work" (  Newsweek, March 2, 1953, p.55). It is no exaggeration to say work was truly his life. Thus there is something quite fitting ab out the fact that so few biographic details are known about Ormandy outside of the professional arena, for he clearly made no distinctions between the personal and professional aspects of his existence.

Biography/History

Eugene Ormandy, born in Budapest in 1899, grew up Jenö Blau, first son of Benjamin Blau, who began training his son on the violin at an early age. A musical prodigy with perfect pitch, he studied as a child at the Royal Academy of Music under the tutelage of his namesake, Jenö Hubay. By the age of 17 Ormandy had not only graduated (three years prior) but was teaching at this same academy, and soon thereafter he began touring Europe as a soloist. In 1920, after a concert in Vienna, two American entrepreneurs, who claimed to be concert agents, persuaded Ormandy to come and concertize in America, where they promised to procure for him 300 performing venues and to pay him a total of $30,000 in fees. Ormandy accepted the offer, anxious to go to the United States, where opportunities for musicians seemed to abound.

Upon his arrival in New York in December, 1921, however, the promised contract evaporated. In need of money, Ormandy found a job with the orchestra of the Capitol Theater, a movie house that featured musical concerts as well as silent movies with live musical accompaniment. Ormandy rose in the ranks quickly, becoming concertmaster within a week of taking the job. By 1926, having occasionally substituted for the conductor Erno Rapee, Ormandy had become the Capitol Orchestra's associate music director. In that capacity he was eventually discovered by the manager, Arthur Judson, who, taking the young conductor into his stable of performers, began to employ him in the Dutch Master Hour and other radio programs. Judson also began booking important live performances for him. In 1929 Ormandy appeared at the Lewisohn Stadium in New York, conducting the New York Philharmonic-Symphony, and in 1930 he made his conductorial debut in Philadelphia, where he conducted the city's orchestra at the Robin Hood Dell. Over the next year several subsequent Philadelphia appearances included a successful two week guest engagement substituting for Arturo Toscanini, who had been suddenly taken ill at the start of the fall season. As a result, the Philadelphia Orchestra's administrators, who had begun thinking about a successor to Leopold Stokowski, invited Ormandy back as guest conductor many more times over the next few years.

Ormandy had, in the meantime, become engaged by the Minneapolis Symphony as its conductor. From 1931 to 1936 Ormandy did what he could to improve the orchestra and to bring it into more national prominence. Ormandy, with the help of Judson, obtained a recording contract with RCA Victor, and soon this Midwestern orchestra was the most recorded orchestra in the country. Though neither Ormandy nor the players received extra compensation for their recordings, the orchestra and perhaps particularly Ormandy profited from the increased publicity produced by their popular recordings. Ormandy and the Minneapolis Symphony were the first in the United States to record Mahler's Symphony No. 4, Rachmaninoff's No. 2, and Sibelius' No. 1.

When Ormandy's five-year contract with Minneapolis ended, the Philadelphia Orchestra invited him to become its co-conductor, an invitation Ormandy readily accepted. For the next four years Ormandy shared the podium with Leopold Stokowski, an arrangement that apparently went smoothly enough, even after Ormandy was made music director in 1938. When Stokowski finally left, at the end of the 1940-1941 season, Ormandy made no big adjustments in programming or in the management of the Orchestra.

But these years, however successful professionally, were decades of personal challenge and even upheaval for the maestro. He had married professional harpist Stephanie Goldner in 1922, who gave up a position with the New York Philharmonic in 1931 to join her husband in the Midwest. The couple twice had babies that subsequently died of RH complications. Furthermore, with the advent of World War II and then, later, the Soviet occupation, Ormandy expended no small effort and money assisting family, friends, and friends of friends out of Europe, many of whom he put up at his own home (at one time the Ormandy's lived in a house in Wynnewood that they called "Journey's End," where they accommodated some of the emigrés). Among those he helped were members of his wife's own family, emigrating from Austria. Yet despite all the couple had been through together in these decades, or perhaps because of it, Ormandy and his wife Stephanie divorced in 1947. In 1950 he married Margaret (Gretel) Frances Hitsch.

While the new Mrs. Ormandy devoted herself to her husband, he devoted himself to the Orchestra. This is not to say that he did not care about the people in his life. Indeed he dedicated himself to the welfare of his brother, Martin, whom he assisted financially and professionally (Ormandy was estranged from his other brother Laszlo). He kept in touch with family back in Hungary, telephoning and sending money whenever he could, and he also continued to assist his first wife and her family. In 1952 Mrs. Ormandy and he also unofficially "adopted" a young Austrian woman from Czechoslovakia named Renata Huebscher (later Harrison); the Ormandys helped put her through Bryn Mawr College and remained close to her after she married. Thus in many respects, Ormandy's familial relationships seem to have been fairly simply defined; though his work generally came first, he used his earnings and his position to help anyone for whom he cared. The only return he apparently expected was loyalty. And he had need for family loyalty and affection during two difficult occasions in the 1960s. The first one involved an automobile accident in which both Ormandy and his wife were terribly injured, and from which it took them months to recover. The second incident was the death of Stephanie Ormandy in 1962 from cancer. In these instances, family and friends, including members of his first wife's family, rallied to lend their support.

In contrast with these relationships, his relationship to the Orchestra, his other "family," was more complex. He liked to view himself as a kind of father or uncle to the Orchestra members, to whom he was often quite loyal, personally. He helped individuals through illness and personal problems, assisted players with obtaining loans, raises or bonuses from management, and threw the Orchestra lavish parties once a year. In general, however, he aligned himself with the Orchestra Association or Board when it came to general employment policy; he, for instance, asked all the Orchestra members to go back to work during the strike of 1966 and refused otherwise to get involved. Many say that in this instance and others, Ormandy could not, in any case, have had much influence with the Board and therefore had no choice but to take a neutral, middle ground. Yet one can easily believe--and there is evidence that some players did--that because for Ormandy work and the business of orchestra management were so important, he would not have sided with players even if he had had more ability to affect Board policies. Likewise there are those who, in remembering Ormandy, have described him as a kind of factory foreman, particularly with regard to the production and sales of orchestra recordings. Certainly it can be said that he put the Orchestra's financial well-being and reputation above all other considerations, a priority that sometimes brought him into conflict with the instrumentalists.

Ormandy was known for his business acumen, practicality, and efficiency, traits perhaps developed in his early days as movie-house maestro and radio performer. In the 44 years of his Philadelphia tenure, he and the Orchestra made many recordings with RCA (1936-1943, 1968-1985) and with Columbia Records (1944 and 1968), a great number of which sold quite well. Ormandy readily accommodated these companies' technical and economic needs, helping to make recordings in "record" time, and going along with whatever plans they had for producing a best-seller, however, gimmicky. The Orchestra also frequently went touring, in part to sell records, in part just for the added exposure, and many of their tours were historically quite significant. For instance, in making the 1949 tour to Great Britain, the Philadelphia Orchestra was the first American orchestra to play overseas since before the war. Other important tours included those to Finland in 1955 (when they met with Jean Sibelius), to Latin America (1966), to Japan (1967), and, perhaps most famously, to China (1973). While increasing the ranks of the Orchestra's overseas listeners, Ormandy also labored to obtain new audiences through the media of radio and television. In fact, the Philadelphia Orchestra was the first orchestra to appear in a televised broadcast, when on March 20, 1948, the CBS television network aired a live performance. In these and other areas Ormandy's efforts to keep the Orchestra in the public eye paid off, making the Philadelphia Orchestra one of the best known of the American orchestras.

Ormandy made such efforts not simply for profits, however, but also for the sake of music and the Orchestra's music-making capability. Keeping the Orchestra financially healthy enabled Ormandy to hire topnotch, even well-known players for the Orchestra and made possible the Orchestra Association's practice (which Ormandy established) of lending money to players, interest free, for the purchase of high quality instruments. And though he had a reputation for performing only conservative, crowd-pleasing (i.e., money-making) programs, the record shows something different. Indeed, Ormandy frequently played 20th-century composers and premiered works by such American composers as Samuel Barber, Aaron Copland, Walter Piston, and Richard Yardumian, to name a few. In addition to helping composers by performing their works, Ormandy frequently aided young performing artists. He ran conductors' workshops in the 1950s, worked directly with the Curtis Institute of Music student orchestra in the 1960s and 1970s while arranging to have other professional conductors do the same, and generally promoted any individual musician that he felt had promise. In fact, in 1972 Ormandy brought the then little known Riccardo Muti to Philadelphia to make his American debut; one of many young artists Ormandy assisted, Muti, of course, was to become the maestro's own successor.

Six years later Ormandy announced that he would retire at the end of the 1979-1980 season. By some accounts he had become somewhat sharper or more bitter in these years, and a shift in feelings towards his work seemed evidenced by such statements as the following, written in a letter to his friend Earl Vincent Moore: "If we could steal a day between concerts we would fly down to see all of you but concert managers nowadays are cold blooded business men who have to fill in every day and the old horse has to keep on plugging" (December 2, 1976). There is some evidence that Ormandy had been running up against an increasingly uncooperative management, but he must also have been discouraged by growing friction between himself and Orchestra members hoping for his retirement. At the same time the late 1970s saw a decrease of recording sessions with RCA, which, while it continued to make records with the Orchestra and its guest conductors, produced fewer new recordings with the aging maestro and tended instead to release previous Ormandy recordings from its archives, to his disappointment. Most of all, Ormandy was impeded by his own growing frailty. He had hip replacement surgery in 1970, which had sufficiently relieved the pain under which he had been operating to enable him to walk and to continue his work but did not eradicate that pain. There were other problems as well, such as an impairment of his vision, his hearing, and his once legendary memory. Yet Ormandy went on conducting even after his official 1980 retirement. He frequently appeared with the Philadelphia Orchestra as conductor laureate and guest conducted all over the U.S. and in Europe, recreating the famed "Philadelphia Sound" wherever he went. Ormandy gave his final concert at Carnegie Hall on January 10, 1984. Despite the onset during intermission of an illness that would put an end to his public appearances, he completed the concert leading the Orchestra in a faultless performance of Béla Bártok's Concerto for Orchestra, which he conducted from memory.

Ormandy's last ten to fifteen years were filled with honors, awards, and achievements. In 1970 he received the Presidential Medal of Freedom; in 1973 he made the historic trip to China with the Orchestra; he was knighted by Queen Elizabeth during a celebration of America's bicentennial; and he received the Golden Baton Award in 1979, the same year that both he and the Philadelphia Orchestra commemorated their 80th birthdays. The City of Philadelphia awarded him its Medal of Freedom in 1980, and he received Kennedy Center Honors in 1982. His life was one filled with such distinctions, and whatever the value of his accomplishment, there can be no denial that he worked hard for these honors. For 44 years he made the Philadelphia Orchestra his life, and he had little or no outside activities or pastimes. He had friendships, but many of his friends were musicians with whom he worked in some capacity. Socializing with non-musician friends often took the form of their driving Ormandy to a concert or sharing a box with his wife. Mrs. Ormandy herself, even in that most private and personal of relationships, had in a sense become a business partner to her husband. Her own early comments on this matter are telling: upon marriage she thought she might teach her new husband "how to play," but instead, she said, "he taught me how to work" ( Newsweek, March 2, 1953, p.55). It is no exaggeration to say work was truly his life. Thus there is something quite fitting ab out the fact that so few biographic details are known about Ormandy outside of the professional arena, for he clearly made no distinctions between the personal and professional aspects of his existence.

Scope and Contents

This collection documents Dr. Irvin Stein's relationship with Eugene Ormandy, the conductor of the Philadelphia Orchestra, and Stein's efforts to memorialize Ormandy's accomplishments following his death through the Eugene Ormandy Memorial of the University of Pennsylvania Libraries. In this collection, researchers will find articles and press releases relating to Eugene Ormandy, dating from 1953 to 1988. The majority of articles, however, date to 1971, when Dr. Stein operated on Ormandy's hip, "creating a new joint" and correcting an injury that occurred when Ormandy was playing soccer in Hungary around 1916 and which left Ormandy limping for more than 55 years. Also relating to this surgery is memorabilia from the Lily Ball (benefiting the Easter Seal Society) at which Ormandy was awarded "The Gallantry Award" and Dr. Stein was awarded "The Rehabilitation Physician of the Year Award." Other articles and press releases document the Philadelphia Orchestra following Ormandy's death.

There is a small amount of correspondence between Ormandy and Stein, the bulk relating to Stein's request, on behalf of the board of the Philadelphia Orchestra, that Ormandy conduct a concert of the Philadelphia Chamber Orchestra. Ormandy's refusal is documented in several drafts and two personal letters of explanation to Stein. There are also two letters from Ormandy's wife, Gretel, to Stein after Ormandy's death.

Finally, researchers will find documentation of the efforts made to create the Eugene Ormandy Memorial of the University of Pennsylvania Libraries. Stein served on the founding committee and the collection includes a newspaper article regarding the gift of Ormandy's archival material at Penn in 1988 as well as correspondence relating to meetings, contributions, and benefit concerts and a few programs for the benefit concerts.

Scope and Contents

This is a collection of oral history interviews conducted with Eugene Ormandy and others connected to him and to the Philadelphia Orchestra during his tenure there. The interviews were conducted between 1969 and 1997 (bulk: 1990-1993) and interviewees include Philadelphia Orchestra musicians, administrative staff, and board members, as well as composers, conductors, critics, music producers, and other professional colleagues, in addition to family and friends.

These interviews (a total of 90 interviews with 87 individuals, some of whom were interviewed together) were conducted by Sharon Eisenhour, John Bewley, Herbert Kupfeberg, Morris Henken, George Diehl, and Marjorie Hassen. The oral histories cover a wide range of topics including the relationships between musicians, composers, conductors, trustees, etc.; the personal histories and experiences of individuals both at the Philadelphia Orchestra and elsewhere; Ormandy's personal and professional characteristics; Ormandy’s impact on the Philadelphia Orchestra and the "Philadelphia Sound;" the transitions in leadership from Leopold Stokowski to Ormandy and from Ormandy to Riccardo Muti; and opinions and anecdotes about other prominent people in the music world. The audio cassettes of the interviews are currently restricted, but all recordings have been transcribed and most transcripts are available for access. Researchers interested in the audio should contact the Kislak Center for more information.

Scope and Contents

The correspondence, administrative papers, and memorabilia of Eugene Ormandy contained in this collection were given to the University of Pennsylvania in 1987 by Mrs. Ormandy after her husband's death. Also included in this donation were commercial sound recordings of Ormandy conducting. The University received Ormandy's photographs from Mrs. Ormandy at the same time, while it also acquired his collection of musical scores from the Philadelphia Orchestra library and broadcast recordings of the Philadelphia Orchestra (1960-1981) from the radio station WFLN. Scholars studying Ormandy should be made aware, moreover, of the Eugene Ormandy Oral History Collection, which is located, along with the Ormandy Papers, in the Department of Special Collections at the University of Pennsylvania Library. Additional contributors to the collection of Ormandy papers include Charles P. Balant, Mrs. C. Wanton Balis, Nadia Koutzen, George and Lucile Lynn, Vivian Perlis, Joseph and Joyce Stein, and Isaac Stern.

The bulk of this collection comprises the correspondence of Eugene Ormandy, whose daily routine included the writing of both personal and orchestra-related correspondence. There are also letters written on Ormandy's behalf by his secretaries, particularly Mary Krouse, and by Orchestra management, and, of course, letters from Ormandy's correspondents. Ormandy preserved much of his outgoing correspondence in the form of carbons and saved originals and at times also photocopies of incoming correspondence. Most of the General Correspondence dates from the 1950s through the 1980s, though an occasional letter from previous decades may be found. Some notable correspondents of the 1930s and 1940s include Ormandy's mentor, Jenö Hubay; Leopold Stokowski, whose letters suggest something of the nature of his working relationship with Ormandy; Stokowski's wife, Olga Samaroff Stokowski, who championed Ormandy as successor to the conductorship; Alma Mahler-Werfel, with whom Ormandy consulted regarding Mahler's work; Albert Einstein, who asked Ormandy to help violinist Boris Schwarz obtain his entry visa to the U.S.; composers such as Sergei Prokofiev, Percy Grainger, Sergei Rachmaninoff; and soloists such as Fritz Kreisler, Lotte Lehmann, and Lauritz Melchior.

Personal correspondence with family members such as Ormandy's brother Martin, along with the Elbogens, Mariedi Anders, and the Forresters (all relatives of Ormandy's first wife, Stephanie) reveal Ormandy's deep involvement with his family as well as his willingness to help them, particularly with their careers when music was involved. The correspondence also includes letters exchanged with close friends in and outside of Philadelphia, many of whom were musicians. Deeply personal exchanges between Orman dy and such artists as Antal Dorati, Nadia Koutzen, Zoltán Kodály, David Oistrahk (and his wife), Sviatoslav Richter (as well as his mother Anna Richter), Rudolf Serkin, and Isaac Stern may be found in this series, as well as letters with friends just as important to Ormandy if somewhat less famous.

Also of important for the light it sheds on Ormandy's personal life and relationships is his correspondence with his attorneys, R. Sturgis Ingersoll, Harold Stern, and J. Barton Harrison. These reflect such events as Ormandy's divorce from his first wi fe in 1947, an automobile accident in 1960 in which both he and Mrs. Ormandy were seriously injured, and the death of Stephanie Ormandy from cancer in 1962. This correspondence also contains information about the handling of contracts (including a change in Ormandy's business arrangements with Arthur Judson in 1962), taxes, royalty compensations, insurance arrangements, wills and the like. Ormandy's correspondence with his doctors gives some idea of the physical obstacles with which he had to cope over the course of his career as well as the concern he displayed towards friends and associates, whom he frequently referred to his own physicians and specialists.

In addition, this general series includes occasional administrative correspondence with Board members and Academy of Music management, particularly when the import of that correspondence is more personal than business-related (the bulk of the administr ative correspondence, however, is contained within the Interoffice Correspondence series). For example, correspondence with David Eastburn, who became president of the Board in 1978, has been retained in general correspondence, in part because some of it dates from before his presidency and also because some of it is personal. Letters between Ormandy and Stuart Loucheim, manager of the Academy of Music in the 1950s, has also been left in general correspondence. Occasional notes between Ormandy and his staff, which would normally be filed with interoffice material, remain with general correspondence when they concern attached letters from an outside correspondent and would lose their meaning when separated from the context created by these letters.

While correspondence with the Orchestra's management has been largely separated from the general correspondence, Ormandy or the Orchestra Association's letters to and from individual Orchestra members, the Orchestra Members' Committee (or the Orchestra as a whole), members' attorneys and their union representatives are filed with general correspondence. These letters often reflect the shifting nature of the relationship between Orchestra management and Orchestra players, particularly letters dated from the 1960s, when the discontentment of the players led twice to strikes. Complex new dynamics resulted from certain contractual changes made in this decade, changes that included increasing the Orchestra's performance season to 52 weeks and requiring play ers to give up most moonlighting or extra-Orchestra performing activities. Such activities, once a source of supplemental income when players worked fewer weeks, now came to be seen as competition with the Orchestra. Some sense of these dynamics can be ap prehended in correspondences with such Orchestra members as Anshel Brusilow or Henry Charles Smith, both of whom became interested in conducting their own orchestras, or with the members of the Philadelphia String Quartet--Charles Brennand, Irwin Eisenberg, Alan Iglitzin, Veda Reynolds, Orchestra members who suddenly resigned in order to pursue their ensemble playing elsewhere. Also of interest might be letters to and pertaining to Schima Kaufman, a violinist whose firing in 1962 stirred up some hard feelings among Orchestra members. Files related to the Kaufman matter include those containing the correspondence of Orchestra Committee members Michael Bookspan, Leonard Hale, Gilbert Eney, and Alan Iglitzin, who each wrote on behalf of Kaufman. Correspondence with Morgan, Lewis and Bockius (the Orchestra Association's attorneys) and with the American Federation of Musicians, Local 77 (Philadelphia) sheds additional light on this situation.

As conductor, Ormandy not only had a hand in firing of Orchestra members but also in the hiring, as well as planning the season programming and guest artists. The collection, therefore, contains correspondence both with instrumentalists (or often their agents and mentors) who hoped for the possibility of joining the Orchestra and also with young soloists who wrote to him seeking advice and/or auditions. Correspondence from the 1950s includes correspondence with amateur or inexperienced conductors who participated in the Conductors' Symposia led by Ormandy and the Philadelphia Orchestra and organized by the American Symphony Orchestra League (with whose staff he also communicated by letter). In addition Ormandy corresponded with established solo instrumentalists and vocalists, choir directors, and other conductors whom he had engaged or sought to engage for performances, as well as the agents handling su ch artists. (In general, correspondence with artists' agents or legal representatives may be found under the particular artists' names rather than that of the agent, although there are materials filed under Columbia Artists Management, Thea Dispeker, Hurok Attractions, and other agents where the letters do not concern simply a single artist.)

In planning his season programs, Ormandy would also often commission works from composers, and there is correspondence concerning these commissions and particularly two specific commissioning projects. The earlier project involved money donated by Reverend Theodore Pitcairn of Philadelphia and anonymously given to one composer each year for five years, starting in 1960. The first of the Pitcairn commissions was accepted by Walter Piston, who wrote his Pulitzer Prize-winning Seventh Symphony as a result. Other commissioned composers for whom there are correspondence files include Aaron Copland (who several years after accepting the commission changed his mind), Peter Mennin, William Schuman, Roger Sessions, and Richard Yardumian. Copland also initially participated in another big commissioning project that was planned for the 1976 Bicentennial year and funded by the National Endowment for the Arts. When Copland backed out of this commission, Ormandy asked Leslie Bassett to take his place. Along with the Philadelphia Orchestra, the Boston Symphony Orchestra, the Chicago Symphony Orchestra, the Cleveland Orchestra, the Los Angeles Philharmonic Orchestra, and the New York Philharmonic helped to coordinate the Bicentennial project. Composers involved in the project besides Bassett included John Cage, Elliott Carter, David Del Tredici, Jacob Druckman, and Morton Subotnick. Independent of the NEA's sponsorship, Ormandy also sought to obtain for the Philadelphia Orchestra's 75th anniversary and its Bicentennial celebration commissioned works from Samuel Barber, Benjamin Britten, Pierre Boulez, Norman Dello Joio, David Del Tredici, and Alberto Ginastera. With these and other commissions Ormandy often experienced frustration in trying to get composers to finish their work in a timely manner, and his correspondence with Copland, Ginastera, and Bernstein, among others, offers a revealing glimpse into the difficulties of both the conductor and composer in accomplishing their respective jobs.

Also complicating the picture for Ormandy when attempting to plan a season's performances was a consideration of the possibility of recording these works. The maestro's correspondence first with Columbia, starting in the 1950s, and later with RCA (and still later, upon his retirement, with Angel/EMI, Delos and the Franklin Mint Record Society) reflects the behind-the-scenes scheduling arrangement and negotiations about which Orchestra performances of any given season might be recorded. The letters also provide information about record sales and royalties, as well as insights into Ormandy's relations with some of the biggest names in the recording business: David Oppenheim, Goddard Lieberson, Thomas Frost, Leonard Burkat, John McClure, Jay David Saks, a nd Thomas Shepard.

If the 1950s found the Philadelphia Orchestra producing more and more records, it was a decade when Ormandy also labored to gain radio and television exposure for the Orchestra. Of course, the Orchestra's relationship with Philadelphia radio station WFLN is well known, and it was through this association that in 1979 Ormandy received that year's Broadcast Pioneer of the Year Award; the collection holds a letter from Raymond Green, president of WFLN, regarding this award. As such a "pioneer," Ormandy was keenly interested in making the Orchestra visible on public or educational television, and his correspondence in this series with the National Educational Television and Radio Center as well as with Philadelphia's own WHYY suggests how hard he worked to find the Orchestra an appropriate television showcase. These letters also provide an interesting record of public television's early organization and broadcast strategies. Also pertaining to broadcasting is additional correspondence with the big three networks (ABC, CBS, NBC), individual television stations such as WCAU, WRCV, WFIL, and WGBH, and international television companies such as the British Broadcasting Corporation, Österreichischer Rundfunk, the International Educational Broadcasting Corporation and the International Television Trading Corporation (or Unitel, with which Ormandy produced several programs). Ormandy or his secretaries kept this correspondence together with letters written to many te levision agents, producer-writers and production companies: Julius Seebach and Ralph Mann (both of whom acted as the Orchestra's television agents), Bob Banner Associates, Ross-McElroy Productions, Curtis Davis, Film House Company, Ted Mills, Theodore de Rittberg, Edwin Schloss, David Susskind's Talent Associates, Teleprompter Corporation, Triangle Publications, Trident Films, the William Morris Agency, and Young and Rubicam. Further correspondence relating to broadcast media may be found in the folders f or Victor Borge, Carnegie Hall, Ted Cott, Roger Englander, the Franz Liszt Sesquicentennial Committee, Martyn Green, Danny Kaye, Morris Kinnan, Michael David Lies, Nora Maloney, Abraham Marcus, Earl V. Moore, Cyril Pitts, Rudolph Polk, Proctor and Gamble, Bill Snyder, Ed Sullivan, Howard Taubman, the University of Southern California, and James C. Weaver.

In order to perform any music, whether it was in the recording and broadcast studios or the concert hall, scores had to be obtained from such music presses as Associated Music Publishers, Belwin Mills, Boosey and Hawkes, Carl Fischer, and Theodore Pres ser when the Orchestra's own library did not have the music. Much correspondence took place between Ormandy and these companies regarding both the acquisition of music and Ormandy's royalty income from rentals of his musical transcriptions that these pres ses owned. In 1961 Ormandy decided to give to the Philadelphia Orchestra his personal music library, which contained his transcriptions, printed scores with Ormandy's markings for performance, and unedited printed works. Because the staff of Carl Fischer, Inc. assisted with the arrangements for having the collection appraised for tax purposes, correspondence regarding this appraisal, as well as the appraisal itself, may be found in the Carl Fischer folder. Additional correspondence relating to this matter is located in the folder of Theodore Seder, curator of the Free Library's Edwin Fleisher Music Collection, who served as one of the appraisers.

Ormandy's efforts to perform and record Deryck Cooke's arrangement of Mahler's unfinished Symphony No. 10 took place under an unusually complicated set of circumstances involving both a music press (Associated Music Publishers) and recording company (C olumbia). In this situation, Cooke, with Mrs. Werfel's apparent blessing, promised Ormandy the American premiere of the symphony without consulting Associated Music Publishers (AMP), which held the rights to the score. Columbia Records expressed interest in recording the piece with Ormandy, but only if he performed the premiere. AMP meanwhile had other ideas about the matter of first performance, and only after a great deal of lengthy negotiation was Ormandy able to have his premiere, which took place Nov ember 5, 1965. This history, as well as information about the eventual performance and reception of the work, can be pieced together and fleshed out by looking at correspondence with not only Cooke, AMP, and Columbia, but also Alma Mahler Werfel, music critic Jerry Bruck, and musicologists C. A. Carpenter, Jack Diether, W. Parks Grant, and William Malloch.

Mahler's works were frequently performed by the Philadelphia Orchestra, beginning as far back as 1916, when Stokowski conducted the U.S. premiere of Mahler's Symphony No. 8, the Symphony of a Thousand. Over the course of his long career, Ormandy tried three times to pull together a performance of Mahler's 8th, once in 1947, later in the early 1960s and then in the early 1970s. Correspondence relating to these efforts, and the challenges involved in staging such a production , may be found in the following files: Bach Festival Society, Anabelle Bernard, Marian Boyer, Columbia Records, Columbus Boychoir, Clyde Dengler, Jack Diether, Henry Drinker, Mignon Dunn, Rosalind Elias, Eileen Farrell, W. Parks Grant, Janice Harsanyi, John Herrick, Ruth Hesse, Jerome Hines, Richard Lewis, Lincoln Center for the Performing Arts, George London, the Mormon Tabernacle Choir, Leontyne Price, Judith Raskin, Gertrude Ribla, Sylvan Richter, St. Peter's Choir School, Singing City, Temple Universi ty Choir, Giorgio Tozzi, University of Pennsylvania Choral Society, Valley Forge Military Academy, Westminster Choir College, and William Penn Charter School.

Planning even ordinary seasonal performances required that Ormandy coordinate not just performers, composers, recording companies, and music publishers, but also other musical organizations, symphony associations, and concert halls in order to plan the Orchestra's out-of-town appearances and Ormandy's own guest engagements. This collection includes correspondence with the management of performing arts centers or performance events at which the Orchestra regularly appeared each season, such as Carnegie Hall, the annual Ann Arbor May Festival (sponsored by the University of Michigan's University Musical Society) and Saratoga Summer Festival (at the Saratoga Performing Arts Center). Ormandy also worked closely with the Curtis Institute of Music, particularly during the years of Rudolph Serkin's tenure as director (1968-1976), and his correspondence with the Institute's administrators, teachers and students, and with outside conductors and soloists whom he persuaded to rehearse or concertize with the student orchestra, indicates the extent of his service to this music academy.

Part of keeping the Orchestra running included the purchase and upkeep of instruments. In addition to correspondence with Orchestra players relating to loans for instruments, there is also correspondence with makers of fine instruments, as well as appraisers, tuners, and movers or shipping companies. A great deal of correspondence exists concerning the acquisition and installation of an organ in the Academy. Files pertaining to this matter include correspondence with Stuart Loucheim, organist E. Power Biggs, and Curtis founder, Mary Louise Zimbalist (previously Mary Louise Curtis Bok), who provided the funds for the purchase of the organ. In addition, there is correspondence with different makers of organs, including Baldwin Piano and Organ, M.P. Möller Company, and Aeolian-Skinner, which made the Academy's organ. Letters exchanged with Aeolian-Skinner are particularly interesting in that they provide in detail the organ's specifications and discuss the Academy of Music's problematic acoustics. Th e Academy's new organ made its debut with some fanfare on October 7, 1960. A similar flurry of activity and correspondence surrounds the acquisition of a harpsichord (see Bannister Harpsichord, Carl Fudge, Harry Madway, Robert Taylor, Caleb Warner, Wallac e Zuckerman) and a celesta (see Carroll Instruments, Kettner and Duwaer's Pianohandel, Plaza Sound Studios, and Schiedmayer Pianofortefabrik). Also see B. Eijbouts, J.C. Deagan, Inc., Herman Waage, and the Orchestre de Paris for information about Ormandy's attempts to get a particular kind of bell plates for the performance of Berlioz's Symphony Fantastique.

The Orchestra's tours also required a great deal of coordination, much of which was done by mail. Correspondence concerning tour arrangements might involve letters to or from hotels, travel or booking agents, and even government officials. For example, in the case of the 1958 tour to the Soviet Union, Ormandy corresponded with Thomas Llewellyn, the ambassador to the U.S.S.R. at that time, and before the 1973 tour to China, there were letters exchanged between Ormandy or his staff and the U.S. Information Agency, the U.S. Public Liaison Office, China's Liaison Office and its Ministry of Public Affairs.

This collection contains additional correspondence with city, state and federal government officials--mayors, congress members, presidents--as well as foreign ambassadors and heads of state, with whom Ormandy corresponded for a variety of reasons--from Ormandy's being enlisted to help in a cause to his receiving an award or recognition of some sort. Thus in this series there are letters to or from such personages as King Frederick IX of Denmark, King Olav V of Norway, Princess Grace of Monaco, Princess Irene of Greece, several U.S. Presidents--including Kennedy, Nixon, Carter, and Reagan, plus Vice President Hubert Humphrey, Secretary of State George Schultz, Senators Hugh Scott and John Tunney, Congressman Fred Richmond, and Philadelphia Mayors Rizzo and Green.

Included as well in this correspondence series are letters to or from colleges and universities relating to the hiring of (usually former) Orchestra members as faculty, the organization of special commemorative or musical events and festivals, and the awarding to Ormandy of honorary degrees. There are also letters from a variety of social, political, educational and arts organizations requesting that Ormandy serve on their boards or otherwise seeking his support. With his extremely high public profile and his self-consciousness about his height and build, Ormandy frequently wore clothing that was custom-made for him; correspondence with clothiers or relating to his wardrobe includes letters to Austin Reed Ltd.; Albion House Ltd.; Bath & Closet Shoppe; George Straith Ltd.; Hogg, Sons &; J. B. Johnstone; James Lock & Co.; Kilgour, French and Stansbury; Anna Lohwieser; The London Shop; Renauld; William Schmidt; Scotts Ltd.; Simpson Clothes, Inc.; T. Hodgkinson, Ltd.; and Witlin and Gallagher. Finally, there is a great deal of fan mail represented in the collection, mail from both famous and unknown music lovers who wrote in praise of performances, broadcasts, and records; wrote to congratulate Ormandy on his achievements; and sent requests for autographs and souvenirs.

Interoffice Correspondence includes letters, memos, and notes between Ormandy and the Orchestra Association's staff--especially his secretary and Orchestra managers--as well as important Board members. Here too are memos exch anged between staff members. This correspondence concerns the management of the Orchestra in all of its aspects: the processing of Orchestra members' requests, complaints, union activity, contracts, and decisions about their future employment; the arrangement of performances, recording sessions, broadcasts, tours, soloist engagements; program proposals, publicity arrangements; the acquisition of new instruments; and the retrieval of scores needed by Ormandy from the Orchestra library. There are also memos exchanged with the staff of the Academy of Music. At the end of this series may be found a folder containing miscellaneous administrative paperwork having to do, for the most part, with Orchestra members' terms of employment. This paperwork includes lists noting Orchestra members' passport information, tour participants (includes board members), salary scales, raises, bonus adjustments, and retirement ages.

Besides correspondence and memos, many other kinds of paperwork were generated in the administration of the Orchestra. Some of these papers had to do with various kinds of Programming, including proposed programs for the Orchestra season and post-season, along with its tours and Ormandy's guest engagements. Such programs usually include the duration of the various musical works, as calculated by Ormandy. Suggested programs and schedules for recordings, broadcasts, Curtis rehe arsals and performances, as well as for the meetings of the Conductors' Symposia, may be found here. The series also includes entire television scripts, as well as proposed album cover designs. (N.B. At times proposed schedules and programs were typed in the form of a memo to the Orchestra staff, or to particular performers, agents, etc. In these cases, this material has been filed in the appropriate correspondence file.)

Much of this programming material seems to have been typed from handwritten notes made by Ormandy. The Notes series includes all manner of general notes written or kept by Ormandy or his secretary, Mary Krouse (or occasionally some other staff person) on the subjects of programs, soloists, responses to correspondence, travel and appointments, as well as Ormandy's written observations on the playing of every Conductors' Symposium participant, for each year (N.B. Handwritten no tes that Ormandy or Ms. Krouse had attached to correspondence were generally left with that correspondence, to provide context.) Then too there are important notes or records that Ormandy kept as to the durations or playing times of every major piece in his orchestral repertoire. These typed notes, originally bound in a looseleaf binder and showing signs of having been regularly consulted, also contain Ormandy's handwritten revisions and calculations. In addition to keeping this notebook of durations as a n aid in constructing time-limited programs, Ormandy retained notes having to do with rehearsals of certain large choral pieces, such as Bach's Johannespassion, Matthäuspassion, and the B minor mass; Beethoven's  Missa Solemnis, Haydn's  Creation, Mendelssohn's  Elijah and his  Erste Walpurgisnacht , and Verdi's  Requiem. These notes include metronomic markings as well as notations on performance dynamics.

If notes on durations and metronome markings help one to imagine how Ormandy constructed programs and conducted rehearsals, various kinds of Philadelphia Orchestra Season Calendars make possible the reconstruction of Ormandy' s schedule and whereasbouts from day to day, and month to month (particularly when supplemented by the papers of the previously-mentioned Programming series). Every year the Orchestra issued small date books that ran from September through August and showed each month's anticipated schedule of seasonal and post-seasonal performances, guest performers, out-of-town concerts, and vacation dates. In addition to this typed information are Ormandy's own pencilled-in notations about specific concerts, soloists, appointments, rehearsals, and meetings. The 1998 donation of Ormandy papers included Gretel Ormandy's date books, which are filed after Eugene Ormandy's. Besides these date books, there are small, looseleaf engagement notebooks, each page of which shows a particular program, with every page arranged in order of date. Also typed on these pages are specific concert dates and locations for each program, the durations, who conducted and who played, and on which recording label any of the program selections were offered. There are also large date sheets for the 1952-53, and 1953-54 seasons that show the entire year's events at a glance, events both typed and pencilled in.

Printed Programs and Itineraries, issued at performances or before tours, give further information about Ormandy's and the Orchestra's schedules. Of special interest is the earliest program in the series, a 1921 flyer pasted into a scrapbook page that notes the time, place, and pieces to be performed by the young violinist, “Jenö B. Ormandy”; though it is generally unknown how Ormandy came to change his name from Blau, this program flyer suggests that he made the change before he came to the United States. Detailed information about tours help us to track the precise movement of the Orchestra during a give tour season. Also included in this series are programs or playbills from performances and events by groups other than the Philadelphia Orchestra. Some of these events were attended by Ormandy, such as Pablo Casals 1961 White House concert, the ground breaking ceremonies of the Saratoga Performing Art Center, and various performances in China. Mention of Orm andy is made in a handful of programs; of particular interest might be programs for the centennial celebrations of Ann Arbor's University Musical Society and of Carnegie Hall (the latter contains a message written by Mrs. Ormandy after her husband's death about his fondness for Carnegie Hall). Finally, among the remaining programs not related to Ormandy's own performances there are a number that may have been used by Ormandy in thinking about his own performances, as his notes on some of the playbills suggest.

Ormandy was frequently interviewed by magazines and music critics, and these interviews, along with articles he produced on such topics as the art of conducting, and music in America, are included in a series entitled Articles, Biog raphical Writings, and Promotional Material. This series also comprises promotional pamphlets, booklets and articles--both in published and in draft form--celebrating Orchestra anniversaries or relating information about important tours, such as the 1973 trip to China. Of special interest in these writings might be Nadia Koutzen's remembrances of Ormandy, which not only give a first-hand account of one of Ormandy's friendships, but also suggest something of his views on women's roles in the profess ional music world. There is a small collection of press releases included here announcing such events as tours, special performances, and honorary degrees conferred upon Ormandy. Located at the end of this series is a small collection of other printed bio graphical and promotional literature not related to the Orchestra, though some of it concerns composers who worked with Ormandy or other acquaintances of his.

Ormandy saved a great deal of memorabilia, such as newspaper and magazine Clippings related to his career, including a scrapbook that he put together in 1931 and 1932 recording his early years in Minneapolis. There is also Miscellaneous Pictorial material where one may find sketches of Ormandy and photographic postcards that he used to send to fans, as well as a framed picture of Rossini that probably hung in his office. Other memorabilia include di plomas, doctoral hoods, certificates, plaques, medals, city keys and souvenirs that mark the many Awards and Honors that Ormandy was given over the years, from the Doctor of Music degree he received from Hamline University in 1935 to the honors awarded him at the Kennedy Center in 1982. Finally, included with the oversize material are two of Ormandy's batons and other batons presented to him.

In processing the papers of Eugene Ormandy, extensive use was made of Herbert Kupferberg's Those Fabulous Philadelphians (1969). Also helpful were Roger Dettmer's article,  "Eugene Ormandy: in Memoriam" in volume IX, issue 1 of  Fanfare (1985, pages 54-70); Kupferberg's article on Ormandy in the February 1984 issue of  Ovation magazine (both in this collection); and John K. Sherman's history of the Minneapolis Symphony entitled  Music and Maestros (1952).

Scope and Contents

This collection of photographs documents the career and life of Eugene Ormandy from the early 1880s to the early 1990s, with the bulk of the photographs dating from the 1940s to the 1970s. Most prints are black-and-white; some are color. There are numerous photographs of Eugene Ormandy conducting, in particular at the Academy of Music in Philadelphia. This collection also documents his tours with the Philadelphia Orchestra in Europe, the People's Republic of China, Japan, and Latin America. In addition, researchers will find many photographs of Eugene Ormandy with other musicians and supporters of the Philadelphia Orchestra. In order to find photographs of specific individuals, researchers are encouraged to perform key work searches (all individuals are entered first name, last name).

The collection is intellectually arranged in chronological order. Physically, volumes 1-56 are arranged chronologically; boxes 57-63 contain duplicates of images in volumes 1-56; box 64 contains a photograph album from National Music Camp, Interlocken, Michigan, dating from August 26 to 29, 1996; box 65 contains a photograph album from the dedication of the Eugene Ormandy Listening Center, University of Pennsylvania Library on November 15, 1989; box 66 contains a photograph album given November 18, 1956, from Columbia Records Public Relations Department; boxes 67-71 comprise oversize photographs arranged chronologically; box 72 contains duplicates of images in boxes 67-71; boxes 73-75 house negatives; and box 76 contains glass slides.

Administrative Information

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  2016 December 13

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  2017 February 8

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  1999

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  2015 April 30

Finding Aid Author

Finding aid prepared by Kelin Baldridge

Finding Aid Author

Finding aid prepared by Rayna Andrews

Finding Aid Author

Finding aid prepared by Leslie J. Delauter and Isabel Boston

Finding Aid Author

Finding aid prepared by Clémence Scouten

Access Restrictions

This collection is open for research use.

Access Restrictions

The bulk of this collection is open for research use, however, access to some interviews (box 1, folder 13; box 2, folders 7-9; box 3, folder 5; box 6, folder 5; and box 7, folders 12-13) is restricted. Researchers interested in the content of these folders should contact the Kislak Center for further information.

The audio cassette recordings of the interviews are currently restricted. However, all recordings have been transcribed and most transcripts are available for access. Researchers interested in the audio should contact the Kislak Center for more information.

Access Restrictions

This collection is open for research use

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Source of Acquisition

Gift of Katherine Sachs.

Source of Acquisition

Gift of Mrs. Eugene Ormandy with additional donations from Charles P. Balant, Mrs. C. Wanton Balis, Nadia Koutzen, George and Lucile Lynn, Karen Mannes, Vivian Perlis, Joseph and Joyce Stein, Diana Steiner, and Isaac Stern, 1987-1998.

Source of Acquisition

Gift of Mrs. Eugene Ormandy, 1987 through 1999.

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Related Materials

Related Archival Materials note

At the Kislak Center for Special Collections, Rare Books and Manuscripts:

Eugene Ormandy papers, 1921-1991, Ms. Coll. 91

Eugene Ormandy photographs, 1880-1992, Ms. Coll. 330

Eugene Ormandy family home movies, 1932-1947, Ms. Coll. 1051

Related Archival Materials note

At Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania: Eugene Ormandy papers, 1921-1991, Ms. Coll. 91

At Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania:Eugene Ormandy photographs, 1880-1992, Ms. Coll. 330

At Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania: Eugene Ormandy family home movies, 1932-1947, Ms. Coll. 1051

At Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania: Dr. Irvin Stein collection of Eugene Ormandy material, 1953-1990, Ms. Coll. 1249

At Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania: Philadelphia Orchestra 1966 Latin American Tour collection, 1961-1966, Ms. Coll. 929

Related Archival Materials note

At University of Pennsylvania: Eugene Ormandy papers, 1921-1991, Ms. Coll. 91.

Stephanie Goldner collection on Eugene Ormandy, 1911-1982.

Eugene Ormandy family home movies, 1932-1947, Ms. Coll. 1051

Philadelphia Orchestra Latin American tour collection, 1961-1966, Ms. Coll. 929

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Controlled Access Headings

Corporate Name(s)
  • Philadelphia Orchestra.
  • University of Pennsylvania. Libraries.
Form/Genre(s)
  • Clippings (information artifacts)
  • Concert programs
  • Correspondence
Personal Name(s)
  • Ormandy, Eugene, 1899-1985
  • Ormandy, Gretel
Subject(s)
  • Conductors (Music)--United States
  • Music
  • Physicians--United States
  • Symphony orchestras

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Controlled Access Headings

Corporate Name(s)
  • Philadelphia Orchestra.
Form/Genre(s)
  • Interviews
  • Oral histories (document genres)
  • Transcripts
Personal Name(s)
  • Muti, Riccardo
  • Stokowski, Leopold, 1882-1977
Subject(s)
  • Conductors (Music) -- Interviews
  • Conductors (Music)--United States
  • Music
  • Musicians -- Interviews
  • Musicians--United States
  • Symphony orchestras

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Controlled Access Headings

Corporate Name(s)
  • Philadelphia Orchestra.
Form/Genre(s)
  • Clippings (information artifacts)
  • Concert programs
  • Correspondence
  • Scrapbooks

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Controlled Access Headings

Corporate Name(s)
  • Academy of Music (Philadelphia, Pa.).
  • Philadelphia Orchestra.
Form/Genre(s)
  • Negatives (photographic)
  • Photograph albums
  • Photographs
Personal Name(s)
  • Ormandy, Gretel
  • Ormandy, Stephanie Goldner, 1896-1962
Subject(s)
  • Concert tours
  • Conductors (Music)--United States

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Other Finding Aids

For a complete listing of correspondents, do the following title search in Franklin: Eugene Ormandy Papers.

Collection Inventory

Box Folder

Newsweek Magazine with article "Eugene Ormandy: The Philadelphia Story", 1953 March 2.

1 1

Ormandy-Stein correspondence, 1968-1988.

1 2

Lily Ball (awards given to Eugene Ormandy and Dr. Irvin Stein), program and newspaper clipping, 1971 October.

1 3

Newspaper clippings relating to Ormandy surgery performed by Dr. Irvin Stein, 1971, undated.

1 4

Philadelphia Orchestra news releases relating to Riccardo Muti and "Eugene Ormandy Appreciation Day", 1985 November 12-13.

1 5

Newspapers articles regarding the Philadelphia Orchestra following Ormandy's death, 1986, undated.

1 6

Eugene Ormandy Memorial of the University of Pennsylvania Libraries programs and articles, 1988-1989, undated.

1 7

Eugene Ormandy Memorial of the University of Pennsylvania Libraries correspondence relating to contributions, meetings of the Eugene Ormandy Archive Committee, Founders Committee for the Eugene Ormandy Library Fund, the Memorabilia Committee of the Eugene Ormandy Memorial, and the Eugene Ormandy Memorial Founding Committee, 1986-1990.

1 8

Collection Inventory

Box Folder

Anders, Mariedi. Artist manager, niece of Stephanie Goldner Ormandy, Eugene Ormandy's first wife. Oral history conducted by Sharon Eisenhour, recorded in San Francisco, California. (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.) Transcript. Edited version and interviewee-corrected copy., 1992 August 24.

1 1-2

Arian, Edward. Double bassist, member of the Philadelphia Orchestra (1947-1967), author of the book,  Bach, Beethoven and Bureaucracy: The Case of the Philadelphia Orchestra. Oral history conducted by Sharon Eisenhour, recorded in Plymouth Meeting, Pennsylvania. (Arian discusses matters related to the working relationships amongst the players, conductors, trustees and management of the Philadelphia Orchestra. In this context he describes problems associated with programming, the educational needs of the audience, the ways in which the recording industry affects programming and other aspects of an orchestra's performance, specific issues raised by the Philadelphia Orchestra members in their labor relations with management, how the choice of board members could affect fundraising, and the different ways in which Leopold Stokowski and Eugene Ormandy met the sometimes conflicting demands of artistry versus financial realities. Arian also discusses Eugene Ormandy in relation to the impact he had on the Philadelphia Orchestra, his relations with orchestra members, and the comparisons made between him and Leopold Stokowski.) Transcript. Edited version and interviewee-corrected copy., 1991 March 25.

1 3-4

Barnard, Boyd. Former member of board of directors of the Philadelphia Orchestra (1969-1981?). Oral history conducted by Sharon Eisenhour, recorded in Newtown Square, Pennsylvania. (Barnard discusses his early recollections of hearing the Philadelphia Orchestra (as early as 1913) under Leopold Stokowski, his impressions of Eugene Ormandy's first appearances with the Philadelphia Orchestra, the differences between Stokowski and Ormandy, and between Ormandy and Riccardo Muti, meetings between Ormandy and the board of directors' Artistic Policy Committee, the relations between the board of directors and Ormandy, and between the board and the orchestra players, and Ormandy's skill as an accompanist.) Transcript., 1991 April 23.

1 5

Bookspan, Michael. Percussionist with Philadelphia Orchestra (1953-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Bookspan describes how he attained his position with the Philadelphia Orchestra, his conflicts with Eugene Ormandy over political matters, his part in instigating a clause in the players' contract concerning the release of the conductor based upon players' demands, the orchestra strike of 1963, the conflict between Ormandy and the orchestra members who constituted the Philadelphia String Quartet, the commission and performance of a concerto for percussion by Robert Suderberg, the acoustics of the Academy of Music, the influence of percussionist Benjamin Podemski, and the reduction of percussion parts for economic reasons. He discusses aspects of Ormandy's career, including his power and authority, his practice of altering scores (including re-barring Igor Stravinsky's  Rite of Spring), his ear as applied to percussion instruments, his sense of time, his conducting technique (especially his downbeat and its effect on playing), his later years and his last performance at Carnegie Hall.) Transcript. Edited version and interviewee-corrected copy., 1992 July 10.

1 6-7

Booth, Davyd. Violinist and keyboard player with Philadelphia Orchestra (1973-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Booth discusses his experiences as a player in the Philadelphia Orchestra under the direction of both Eugene Ormandy and Riccardo Muti, and offers anecdotes revealing aspects of Ormandy's personality and relations with orchestra members. Booth also describes Ormandy's characteristics as a conductor, including his memory, general ability, capability as an accompanist to vocal soloists, restrictions he enforced on orchestra members against outside performances, and the editorial practices he used to help achieve the "Philadelphia Sound", especially in regard to the string section. He also offers opinions and anecdotes about other figures, including Dylana Jensen, Glenn Gould, Leonard Bernstein, Samuel Barber, Rudolf Serkin, and Frederick Mann.) Transcript., 1990 July 18.

1 8

Booth, Davyd. Violinist and keyboard player with Philadelphia Orchestra (1973-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Booth gives his appraisal of Eugene Ormandy's last years as conductor of the Philadelphia Orchestra, including his final concert at Carnegie Hall, and offers anecdotes concerning artists such as Marcel Tabuteau, Cyprien Katsaris, Stephen de Groot, Tedd Joselson and Erich Leinsdorf.) Transcript., 1990 July 25.

1 9

Braverman, Gabriel. Violist and music copyist with the Philadelphia Orchestra (1938-1973). Oral history conducted by John Bewley, recorded in Philadelphia, Pennsylvania. (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.) Transcript. Edited version and interviewee-corrected copy., 1993 November 5.

1 10-11

Brown, Elaine Isaacson. Conductor; founder and director of Singing City Choir. With  Sonya Garfinkle, Associate and Executive Director of Singing City Choir and  Janet Yamron, Assistant Dean of Temple University School of Music and member of Singing City Choir. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Brown, Garfinkle, and Yamron discuss the founding of Singing City Choir, its philosophy, educational programs, association with Temple University and its performances and recording sessions with Eugene Ormandy and the Philadelphia Orchestra. Brown also discusses her working relationship with Ormandy, his handling of the choir, his conducting style, and his attitude towards performances at Carnegie Hall. Passages from Ormandy's correspondence to Brown are quoted, and opinions and anecdotes concerning other artists, including Zubin Mehta, Riccardo Muti, Richard Tucker and Mack Harrell are also offered.) Transcript., 1991 April 23.

1 12

Brusilow, Anshel. Violinist, conductor and educator; concertmaster of the Philadelphia Orchestra (1959-1966). Oral history conducted by Sharon Eisenhour, recorded in Dallas, Texas. (Brusilow discusses aspects of his career as a violinist, including his early years as a professional, how he came to the Philadelphia Orchestra from Cleveland (and the friction it caused between George Szell and Eugene Ormandy), a comparison of Leopold Stokowski and Ormandy, his own experince conducting the Philadelphia Orchestra and the Philadelphia Chamber Orchestra (and Ormandy's reactions), his experience as soloist with the Philadelphia Orchestra, his working and personal relationship with Ormandy, and how guest conductors dealt with the performance characteristics of the Philadelphia Orchestra In regard to Eugene Ormandy, Brusilow describes Ormandy's rehearsal and conducting technique (especially his downbeat), his skill as an accompanist (with distinction made between vocalists and instrumentalists), his relationship with the board of directors, his treatment of members of the orchestra, speculation about the origin of the Ormandy name and his religious beliefs, his memory skills, bowing practices he preferred, and his legacy as a conductor. Brusilow also offers anecdotes and opinions about other people, including Pierre Monteux, Alexander Hilsberg, Jake Krachmalnik, William Stokking, Samuel Mayes, William Kapell, Van Cliburn, William Kincaid, Eugene Istomin, David Oistrakh, Andre Kostelanetz, Jesse Taynton, Frederick Mann, Theodore Pitcairn, Richard Yardumian, Virgil Thomson, Sviataslov Richter, Dmitri Shostakovich, David Madison, Norman Carol, Joseph De Pasquale, Schima Kaufman, Wanton Balis, Leonard Bernstein and Alberto Ginastera.) Transcript.  [Restricted], 1992 February 16.

1 13

Carol, Norman. Violinist; concertmaster of Philadelphia Orchestra (1966-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Carol relates some of his experiences as a violinist, including his early (1954 and 1957) solos with the Philadelphia Orchestra, his working relationship with Eugene Ormandy, the quality of string instruments in the orchestra and the bowing practices used, orchestra tours to Japan and China, the orchestra strike of 1967, and the "Philadelphia Sound." Carol also discusses various aspects of Eugene Ormandy's career, including his conducting technique and downbeat, his skill as an accompanist, his treatment of players and soloists, his sense of pitch, his skill as a recording artist, his programming (especially contemporary music), his last years and last concert at Carnegie Hall, and his sense of humor. In this context Carol offers opinions and anecdotes concerning other people, including Danny Kaye, William Kincaid, Marcel Tabuteau, Sol Schoenbach, David Madison, Anshel Brusilow, Lorin Maazel, Riccardo Muti, Serge Koussevitsky, Arturo Toscanini, Madame Mao Tse Tung, Nathan Milstein, Rudolf Serkin, and Peter Serkin.) Transcript. Edited version and interviewee-corrected copy., 1991 November 8.

1 14-15

Carol, Norman. Violinist; concertmaster of Philadelphia Orchestra (1966-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Carol discusses possible reasons that Eugene Ormandy hired him, a player's perspective on Ormandy's programming and repertoire, bowing practices in the Philadelphia Orchestra, the quality of string instruments in the orchestra, Ormandy's "practical" approach to music-making, his concept of orchestral balances, his methods of motivating orchestra members, and his legacy in comparison to other conductors. Carol also mentions the transition to Riccardo Muti as Music Director of the orchestra.) Transcript. Edited version and interviewee-corrected copy., 1991 November 25.

1 16-17

Cliburn, Van, (1934-). Concert pianist. Oral history conducted by Sharon Eisenhour, recorded in Fort Worth, Texas. (Cliburn, with occasional comments by Anshel Brusilow (Concertmaster of Philadelphia Orchestra, 1959-1966), describes his experiences as a soloist with Eugene Ormandy and the Philadelphia Orchestra. In this context Cliburn discusses Ormandy's abilities as conductor and accompanist, and offers opinions and anecdotes about Maria Callas and Richard Nixon, among others.) Transcript., 1992 February 17.

2 1

Costello, Marilyn. Harpist with Philadelphia Orchestra (1945-1992), principal 1946-1992. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Costello relates some of her own background and how she attained her position with the Philadelphia Orchestra. She also discusses the challenges pertaining to playing the harp in an orchestra, the effects of temperature on the instrument, how it happened that the Philadelphia Orchestra purchased a harp for her to use, the Salzedo method of harp playing, seating formats for harpists in the orchestra, how her playing was effected by the "Ormandy" or "Philadelphia Sound", her solo performances with Ormandy as accompanist, the issue of females in the orchestra, and the transition from Eugene Ormandy to Riccardo Muti as conductors of the orchestra. In regard to Eugene Ormandy, she discusses his critical abilities, his treatment of players in the orchestra, his awareness and knowledge of harp parts, his standards and approach to sound, his ear, his appeal to audiences, his sense of humor, and his last years with the orchestra. Opinions and anecdotes are offered concerning others, including Edna Phillips, Marjorie Tyre, Edgard Varèse, Leopold Stokowski, Thomas Beecham, Carlos Salzedo, Pierre Boulez, Martin Ormandy, Stephanie Goldner Ormandy, and Margarita Csonka.) Transcript. Edited version and interviewee-corrected copy., 1992 November 12.

2 2-3

De Lancie, John, (1921-). Oboist with Philadelphia Orchestra (1946-1977), principal oboe from 1954-1977; director of Curtis Institute of Music (1978-1985). Oral history conducted by Sharon Eisenhour, recorded in Miami, Florida. (De Lancie relates experiences from his early years in music, including his studies at Curtis Institute with Marcel Tabuteau, playing in the Pittsburgh Symphony under Fritz Reiner, performing with the Philadelphia Orchestra at Robin Hood Dell, and the job situation that faced veterans returning from service in World War II. De Lancie also discusses several aspects of Eugene Ormandy's tenure as conductor of the Philadelphia Orchestra, including his concept of the "Philadelphia Sound" (compared to that of Leopold Stokowski) and its effect on De Lancie's own playing, his conducting technique and treatment of the downbeat, his preference for higher (tuning) pitch, his treatment of orchestra members, his attitude towards recording sessions (with comments on union regulations), his practice of performing scores from memory (with a general discussion of the pros and cons of such practice) and his last years as conductor. In this context De Lancie offers opinions and anecdotes concerning other artists, including Dimitri Mitropoulos, Riccardo Muti, Sir Thomas Beecham, and Leopold Stokowski. De Lancie closes his interview with a discussion about his years as director of the Curtis Institute of Music, including the situation leading to his resignation, and the impact of the conductor, Sergiu Celibidache.) Transcript. Edited version and interviewee-corrected copy., 1992 March 2.

2 4-5

De Pasquale, Joseph. Violist; principal with Boston Symphony Orchestra (1946-1963); principal with Philadelphia Orchestra (1963-). Oral history conducted by Sharon Eisenhour, recorded in Merion, Pennsylvania. (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 Philadelphia Orchestra 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 Philadelphia Orchestra (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.) Transcript., 1993 January 27.

2 6

De Pasquale, William. Violinist with Philadelphia Orchestra (1963-). And  Robert De Pasquale, violinist with Philadelphia Orchestra (1964-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (The brothers discuss their musical and family backgrounds, how Eugene Ormandy went about getting the four De Pasquale brothers into the Philadelphia Orchestra (Francis - violoncello, 1943-1977; Joseph - principal viola, 1964- ), the formation of the De Pasquale String Quartet and allowances made for it by Ormandy, the sense of pride possessed by the members of the Philadelphia Orchestra, and the personal kindness of Ormandy. They also discuss other aspects of Ormandy's characteristics as a conductor, including his skill as an accompanist, his conducting technique (especially his downbeat and how it affected the sound of the orchestra), his physical strength and endurance, his methods of motivating and controlling his players, his workload, his sense of humor, his emphasis on sound quality in recordings, his toughness, his generosity, his last concert at Carnegie Hall, and his part in choosing his successor, Riccardo Muti. Comments and opinions are also offered concerning other artists, including Samuel Mayes, Joseph and Louis Lanza (their cousins), the Philadelphia String Quartet, and Benjamin Lees.) Transcript. Edited version and interviewee-corrected copy.  [Restricted], 1992 July 6.

2 7-9

Diehl, George K. (George Karl), (1924-). Producer and host of intermission shows during WFLN radio broadcasts of Philadelphia Orchestra concerts. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Diehl describes how intermission interviews with Eugene Ormandy and other artists were arranged and produced.) Transcript. Edited version and interviewee-corrected copy., 1991 March 30.

2 10-11

Dodson, Glenn. Principal trombonist, Philadelphia Orchestra (1968-). Oral history conducted by John Bewley, recorded in Philadelphia, Pennsylvania. (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.) Transcript. Edited version and interviewee-corrected copy., 1993 September 15.

2 12-13

Eastburn, David P. Former president and chairman of the board of directors of the Philadelphia Orchestra. Oral history conducted by Sharon Eisenhour, recorded in Doylestown, Pennsylvania. (Eastburn describes the role of the board of directors in balancing financial and artistic matters in running the Philadelphia Orchestra, Eugene Ormandy's final years with the orchestra (including details concerning his resignation), the appointment of Riccardo Muti as music director, Ormandy's last concert at Carnegie Hall, and the orchestra's tour of Japan and Korea. Eastburn also offers his opinion of Eugene Ormandy as a person and conductor.) Transcript. Edited version and interviewee-corrected copy., 1991 August 8.

2 14-15

Farago, Marcel, (1924-). Violoncellist with Philadelphia Orchestra (1955-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Farago discusses his background, how he attained his position with the Philadelphia Orchestra, a possible origin of the name "Ormandy," Eugene Ormandy's working relationship with himself and other members of the orchestra, Ormandy's conducting style and technique, and Ormandy's later years as a conductor.) Transcript., 1991 July 16.

2 16

Firkušný, Rudolf, (1912-1994). Concert pianist. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (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.) Transcript. Edited version and interviewee-corrected copy., 1992 December 7.

3 1-2

Forester, Hanni. Niece of Stephanie Goldner Ormandy (Eugene Ormandy's first wife). Oral history conducted by Sharon Eisenhour, recorded in San Francisco, California. (Forester discusses Stephanie Goldner's family, Eugene Ormandy's personal background, the Ormandys' visits to the Goldner home in Vienna, Ormandy's assistance to family members and friends, his fondness for ping pong and for driving. She also discusses his relationship with his manager Arthur Judson.) Transcript. Edited version and interviewee-corrected copy., 1992 August 25.

3 3-4

Frost, Thomas T. Executive producer for Columbia Records; produced recordings of Philadelphia Orchestra with Eugene Ormandy conducting (1960-1968). Oral history conducted by Sharon Eisenhour, recorded in New York, New York. (Frost discusses aspects of the recording industry, including recording studio techniques, locations for recording the Philadelphia Orchestra, the "packaging" of artists (with Eugene Ormandy and the Philadelphia Orchestra as an example), the effect of union regulations on recording sessions, the pros and cons of the older style of exclusive contract between artist and record company, the impact that sales of a recording have on its ability to stay in print, and the use of "commercial" repertoire by classical artists (with examples such as the recording,  The Glorious Sound of Christmas, by Ormandy and the Philadelphia Orchestra). In this context, Frost offers opinions about Ormandy's working relationship with Columbia Records, his methods in the recording studio, ability as a conductor accompanying soloists and his musicianship in general. Opinions and anecdotes are offered about other artists, including Igor Stravinsky, Herbert von Karajan, Leonard Bernstein, Georg Solti, Murray Perahia, Yo Yo Ma, Rudolf Serkin, Peter Serkin and Emil Gilels.) Transcript.  [Restricted], 1991 February 19.

3 5

Garfield, Bernard. Principal bassoonist with Philadelphia Orchestra (1957-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Garfield describes his early years in music, his audition for his position with the Philadelphia Orchestra, his concept of the bassoon sound and how it fits in the orchestra (and where this fit into Ormandy's concept of orchestral sound), acoustics of the Academy of Music, Fisher Hall (N.Y.), Boston Symphony Hall and the preferences of recording technicians, Eugene Ormandy's conducting style (especially his downbeat), Ormandy's repertoire and practice of conducting from memory, Ormandy's methods of motivating players, Ormandy's later years, and Ormandy as an accompanist. Garfield also offers opinions and anecdotes concerning other artists, including Sol Schoenbach, Leopold Stokowski, Leonard Bernstein, Alec Wilder, and Serge Koussevitsky.) Transcript., 1991 October 31.

3 6

Garner, Fleetwood and  Anna, Personal friends of Eugene Ormandy. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Fleetwood 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.) Transcript. Edited version and interviewee-corrected copy., 1993 March 31.

3 7-8

Gigliotti, Anthony M. Clarinetist with Philadelphia Orchestra (1949-), principal since 1951. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Gigliotti discusses his background, the influence of predecessors Daniel Bonade and Ralph McLane, his concept of clarinet sound and the American style of playing, his design of a clarinet for Selmer, the audition process, the traditions of the woodwind section of the Philadelphia Orchestra (and players such as Marcel Tabuteau, William Kincaid and Sol Schoenbach), and the newer systems of using assistant principal players and double principals. He comments upon various aspects of the personality and career of Eugene Ormandy, including his generosity, his sense of humor, his discipline, his responsibility for improving the overall standard of playing in the Philadelphia Orchestra, his skill in recording sessions, his relations with orchestra members, and his last concert at Carnegie Hall.) Transcript., 1992 July 20.

3 9

Glendinning, Beth. Public Relations Director of the Philadelphia Orchestra (1963-1967). Oral history conducted by Sharon Eisenhour, recorded in Fort Washington, Pennsylvania. (Glendinning offers a behind-the-scenes view of Eugene Ormandy and operations of the Philadelphia Orchestra, including the departure of Leopold Stokowski, the beginning of the orchestra's summer residency program at Saratoga, and the orchestra player strike of 1966.) Transcript. Edited version and interviewee-corrected copy., 1991 March 4.

3 10

Gorodetzer, Harry. Violoncellist with Philadelphia Orchestra (1936-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Gorodetzer describes his background, his audition before both Eugene Ormandy and Leopold Stokowski, how Stokowski got a rich sound from the string section of the Philadelphia Orchestra, his place in the violoncello section and auditions to move up, the issues of women in the orchestra and job security for men who served in World War II, how player replacements affect the orchestra, and the transition from Stokowski to Ormandy. He discusses various aspects of Ormandy's personality and career, including his treatment of players, his temper, his sense of timing (especially in recording sessions), his programming (with note of contemporary and American music), his dedication to the Philadelphia Orchestra, his shrewd business sense, his stance during the orchestra strikes, his memory skills, and his later years. Anecdotes and opinions are offered concerning other people, including Samuel Gorodetzer, Riccardo Muti, Fritz Reiner, Leonard Bernstein, Saul Caston, Samuel Mayes, Elsa Hilger, Jascha Heifetz, Sergei Rachmaninoff, Arturo Toscanini, Arthur Judson, Pierre Monteux and Ernst Ansermet.) Transcript. Edited version and interviewee-corrected copy., 1992 June 10.

3 12-13

Graffman, Gary. Concert pianist, director of Curtis Institute of Music (1985-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Graffman describes his experience as a soloist with the Philadelphia Orchestra conducted by Eugene Ormandy, and offers opinions and anecdotes about other artists.) Transcript. Edited version and interviewee-corrected copy., 1991 January 25.

3 14-15

Green, Raymond S. (Raymond Silvernail), (1915-). Former owner, president of WFLN radio. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Green relates history of WFLN, his role in the NBC broadcasts of Toscanini in the late 1940's, and describes how Eugene Ormandy influeneced radio programming in Philadelphia.) Transcript. Edited version and interviewee-corrected copy., 1990 November 16.

3 16-17

Hall, Roger Griffin, (1925-). Manager of the Philadelphia Orchestra (1959-1963); head of RCA Victor Red Seal Records (1963-1970). Oral history conducted by Sharon Eisenhour, recorded in Chestnut Hill, Pennsylvania. (Hall describes his early career, the role of a manager (executive director) for an orchestra, his job duties and working relationship with the Philadelphia Orchestra and Eugene Ormandy, and the orchestra players' strike of 1959. In regard to Ormandy, Hall discusses Ormandy's relations with the players, his skill as an accompanist, his personality traits, his background, and his programming of contemporary music. Hall also offers opinions and anecdotes concerning other people, including Arthur Judson, Leopold Stokowski, André Previn, Pierre Monteux and Leonard Bernstein.) Transcript. Edited version and interviewee-corrected copy., 1991 July 1.

4 1-2

Hall, Roger Griffin, (1925-). Manager of the Philadelphia Orchestra (1959-1963); head of RCA Victor Red Seal Records (1963-1970). Oral history conducted by Sharon Eisenhour, Recorded in Chestnut Hill, Pennsylvania. (Hall discusses how RCA Records acquired the exclusive rights (from Columbia Records) to record the Philadelphia Orchestra, artists as business people, television programming of the orchestra, including the production about the 1978 Tour of Japan and the series,  From Ormandy to Muti, and the fees charged by the Philadelphia Orchestra (in relation to recording contracts, etc.). Hall also describes Eugene Ormandy's business sense, his generosity, his sense of humor, and his legacy. Hall offers opinions and anecdotes concerning other people, including Frederick Mann, Dmitri Shostakovich, Jascha Heifetz, and Fred Friendly.) Transcript. Edited version and interviewee-corrected copy., 1991 July 8.

4 3-4

Harrison, Renata, (1933-). Personal friend of Eugene and Gretel Ormandy. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Harrison describes her relationship with Eugene and Gretel Ormandy, including how they met and how they helped her through Bryn Mawr College. She discusses aspects of Eugene Ormandy's personality, his daily routine, energy and discipline, his political and religious beliefs, his family relations, his relationship with Gretel, and his final years.) Transcript., 1991 August 10.

4 5

Hilger, Elsa. Violoncellist, with Philadelphia Orchestra (1935-1969). Oral history conducted by Sharon Eisenhour, recorded in Williston, Vermont. (Hilger discusses how she attained her position with the Philadelphia Orchestra, the transition from Leopold Stokowski to Eugene Ormandy as conductor of the Philadelphia Orchestra, what it was like to work for both conductors, orchestra tours, Ormandy's skill as an accompanist, conducting technique, dedication to the orchestra, and support of young artists, and what it was like being the first female full-time member of a major symphony orchestra. Hilger also offers opinions and anecdotes concerning Edna Phillips, Solomon, Sergei Rachmaninoff, Rudolf Serkin, Vladimir Sokoloff, Arturo Toscanini, Lorin Maazel, Catherine Baird, Mstislav Rostropovich, Sviataslov Richter, and Albert Einstein.) Transcript. Edited version and interviewee-corrected copy., 1991 August 22.

4 6-7

Hood, Louis. Public relations director, Philadelphia Orchestra (1960-1963, 1972-1984). Oral history conducted by Sharon Eisenhour, recorded in Wayne, Pennsylvania. (Hood discusses his background, his job duties and working relationship with the Philadelphia Orchestra and Eugene Ormandy, the orchestra's 52-week contract (1963) and its effect on other orchestras, the Saratoga Performing Arts Center, and the orchestra's fund-raising "marathons." In regard to Ormandy, Hood discusses Ormandy's hip impairment, his relationships with orchestra members, his skill as an accompanist, his public image and role in public relations, and his final years. Hood also offers anecdotes and opinions concerning other artists, including George Szell, Riccardo Muti, and Lukas Foss.) Transcript. Edited version and interviewee-corrected copy., 1991 April 8.

4 8-9

Hume, Paul, (1915-2001). Author, educator and music critic for the Washington Post (1946-). Oral history conducted by Sharon Eisenhour, recorded in Washington, D.C. (Hume offers an overview of Eugene Ormandy's career, with special mention made of his skill as an accompanist, his memory, his repertoire, his approach to making music, and his programming. On the subject of music criticism Hume discusses the relationship between critic and musician, audiences' responses to new music, and his opinion that a critic also be a musician (and his background as a singer, organist, and conductor). Hume also offers opinions and anecdotes concerning other people, including Leopold Stokowski, Sir John Barbirolli, Sir Thomas Beecham, Rudolf Serkin, Vladimir Horowitz, Hubert Humphrey, Richard Nixon, George Szell, Fritz Reiner, Sir Georg Solti, Arturo Toscanini, Serge Koussevitsky, Charles Munch, Pierre Monteux, Leonard Bernstein, Gretel Ormandy, Antal Dorati, Elisabeth Schwarzkopf, Rosa Ponselle, Fred Scott, David Del Tredici, Sir Hamilton Harty, Virgil Thomson, and Stanislaw Skrowaczewski.) Transcript. Edited version and interviewee-corrected copy., 1991 November 7.

4 10-11

Istomin, Eugene. Concert pianist. Oral history conducted by Sharon Eisenhour, recorded in Washington, D.C. (Istomin describes his experiences as soloist with Eugene Ormandy and the Philadelphia Orchestra. In this context Istomin discusses his personal and professional relationship with Ormandy, Ormandy's abilities as conductor and accompanist, Ormandy's relations with orchestra members, and his international reputation. Opinions and anecdotes are offered concerning other artists, including Charles Munch, Georg Solti, Arturo Toscanini, Rudolf Serkin and Lorin Maazel.) Transcript. Edited version (corrected via telephone)., 1991 October 8.

4 12

Johnson, Gilbert D. Principal trumpet, Philadelphia Orchestra (1958-1975). Oral history conducted by Sharon Eisenhour, recorded in Miami, Florida. (Johnson discusses his background, association with Curtis Institute and the New Orleans Symphony, performing under Leopold Stokowski (and how it compared to performing under Eugene Ormandy), the nature of being an orchestral musician, his resignation and retirement from the Philadelphia Orchestra, the  Torchy Jones recording on Columbia Records (and Ormandy's reaction to it), and orchestra tours. Johnson also discusses various aspects of Ormandy's career, including his conducting style and technique (especially his downbeat and its effect on brass players), his concept of the orchestral sound and the brass section's place in that conception (with mention of how this affected recordings and placement on the stage), his durability in recording sessions, his relations with orchestra members, programming in general and specifically on orchestra tours, his practices regarding the alteration of scores, his support of young artists, and his qualities as a conductor. Johnson offers opinions and anecdotes concerning other artists, including Alexander Hilsberg, Peter Serkin, Boris Sokoloff, Arturo Toscanini, Fritz Reiner, Sviatoslav Richter, Jesse Taynton, Krysztof Penderecki and Riccardo Muti.) Transcript., 1992 March 3.

4 13

Jones, Mason. Principal horn (1939-1978) and personnel manager (1963-1986) of the Philadelphia Orchestra. Oral history conducted by Sharon Eisenhour, recorded in Gladwyne, Pennsylvania. (Jones discusses the early years of his career, his audition for the Philadelphia Orchestra, his experience as soloist with the orchestra, the  Torchy Jones record album, the orchestra strike of 1966, how he attained the position of personnel manager with the orchestra and the duties he performed in the job. Jones also discusses various aspects of the career of Eugene Ormandy, including his sense of pitch, conception of balance in the orchestra (and how doubling was used to help achieve the "Philadelphia Sound"), his sense of dedication to the orchestra, his conducting style and technique, his ability as an accompanist, and his personality.) Transcript. Edited version and interviewee-corrected copy., 1991 April 12.

5 1-2

Klein, Esther M. (Esther Moyerman), (1907-). Chairwoman and founder of Rittenhouse Square Committee (supporters of the Philadelphia Orchestra). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Klein discusses how she met Eugene Ormandy, his early years in Philadelphia, his relationships with Leopold Stokowski and the members of the orchestra, his political and religious beliefs, and other aspects of his personal life, including his first marriage, to Stephanie Goldner, and the death of their children. Klein also describes the work of her committee, especially in regard to work on behalf of women conductors and composers, and the publication of Adrian Siegel's photographs in the book,  Concerto for Camera. Opinions and anecdotes are offered concerning other people, including Shulamit Ran, Lorne Munroe, Sergei Rachmaninoff, Richard Nixon, Riccardo Muti and Gretel Ormandy.) Transcript. Edited version and interviewee-corrected copy., 1991 October 16.

5 3-4

Koutzen, Nadia, (1930-) Concert violinist (daughter of Boris Koutzen). Oral history conducted by Sharon Eisenhour, recorded in Toms River, New Jersey. (Koutzen describes her background, how she first met Eugene Ormandy, her performances as soloist with Ormandy and the Philadelphia Orchestra, her relationship with Ormandy, his skill as an accompanist, his skill as a violinist, his technical advice to her concerning violin playing (especially the opening of the Beethoven concerto), and his later years. Koutzen offers opinions and anecdotes concerning other people, including Adrian Siegel, Serge Koussevitsky, Ferenc Fricsay, and Arturo Toscanini.) Transcript. Edited version and interviewee-corrected copy., 1991 November 22.

5 5-6

Krell, John C. Flutist (piccolo) with Philadelphia Orchestra (1952-1981). Oral history conducted by Sharon Eisenhour, recorded in Gladwyne, Pennsylvania. (Krell discusses how he came to be a member of the Philadelphia Orchestra, the approach to sound production in the woodwind section of the orchestra, Leopold Stokowski's return engagements with the Philadelphia Orchestra, the experience of touring with the orchestra, the orchestra strike of 1966, and several aspects of Eugene Ormandy's career, including his skill as an accompanist, his preference for a higher tuning pitch, his way of relating to orchestra members, his conducting technique, his efficiency in the recording studio, and his last years with the orchestra. In this context Krell also offers opinions and anecdotes about William Kincaid, Marcel Tabuteau and Sol Schoenbach.) Transcript. Edited version and interviewee-corrected copy., 1991 October 14.

5 7-8

Kupferberg, Herbert. Senior editor of  Parade magazine; author of book about the Philadelphia Orchestra,  Those fabulous Philadelphians (1969). Oral history conducted by Sharon Eisenhour, recorded in New York, New York. (Kupferberg relates the background involved in his work on the book,  Those fabulous Philadelphians, including details concerning his interviews of Leopold Stokowski and Eugene Ormandy. In regard to Eugene Ormandy, Kupferberg discusses his early career at the Capitol Theater, the origin of the Ormandy name, his qualities as a conductor, his musical memory, his choice of repertoire, his rehearsal technique, his regard for Arturo Toscanini, the qualifications he considered important in choosing his successor, the players' opinions of him, and his legacy in general. Kupferberg also offers opinions and anecdotes concerning others, including Arthur Judson, C. Wanton Balis, William Smith, Gretel Ormandy, Martin Ormandy, Sol Hurok, George Szell, Erich Leinsdorf, and Riccardo Muti.) Transcript. Edited version and interviewee-corrected copy., 1992 October 29.

5 9-10

Laderman, Ezra. Composer; director of music program at National Endowment for the Arts (1979-1982); Dean, School of Music at Yale University. Oral history conducted by Sharon Eisenhour, recorded in New Haven, Connecticut. (Laderman discusses how his relationship with Martin Ormandy in New York City (1936-1940) led to an acquaintance with the reputation and work of Martin's brother, Eugene Ormandy. Laderman also relates the experience of having his Concerto for violin and orchestra performed by the Philadelphia Orchestra, with Elmar Olveira as soloist, and himself replacing Eugene Ormandy as conductor, a substitution suggested by Riccardo Muti. Laderman offers comments on the nature of the "Philadelphia Sound," especially in terms of string technique, and offers his opinion of Eugene Ormandy as conductor, with comparisons to George Szell, Leonard Bernstein and Fritz Reiner.) Transcript., 1990 February 12.

5 11

Ma, Yo-Yo, (1955-). Concert violoncellist. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (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.) Transcript. Edited version and interviewee-corrected copy., 1993 June 30.

5 12-13

Madison, David, (1907-). Violinist; member (1927-1969) and Associate Concertmaster (1940-1969) of Philadelphia Orchestra. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Madison relates details concerning the career of Eugene Ormandy, including his first conducting job at the Capitol Theatre in New York City, his first appearance with the Philadelphia Orchestra at Robin Hood Dell, the process by which Ormandy acquired the position of music director of the Philadelphia Orchestra, his skill for memorizing scores, rehearsal technique and discipline, and conducting technique, especially in regard to placement of the downbeat. Madison also offers details concerning Leopold Stokowski's tenure as conductor of the Philadelphia Orchestra, including his departure from that position and the bowing practices that he used with the orchestra. In this context Madison also discusses recording sites used by the Philadelphia Orchestra, strikes by the orchestra musicians, and anecdotes and opinions concerning artists such as Erich Leinsdorf, Jacob Krachmalnik, Anshel Brusilow, George Szell, Arturo Toscanini, Fritz Reiner, Jose Iturbi, Dmitri Shostakovich, and Alexander Hilsberg.) Transcript., 1990 March 26.

5 14

Madison, David, (1907-). Violinist; member (1927-1969) and Associate Concertmaster (1940-1969) of the Philadelphia Orchestra. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Madison offers examples of Eugene Ormandy's generosity, his rehearsal technique and the part he played in acquiring valuable string instruments for the Philadelphia Orchestra. In addition to describing Philadelphia Orchestra tours to Russia and China, Madison also offers anecdotes and opinions concerning other artists, including Fritz Reiner, Sir Thomas Beecham, Leonard Bernstein, Leopold Stokowski, Van Cliburn and Artur Rubinstein.) Transcript., 1990 April 2.

5 15

Mehta, Zubin. Conductor. Oral history conducted by Sharon Eisenhour, recorded in Avery Fisher Hall, New York, N.Y. (Mehta relates his impressions of Eugene Ormandy and the Philadelphia Orchestra.) Transcript. Edited version and interviewee-corrected copy., 1991 February 12.

5 16-17

Montanaro, Donald. Clarinetist with Philadelphia Orchestra (1957-),  Margarita Csonka Montanaro, harpist with Philadelphia Orchestra (1963-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Donald and Margarita Csonka Montanaro 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.) Transcript. Edited version and interviewee-corrected copy., 1992 December 14.

6 1-2

Munroe, Lorne. Principal violoncellist with Philadelphia Orchestra (1951-1964), and New York Philharmonic (1964-). Oral history conducted by Sharon Eisenhour, recorded in New York, N.Y. (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.) Transcript., 1992 October 31.

6 3

Muti, Riccardo. Music director and conductor of Philadelphia Orchestra (1980-1992). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Muti discusses the beginnings of his personal and professional relationship with Eugene Ormandy and the Philadelphia Orchestra, his appointment as music director and Ormandy's conducting style.) Transcript., 1990 February 1.

6 4

Nieweg, Clinton F. Principal librarian, Philadelphia Orchestra (1979-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Nieweg describes his musical background, how he attained his position with the Philadelphia Orchestra, his predecessor, Jesse Taynton, his job duties for and working relationships with Eugene Ormandy and Riccardo Muti, and the transition from Ormandy to Muti. Nieweg provides details concerning Ormandy's use of orchestral insertions (doublings), his re-scoring of the string section parts, his bowings, and his score markings. In addition, Nieweg assesses Ormandy's rehearsal technique and style, his memorization skills, and his skill as an accompanist. Anecdotes are offered concerning the acquisition of the scores of the Chinese work, Yellow River Concerto, and Dmitri Shostakovich's Symphony No. 4.) Transcript.  [Restricted], 1991 April 19.

6 5

O'Malley, Mimi. Secretary to the Philadelphia Orchestra manager (executive director) (1960-1969, 1978-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (O'Malley describes her experiences working with both Eugene Ormandy and Riccardo Muti, and provides administrative details about the process of programming works and artists for the Philadelphia Orchestra.) Transcript., 1991 May 31.

6 6

Ormandy, Eugene, (1899-1985). Conductor; Music Director of the Philadelphia Orchestra (1938-1980). Oral history conducted by Herbert Kupferberg, recorded in Philadelphia, Pennsylvania. (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.) Transcript., October 1969.

6 7

Ormandy, Eugene, (1899-1985). Conductor; Music Director of the Philadelphia Orchestra (1938-1980). Oral history conducted by Herbert Kupferberg, recorded in Philadelphia, Pennsylvania. (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, Jenö Hubay, Georges Enesco, Serge Koussevitsky, Jack Pfeiffer, and Virgil Thomson.) Transcript., October 1969.

6 8

Ormandy, Eugene, (1899-1985). Conductor; Music Director of the Philadelphia Orchestra (1938-1980). Oral history conducted by Morris Henken, recorded in Philadelphia, Pennsylvania. (Ormandy discusses various aspects of Sergei Rachmaninoff's life and career, including his physical characteristics, his personality, his process of preparing for concerts, his performances as a conductor, his impact as an interpreter of music, and the historical background of his  Symphony No. 1. Ormandy also talks about his own experiences performing and recording with Rachmaninoff.) Transcript., circa 1973.

6 9

Ormandy, Eugene, (1899-1985). Conductor; Music Director of the Philadelphia Orchestra (1938-1980). Oral history conducted by George Diehl, recorded in Philadelphia, Pennsylvania. (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.) Transcript., 1975 November 16.

6 10

Ormandy, Gretel. Second wife of Eugene Ormandy (1950-1985) with  William Smith, assistant conductor of the Philadelphia Orchestra. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Mrs. Ormandy and William Smith discuss how she met Eugene Ormandy, her experience as a pilot, touring with the Philadelphia Orchestra, the daily routine of her husband on days of concerts, and anecdotes involving various artists, including Sergey Rachmaninoff, Jascha Heifetz and Ross Lee Finney.) Transcript. Edited version and interviewee-corrected copy., 1990 February 9.

6 11-12

Ormandy, Gretel. Second wife of Eugene Ormandy (1950-1985) with  William Smith, assistant conductor of the Philadelphia Orchestra. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Mrs. Ormandy and William Smith use photographs brought by the interviewer to prompt reminiscences about Eugene Ormandy's interactions with artists and figures such as Isaac Stern, Nathan Milstein, David Oistrakh, Artur Rubinstein, Vladimir Horowitz, Van Cliburn, Richard Nixon and Grace Kelly.) Transcript. Edited version and interviewee-corrected copy., 1990 February 26.

6 13-14

Ormandy, Martin. Violoncellist with New York Philharmonic (ca. 1930-ca. 1969); brother of conductor, Eugene Ormandy with  Dolores Ormandy Neumann. Oral history conducted by Marjorie Hassen, recorded in New York, New York. (Martin Ormandy, joined by his daughter Dolores Ormandy Neumann discusses his family background, how he and his brothers Eugene and Laszlo were raised in Hungary, how and when the brothers emigrated to the United States, the origins of the name Ormandy and reasons why the family changed their name from Blau to Ormandy. Martin Ormandy also discusses various aspects of his brother Eugene's career as violinist and conductor, including his work at the Capitol Theater in New York and his position as conductor with the Minneapolis Symphony. Among other people mentioned during the interview are Leopold Stokowski, Sergei Rachmaninoff, Zoltan Kodaly, Bela Bartok, Jenö Hubay, and the two wives of Eugene Ormandy, Steffi and Gretel.) Transcript., 1996 May 16.

6 15

Ozawa, Seiji, (1935-). Conductor; Music Director of Boston Symphony Orchestra (1973-). Oral history conducted by Sharon Eisenhour, recorded in Boston, Massachusetts. (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.) Transcript., 1993 February 19.

6 16

Page, Robert, (1927-). Conductor; director of Temple University Choirs (1956-1975), Mendelssohn Club (1964-1976), and the Cleveland Orchestra Chorus (1971-1989). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (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.) Transcript. Edited version and interviewee-corrected copy., 1993 June 18.

6 17-18

Phillips, Edna, (1907-2003). Principal harpist, Philadelphia Orchestra (1930-1946); married to Samuel Rosenbaum, member of Philadelphia Orchestra board of trustees. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Philips describes her early years with the Philadelphia Orchestra and offers opinions and anecdotes about Leopold Stokowski and Eugene Ormandy.) Transcript. Edited version and interviewee-corrected copy., 1990 November 5.

7 1-2

Pope, W. Stuart (Wilfred Stuart), (1921-). Former managing director and president of Boosey & Hawkes, U.S.A., publishers. Oral history conducted by Sharon Eisenhour, recorded in Princeton, New Jersey. (Pope describes his working relationship with Eugene Ormandy and offers opinions and anecdotes about other artists, including George Szell and Leopold Stokowski.) Transcript. Edited version and interviewee-corrected copy., 1991 May 16.

7 3-4

Rochberg, George. Composer. Oral history conducted by Sharon Eisenhour, recorded in Newtown Square, Pennsylvania. (Rochberg discusses performances of his compositions,  Symphony No. 1,  Night Music,  Zodiac, and  the Concerto for Violin and Orchestra, by the Philadelphia Orchestra, conducted by Eugene Ormandy. In this context he also notes the difference in roles between the composer and conductor as artists, and gives impressions of other performers, including George Szell, Isaac Stern, Dmitri Mitropoulos, and Andre Previn.) Transcript. Edited version and interviewee-corrected copy., 1990 October 29.

7 5-6

Santarlasci, Joseph. Assistant manager, and general manager of Philadelphia Orchestra (1945-1987). Oral history conducted by Sharon Eisenhour, recorded in Paoli, Pennsylvania. (Santarlasci provides details about the management of the Philadelphia Orchestra, including negotiation of players' contracts, the issue of women in the orchestra, recording contracts with Columbia and RCA, problems encountered in orchestra tours, and the transition from Eugene Ormandy to Riccardo Muti as Music Director of the orchestra. In this context Santarlasci also offers opinions and anecdotes about Ormandy, Muti, Leopold Stokowski, and Rudolf Serkin, among others.) Transcript. Edited version and interviewee-corrected copy., 1990 December 19.

7 7-8

Schoenbach, Sol. Principal bassoonist with Philadelphia Orchestra (1937-1944, 1946-1957). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (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.) Transcript. Edited version and interviewee-corrected copy., 1991 October 9.

7 9-10

Schuman, William, (1910-1992). Composer, former president of the Juilliard School. Oral history conducted by Sharon Eisenhour, recorded in New York, N.Y. (Schuman discusses the experience of having his works,  Symphonies Nos. 3, 4, 6, and  9, and  Credendum, performed by Eugene Ormandy and the Philadelphia Orchestra. He gives his opinion of Ormandy as a musician, along with impressions of other conductors such as Serge Koussevitsky, George Szell, Arturo Toscanini, and Leonard Bernstein. Schuman also offers a comparison between Curtis Institute and the Juilliard School and comments on the status of the composer in America.) Transcript., 1990 November 26.

7 11

Schwartz, Isadore, (1915-). Violinist, Philadelphia Orchestra (1945-1985). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Schwartz, with occasional interjections by his wife, discusses how he attained his position with the Philadelphia Orchestra, how his daughter, the concert pianist, got the professional name of Susan Starr, the part he played in the orchestra strike of 1963 and its effect on his career, the strike benefit concert of 1963 conducted by Leopold Stokowski, the ways in which older orchestra memebers help to train new members, the transition bewteen Stokowski and Eugene Ormandy as conductors of the orchestra, and the orchestra under Riccardo Muti. In regard to Ormandy, Schwartz discusses Ormandy's relationship to the orchestra members, his methods of control and discipline, his skill as a violinist, his skill as an accompanist, and his part in achieving the "Philadelphia Sound" (especially in regard to the string section). Schwartz also offers opinions and anecdotes concerning other artists, including Alexander Hilsberg, Victor De Sabata, Van Cliburn, William Kincaid, Marcel Tabuteau, and Wolfgang Sawallisch.) Transcript. Edited version and interviewee-corrected copy.  [Restricted], 1991 July 2.

7 12-13

Scott, Roger M. Principal bassist, Philadelphia Orchestra (1947-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Scott discusses matters related to his experiences performing in the Philadelphia Orchestra under Eugene Ormandy, including bowing practices in the string section, the "Philadelphia Sound," Ormandy's conducting technique, and other anecdotes about Ormandy.) Transcript. Edited version and interviewee-corrected copy., 1991 March 3.

7 14-15

Segall, Irving. Violist with the Philadelphia Orchestra (1963-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Segall discusses aspects of his experience with Philadelphia Orchestra, including his own audition, the "Philadelphia Sound" and Eugene Ormandy's responsibility for it, Ormandy's conducting style, rehearsal technique, skill as an accompanist, and his last concert at Carnegie Hall, contemporary music programming, and the transition to Riccardo Muti as Music Director.) Transcript., 1991 October 22.

7 16

Siegel, Sophie. Friend of Mr. and Mrs. Eugene Ormandy; wife of Adrian Siegel, violoncellist (1922-1959) and official photographer of the Philadelphia Orchestra. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Siegel discusses matters related to Eugene Ormandy's personal life, including his marriages, family, and children. She describes the transitions from Leopold Stokowski to Eugene Ormandy, and Ormandy to Ricardo Muti as music directors of the Philadelphia Orchestra, as well as other historical background of the orchestra. Anecdotes and opinions are offered concerning several artists, including Stokowski, Ormandy, Arturo Toscanini, Artur Rubinstein, Marian Anderson, Virgil Thomson, Howard Hanson, Van Cliburn, Seiji Ozawa, and Claude Monteux.) Transcript., 1990 February 26.

7 17

Skrowaczewski, Stanislaw, (1923-). Conductor; Music Director of Minneapolis Symphony (1960-1979). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Skrowaczewski describes his working relationship and history of performances as guest conductor with the Philadelphia Orchestra, including the the South America tour of 1966. He also discusses several issues related to conducting, and in this context offers his opinions concerning Eugene Ormandy.) Transcript. Edited version and interviewee-corrected copy., 1991 October 18.

8 1-2

Smith, William, (1924-). Keyboard player and Assistant conductor, Philadelphia Orchestra (1952-1992). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Smith discusses how he attained his position with the Philadelphia Orchestra, his job duties as assistant conductor, how Eugene Ormandy held auditions and the qualities he looked for in players, Ormandy's interest in and support of young artists, how Ormandy used his listening skills to achieve the sound he wanted, and how Ormandy compared to Leopold Stokowski as a conductor. He also discusses different characteristics of Ormandy, including his skill as an accompanist to vocalists, his use of a baton, his conducting downbeat, his methods of maintaining discipline among the orchestra players, his early years, and his work ethic. Smith offers opinions and anecdotes concerning others, including Danny Kaye, Pierre Monteux, Leopold Stokowski, Alexander Hilsberg, Igor Stravinsky, Arturo Toscanini, Arthur Judson, Stephanie Goldner Ormandy, Anshel Brusilow and Van Cliburn.) Transcript. Edited version and interviewee-corrected copy., 1991 July 18.

8 3-4

Smith, William, (1924-). Keyboard player and Assistant conductor, Philadelphia Orchestra (1952-1992). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Smith discusses various personal and professional traits of Eugene Ormandy, including his skill as an accompanist, his preparation of scores for performance (including the addition of parts), his preference in bowing practices, his memory skills, physical characteristics, his skills as a conductor, his work ethic, personality and religious beliefs, his work as a recording artist, his choice of repertoire, and his concept of the "Philadelphia Sound." In this context Smith also offers opinions and anecdotes concerning other artists, including James Galway, Rudolf and Peter Serkin, Van Cliburn, David Oistrakh, Nathan Milstein, Artur Rubinstein, Jascha Heifetz, Arturo Toscanini, Pierre Monteux, Leopold Stokowski, Leonard Bernstein, Seiji Ozawa, Dmitri Shostakovich, Igor Stravinsky, and Riccardo Muti.) Transcript., 1991 July 29.

8 5

Sokoloff, Boris, (1912-). Philadelphia Orchestra manager (1964-1978). Oral history conducted by Sharon Eisenhour, recorded in Berwyn, Pennsylvania. (Sokoloff discusses his experiences as manager of the Philadelphia Orchestra, including his duties, his relations with Eugene Ormandy, the orchestra strike of 1966, the problems concerned with programming contemporary music, Ormandy's final years and the transition to Riccardo Muti as music director. In this context Sokoloff also offers opinions and anecdotes about other artists, including Beverly Sills, Jascha Heifetz, and Lorin Maazel.) Transcript. Edited version and interviewee-corrected copy., 1990 March 19.

8 6-7

Sokoloff, Boris, (1912-). Philadelphia Orchestra Manager (1964-1978). Oral history conducted by Sharon Eisenhour, recorded in Berwyn, Pennsylvania. (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.) Transcript., 1991 July 10.

8 8

Sokoloff, Vladimir. Pianist; keyboard player for the Philadelphia Orchestra (1938-1950); faculty member at Curtis Institute of Music. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Sokoloff discusses the family background and personal idiosyncrasies of Eugene Ormandy and Ormandy's relations with Philadelphia Orchestra members and soloists, including John de Lancie, Anna Moffo, Richard Lewis, Jascha Heifetz, Oscar Shumsky, Peter Serkin, William Kapell, and Leonard Rose.) Transcript. Edited version and interviewee-corrected copy., 1990 May 18.

8 9-10

Starr, Susan, (1942-). Concert pianist. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Starr describes her experiences as soloist with the Philadelphia Orchestra, her working relationship with Eugene Ormandy, his sense of humor, his relations with the orchestra members, his treatment of women, his skill as an accompanist, his conducting and rehearsal technique, and his later years. Starr also offers anecdotes and opinions about other artists, including Isadore Schwartz (her father, and member of the Philadelphia Orchestra violin section), Alexander Hilsberg, Rudolf Serkin, Peter Serkin, Mayumi Fujikawa, and Vladimir Ashkenazy.) Transcript., 1991 July 5.

8 11

Stein, Joseph H. and  Joyce. Personal friends of Eugene Ormandy. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (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.) Transcript. Edited version and interviewee-corrected copy., 1992 August 2.

8 12-13

Steiner, Diana, (1932-). Concert violinist, educator, and graduate of Curtis Institute of Music. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Steiner recounts her early experiences as a child soloist with the Philadelphia Orchestra and as a student at Curtis Institute. In this context she offers anecdotes and opinions about several artists, including Eugene Ormandy, Marcel Tabuteau, Bela Babay, Veda Reynolds, Jascha Heifetz, Nathan Milstein, Alexander Hilsberg, Mischa Elman, and Jacob Krachmalnik, and also addresses the issue of women as members of American orchestras.) Transcript. Edited version and interviewee-corrected copy., 1990 June 1.

8 14-15

Stern, Isaac, (1920-2001). Concert violinist. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Stern describes his experiences as soloist in concert and on recordings with Eugene Ormandy and the Philadelphia Orchestra. In this context, Stern discusses Ormandy's qualities and reputation as a conductor, his conducting technique, his ability as an accompanist, and the "Philadelphia Sound." Stern offers anecdotes and opinions about other artists, including Fritz Kreisler, David Oistrakh, George Rochberg, and Krzystof Penderecki.) Transcript. Edited version and interviewee-corrected copy., 1992 January 27.

8 16-17

Torchinsky, Abe. Tubist with Philadelphia Orchestra (1949-1972). Oral history conducted by Sharon Eisenhour, recorded in Plymouth Meeting, Pennsylvania. (Torchinsky recounts his experiences as a member of the Philadelphia Orchestra under Eugene Ormandy, including how Ormandy hired him from the NBC Symphony, his use of different size tubas, Ormandy's use of the tuba as a doubling instrument, Ormandy's treatment of orchestra members, histories of the Philadelphia Brass Ensemble, the Torchy Jones Quintet, and the respective recordings of both groups (and Ormandy's reactions), regulations that restricted orchestra members from performing outside the orchestra, and why he left the orchestra for a teaching position. Torchinsky also discusses the legacy of Ormandy as a conductor, and compares his conducting skills to those of Arturo Toscanini and Riccardo Muti. Opinions and comments are also offered concerning other people, including Gretel Ormandy, Arthur Jacobs, Henry Smith, Mason Jones, Gilbert Johnson, James de Priest, and Howard Scott.) Transcript. Edited version and interviewee-corrected copy., 1992 May 4.

9 1-2

Valente, Benita. Soprano. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (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.) Transcript., 1993 June 22.

9 3

Viner, Ed. Physician for Eugene Ormandy and the Philadelphia Orchestra (1968-). Oral history conducted by Sharon Eisenhour, recorded in Villanova, Pennsylvania. (Viner describes his duties and experiences as physician to Eugene Ormandy and the Philadelphia Orchestra, including incidents that took place during the orchestra tour to China.) Transcript., 1992 January 9.

9 4

Warfield, William. Concert vocalist, bass-baritone. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (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.) Transcript. Edited version and interviewee-corrected copy., 1992 December 5.

9 5-6

Webster, Daniel. Music critic for the Philadelphia Inquirer (1963-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Webster describes his first meeting with Eugene Ormandy and gives his opinions concerning Ormandy as a conductor, the "Philadelphia Sound", the acoustics of the Academy of Music, and Ormandy's final years with the orchestra. In this context Webster also discusses the orchestra players' strike of 1966, the changes brought about by the hiring of Riccardo Muti as Music Director of the Philadelphia Orchestra, the controversy between Ormandy and composer, George Rochberg, and Ormandy's programming and view of contemporary music.) Transcript. Edited version and interviewee-corrected copy., 1991 December 11.

9 7-8

Wilcox, Max, (1928-). Recording engineer and producer for RCA recordings of Eugene Ormandy conducting the Philadelphia Orchestra, 1970-1974. Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Wilcox relates details of his experiences in the recordings studio with Ormandy and the Philadelphia Orchestra, and with Artur Rubinstein.) Transcript. Edited version and interviewee-corrected copy., 1991 January 9.

9 9-10

Wilford, Ronald A. President of Columbia Artists Management, Inc.; manager of Eugene Ormandy (1962-1985). Oral history conducted by Sharon Eisenhour, recorded in New York, New York. (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.) Transcript. Edited version and interviewee-corrected copy., 1993 January 11.

9 11-12

Woodhams, Richard. Principal oboist with Philadelphia Orchestra (1977-). Oral history conducted by Sharon Eisenhour, recorded in Philadelphia, Pennsylvania. (Woodhams describes his musical background as a student of John De Lancie at Curtis Institute and as a member of the St. Louis Symphony, his audition for the Philadelphia Orchestra, the tuning pitch of the Philadelphia Orchestra, and the experience of performing under Eugene Ormandy. He also discusses aspects of Ormandy's career, such as his skill as an accompanist, his practicality, his part in the creation of the "Philadelphia Sound" (including a discussion of his orchestral doublings, the acoustics of the Academy of Music and the effects of these things on Woodhams' playing), his treatment of orchestra members, his conducting technique (especially his downbeat), his rehearsal technique, his last years as a conductor, and his last performance at Carnegie Hall.) Transcript. Edited version and interviewee-corrected copy., 1992 July 15.

9 13-14

Collection Inventory

I.  Correspondence.

Series Description

Letters to and from Ormandy and other representatives of the Philadelphia Orchestra.

A.  General Correspondence.

Description & Arrangement

Arranged alphabetically by correspondent, then chronologically within each folder. Comprises correspondence between Ormandy (or a representative of the Orchestra Association's management) and individuals (including Orchestra members) or organizations. While this series does occasionally contain communications between Ormandy and Orchestra management, most of such correspondence is filed separately in the Interoffice Correspondence Series. Also included here are approximately 30 folders of correspondence to or from Riccardo Muti who conducted the Philadelphia Orchestra during 1980-1981.

Box Folder

Abbado-American Society.

1 1-59

American Symphony-Baker.

2 60-120

Balant-Booth.

3 121-190

Borge-Casals.

4 191-252

Casella-Cooke.

5 253-316

Cooley-Diether.

6 317-375

Di Giuseppe-Franklin and Marshall.

7 376-458

Franklin Mint-Golden Slipper.

8 459-523

Goldovsky-Hershey.

9 524-611

Hess-Jaggers.

10 612-688

James-Koussevitsky.

11 689-767

Koutzen-Linck.

12 768-838

Lincoln-Mayer.

13 839-921

Mayes-Mutter.

14 922-1000

N.W. Ayer-Opera.

15 1001-1068

Oratorio-Philadelphia Musical Society.

16 1069-1141

Philadelphia Orchestra-Rathbone.

17 1142-1215

RCA-Ross.

18 1216-1274

Rostropovich-Schneiderhan.

19 1275-1331

Schnitzer-Singing.

20 1332-1406

Sixteen-Stringart.

21 1407-1477

Suderburg-University of Maryland.

22 1478-1553

University of Michigan-Westinghouse.

23 1554-1619

Westinghouse-Zupnick.

24 1620-1690

Unattributed/Unidentified, 1955-1958, undated.

24 1691

B.  Interoffice Correspondence.

Description & Arrangement

Arranged chronologically. Letters, memos, and notes between Ormandy and the Orchestra Association's staff--especially his secretary and Orchestra managers--as well as important board members. Includes memos exchanged between staff members. At the end o f this series may be found a folder containing miscellaneous administrative paperwork having to do, for the most part, with Orchestra members' terms of employment. Also 1 folder containing Philadelphia Orchestra or Ormandy letterhead.

Box Folder

1947-1949.

25 1692

1950-1959.

25 1693

1960-1961.

25 1694

1962-1963.

25 1695

1964-1965.

25 1696

1966-1967.

25 1697

1968-1969.

25 1698

1970-1971.

25 1699

1972.

25 1700

1973.

25 1701

1974.

25 1702

1975.

25 1703

1976 January - June.

25 1704

1976 August - December.

25 1705

1977.

25 1706

1978.

25 1707

1979.

25 1708

1980.

25 1709

1981.

25 1710

1982.

25 1711

1983.

25 1712

Miscellaneous Administrative Papers, circa 1949-1979, undated.

25 1713

Letterhead (blank).

25 1714

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II.  Programming.

Series Description

Comprises administrative paperwork generated by Ormandy or his staff that reflect the plans and proposals for each season's regular programs, tour itineraries, recording and broadcast schedules. The series also shows Ormandy's schedule in working with the Curtis Orchestra and in running Conductors' Symposia.

A.  Contracts.

Description

Contracts for Philadelphia Orchestra appearances.

Box Folder

1945-1984.

25 1715

B.  Orchestra Seasons.

Description & Arrangement

Arranged chronologically. Contains program proposals as well as confirmed lists for season offerings. Frequently suggested programs include durations.

Box Folder

1952-1953.

26 1716

1953-1954.

26 1717

1967-1968.

26 1718

1975-1976.

26 1719

1976-1977.

26 1720

1977-1978.

26 1721

1978-1979.

26 1722

1979-1980.

26 1723

1980-1981.

26 1724

1980-1982.

26 1725

1982-1983.

26 1726

1983-1984.

26 1727

B.  Tours/Guest Engagements.

Description & Arrangement

Arranged chronologically. Repertoire, programs and itineraries for post-season tours, as well as for Ormandy's engagements as guest conductor.

Box Folder

1952.

26 1728

1961.

26 1729

1966.

26 1730

1975.

26 1731

1978.

26 1732

1979.

26 1733

1981.

26 1734

1982.

26 1735

1983.

26 1736

D.  Recordings.

Description & Arrangement

Arranged chronologically. Recording dates and program proposals. There is also, at the end of this series, a folder of album cover designs and, in another folder, an undated list of Phillips recordings by Eugene Ormandy.

Box Folder

1952.

26 1737

1961.

26 1738

1976 September-1977 May .

26 1739

1977 September-1978 May.

26 1740

1978 September-1979 May.

26 1741

1980 September-1981 May.

26 1742

1981 September-1982 May.

26 1743

undated.

26 1744

Album cover mock-ups, undated.

26 1745

E.  Broadcast Media.

Description & Arrangement

Arranged chronologically, with undated materials placed at the end of the series. Lists of proposed musical selections (with durations) to be broadcast on television or radio. Entire program scripts included.

Box Folder

1950.

26 1746

1953.

26 1747

1954.

26 1748

1955.

26 1749

1956.

26 1750

1957.

26 1751

1958.

26 1752

1959.

26 1753

1960.

26 1754

1964.

26 1755

1965.

26 1756

1969.

26 1757

1976.

26 1758

1977.

26 1759

1978.

26 1760

1979.

26 1761

undated.

26 1762-1763

E.  Curtis Season.

Description & Arrangement

Arranged chronologically. Rehearsal schedules of Ormandy and guest conductors with the Curtis Institute of Music orchestra; conducting dates of Ormandy and guest conductors; program lists and student concert schedules.

Box Folder

1968-1969.

26 1764

1969-1970.

26 1765

1970-1971.

26 1766

1971-1972.

26 1767

1972-1973.

26 1768

1973-1974.

26 1769

1974-1975.

26 1770

1977-1978.

26 1771

1981-1982.

26 1772

F.  Conductors' Symposia.

Description & Arrangement

Arranged chronologically. Schedules for symposium activities (rehearsals, round table discussions, etc.), as well as lists of participants.

Box Folder

1952.

26 1773

1953.

26 1774

1954-1955.

26 1775

Other Orchestras.

Description

Includes the Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, Minnesota Orchestra and the New York Philharmonic.

Box Folder

1948-1964.

26 1776

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III.  Notes.

Series Description

Divided into different kinds of performance-related records and notes (durations, rehearsal notes), notes taken by Ormandy during the Conductors' Symposia, and his general notes to himself in the daily administration of the Orchestra.

A.  Durations/Recordings Notes.

Description & Arrangement

Alphabetical ordering of original notebook is maintained. Ormandy's record of performance durations, kept in a typed, alphabetical list of composers' and their works.

Box Folder

Composers, A-Z.

27

Composers, A-Z.

28 1777-1800

B.  Rehearsal Notes.

Description & Arrangement

Arranged alphabetically by composer's name. Metronomic markings and general rehearsal notes for specific pieces and their particular performances.

Box Folder

Bach's Johannespassion.

29 1801

Bach's Mass in B minor.

29 1802

Bach's Matthäuspassion.

29 1803

Beethoven's Missa Solemnis.

29 1804

Beethoven's Symphony no. 7.

29 1804

Haydn's Creation.

29 1805

Mendelssohn's Elijah.

29 1806

Mendelssohn's Erste Walpurgisnacht.

29 1807

Verdi's Requiem.

29 1808

C.  Conductors' Symposium Notes.

Description & Arrangement

Arranged chronologically by year. Notes on the conducting performances of specific symposium participants.

Box Folder

1952.

29 1809

1953.

29 1810

1955.

29 1811

D.  Miscellaneous Notes.

Description & Arrangement

Arranged chronologically by year, where a year could be determined. All sorts of handwritten notes, concerning performances, programs, durations, soloists, travel, etc. Notes may occasionally be found in correspondence files when to separate them from the letters to which they were originally attached would make them less meaningful.

Box Folder

circa 1946-1956.

29 1812

circa 1958-1969.

29 1813

circa 1963-1976.

29 1814

circa 1977-1979.

29 1815

circa 1980-1981.

29 1816

circa 1982-1984.

29 1817

undated.

29 1818

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IV.  Philadelphia Orchestra Season Calendars.

Series Description

Includes various kinds of planning calendars reflecting the Orchestra and Ormandy's schedules or programs each season.

A.  Program/Guest Engagement Books.

Description & Arrangement

Arranged chronologically by season. Small looseleaf notebooks containing typed lists of specific programs or guest engagements, in order of date, for the entire orchestra season.

Box Folder

1962-1963.

30 1819

1964-1965.

30 1820

1967-1968.

30 1821

1969-1970.

30 1822

1972-1973.

30 1823

1973-1974.

30 1824

1975-1976.

30 1825

1976-1977.

30 1826

1977-1978.

30 1827

1978-1979.

30 1828

1979-1980.

30 1829

1980-1981.

30 1830

1981-1982.

30 1831

1982-1983.

30 1832

1983-1984.

30 1833

B.  Datebooks.

Description & Arrangement

Eugene Ormandy and Gretel Ormandy 1 box. Arranged chronologically by season. Month-at-a-glance date books showing schedule of concerts and rehearsal times. Ormandy's daily activities written in by hand.

1.  Eugene Ormandy Personal Datebooks.

Box Folder

1948-1950.

31 1834

1950-1952.

31 1835

1952-1954.

31 1836

1954-1956.

31 1837

1956-1958.

31 1838

1958-1959.

31 1839

1961-1962.

31 1840

1962-1964.

31 1841

1964-1966.

31 1842

1966-1968.

31 1843

1968-1970.

31 1844

1970-1972.

31 1845

1972-1974.

31 1846

1974-1976.

31 1847

1976-1978.

31 1848

1978-1980.

31 1849

1980-1982.

31 1850

1982-1983.

31 1851

2.  Gretel Ormandy Personal Datebooks.

Box Folder

1952-1954.

31 1852

1954-1956.

31 1853

1957-1959.

31 1854

1959-1961.

31 1855

1961-1963.

31 1856

1963-1965.

31 1857

1965-1967.

31 1858

1967-1969.

31 1859

1969-1970.

31 1860

1970-1972.

31 1861

1973-1975.

31 1862

1980-1981.

31 1863

1981-1985.

31 1864

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V.  Programs and Itineraries.

Series Description

Comprises printed material provided at performances (by the Orchestra, Ormandy, and other performance groups) or in advance of Orchestra tours.

A.  Programs.

Description & Arrangement

Arranged chronologically by season. Printed programs or playbills for individual concerts given by the Orchestra or by Ormandy as guest conductor. Also pamphlets outlining performance series and subscription information.

Box Folder

Violin Concert Jenö B. Ormandy, soloist (Vienna), 1921 March 12.

32 1865

Minneapolis Symphony Orchestra, 1931 December 18.

32 1866

Philadelphia Orchestra, 1936-1937.

32 1867

Philadelphia Orchestra Second Transcontinental Tour, 1937.

32 1868

Philadelphia Orchestra, 1937-1938.

32 1869

Philadelphia Orchestra, 1938-1939.

32 1870

Ann Arbor May Festival

Philadelphia Orchestra, 1939.

32 1870

Philadelphia Orchestra, 1939-1940.

32 1871

Ann Arbor May Festival

Philadelphia Orchestra, 1940.

32 1872

Philadelphia Orchestra, 1940-1941.

32 1873

Philadelphia Orchestra, 1941-1942.

32 1874

Philadelphia Orchestra, 1942-1943.

32 1875

Philadelphia Orchestra, 1943-1944.

32 1876

Philadelphia Orchestra, 1944-1945.

32 1877

Philadelphia Orchestra at Worcester Music Festival (Mass.), 1922 October 12.

32 1878

Philadelphia Orchestra, 1945-1946.

32 1879

Philadelphia Orchestra, 1947-1948.

32 1880

Philadelphia Orchestra, 1949-1950.

32 1881

Metropolitan Opera, Ormandy guest conductor, 1950-1951.

32 1882

Philadelphia Orchestra, 1951-1952.

32 1882

Philadelphia Orchestra, 1952-1953.

32 1883

Vienna Philharmonic, Ormandy guest conductor, 1953 June 13.

32 1884

Philadelphia Orchestra, 1954-1955.

32 1885

International Music Festival, Luzern, Ormandy conducting, 1955 August 13.

32 1886

Philadelphia Orchestra, 1955-1956.

32 1887

Handel's Messiah

Philadelphia Orchestra, 1958-1959.

32 1888

Philadelphia Orchestra, 1959-1960.

32 1889

Philadelphia Orchestra Subscription Series, 1960-1961.

32 1890

Philadelphia Orchestra, 1961-1962.

32 1891

Handel's Messiah

Philadelphia Orchestra, 1962 december 16.

32 1892

Philadelphia Orchestra, 1963-1964.

32 1893

Festival Casals, Puerto Rico, Ormandy guest conductor, 1968.

32 1894

Philadelphia Orchestra, 1968-1969.

32 1895

Philadelphia Orchestra, 1969-1972.

32 1896

Philadelphia Orchestra, 1973-1974

Resume, 1975-1976.

33 1897

Philadelphia Orchestra - Resume, 1975-1976

Saratoga Festival, 1977.

33 1898

Philadelphia Orchestra - Resume, 1977-1978.

33 1899

Philadelphia Orchestra, 1978-1979.

33 1900

Philadelphia Orchestra, 1979-1980.

33 1901

Philadelphia Orchestra, 1981-1982.

33 1902

Philadelphia Orchestra, 1982-1983

Ann Arbor May Festival, 1983.

33 1903

Philadelphia Orchestra, 1983-1984.

33 1904

Ann Arbor May Festival

Philadelphia Orchestra, 1984.

33 1905

Memorial Concerts

Philadelphia Orchestra (1993 memorial to William Smith), 1985-1993.

33 1906

Philadelphia Orchestra, undated.

33 1907

B.  Tour Programs/Itineraries.

Description & Arrangement

Arranged chronologically by season. Printed itineraries for Orchestra's tours, as well as program booklets for specific sets of overseas concerts.

Box Folder

Britain, 1949.

33 1908

Europe, 1955.

33 1909

Spring and Transcontinental Tours, 1957.

33 1910

Europe, 1958.

33 1911

Spring and Transcontinental Tours, 1962.

33 1912

Latin America, 1966.

33 1913

Japan and U.S. West Coast, 1967.

33 1914

Europe, 1970.

33 1915

Transcontinental Tour, 1971.

33 1916

Japan, 1972.

33 1917

China, 1973.

33 1918

Transcontinental Tour, 1974.

33 1919

Spring Tour, 1975.

33 1920

Korea, 1978.

33 1921

C.  Other Programs.

Description & Arrangement

Arranged chronologically. Programs from events or performances not related to Ormandy or the Philadelphia Orchestra.

Box Folder

Carnegie Hall Arturo Toscanini, 1950 April .

34 1922

On Tour with Toscanini, circa 1950.

34 1923

Carnegie Hall Philharmonic-Symphony Society of New York, 1952 April 20.

34 1924

European Tour Boston Symphony Orchestra, 1956. .

34 1926

Greater Philadelphia Magazine, Golden Anniversary Dinner, 1959 October 14.

34 1926

the White House Pablo Casals Concert, 1961 November 13

Michigan State University,  "Congress of Strings" , 1963 July 2.

34 1927

Saratoga Performing Arts Center Groundbreaking Program, 1964 June 30.

34 1928

Rudolf Serkin, piano, 1964 November 18.

34 1929

Philadelphia String Quartet, 1966 January 16

Boston Symphony Orchestra, 1966 July 16.

34 1930

Central Philharmonic Society, Peking, 1973 September.

34 1931

Shanghai Dance School "The White-Haired Girl" , 1973 September.

34 1932

University Musical Society: 100 Years, 1979.

34 1933

Marlboro School and Music Festival, 1980.

34 1934

Kennedy Center National Symphony Orchestra, 1981 January. .

34 1935

Carnegie Hall

Chicago Symphony Orchestra, 1981 April.

34 1936

Academy of Music Pennsylvania Ballet's "The Nutcracker" , 1984 December 19. .

34 1937

Main Line Symphony Orchestra

William and Julia De Pasquale violin soloists, 1985 April 26.

34 1938

Ellen Theatre Willson Auditorium Bozeman Symphony Society, 1985 May 5.

34 1939

Carnegie Hall The Centennial Festival, 1991 April 25-May 4.

34 1940

Berliner Philharmonisches Orchester, undated.

34 1941

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VI.  Articles, Biographical Writings, Promotional Material.

Series Description

Contains writings by and about Ormandy, as well as articles and promotional material relating to the Orchestra, including press releases. At the end of the series are printed articles and promotional writings not related to the Orchestra.

A.  Articles by Ormandy.

Description & Arrangement

Arranged alphabetically by title. Articles, published and unpublished, attributed to Ormandy's authorship, as well as transcribed interviews of him.

Box Folder

"American Citizenship by Choice,"  American Citizenship - 1958, 1958.

35 1942

"A So-Highly Pressured Milieu,"  Music Business, 1964 December 12.

35 1942

"Conducting, Art of" , undated.

35 1943

"Conductors' Quandaries" , undated.

35 1944

"Eugene Ormandy, Conductor," edited by Deena Rosenberg, 1977.

35 1945

"Eugene Ormandy Talks to Teens" , circa 1964.

35 1946

"The First Time I Voted,"  Parade Magazine , 1956

 "The Iron Man of Music: Jean Sibelius,"  Gettlin's Review of Recorded Music, 1955.

35 1947

"I Was Born in 1899..." , undated.

35 1948

"Is the Symphony Orchestra in Trouble?"  Newsweek , 1974

 "The Maestro Revisited-Toscanini,"  Music Journal, 1967.

35 1949

"Ormandy Counsels with Conductors" , undated.

35 1950

" Article" , undated.

35 1951

"To Succeed" , 1956 September 19.

35 1952

"What Bringing the Philadelphia Orchestra to Russia Means to Me" , 1958 January 28.

35 1953

"What is Good Music?"  New York Herald Tribune Sunday Forum, 1960 October 30.

35 1954

"Why America Rates so High in the Arts,"  U.S. News and World Report, 1974 April 29.

35 1955

"Why Study... Music?"  Washington Star , 1960 August 21.

35 1956

transcribed Voice of America interview, 1962 September 7.

35 1957

1963 March 8.

35 1958

Bravo Magazine statement, 1969 January 20.

35 1959

from Philadelphia Inquirer, Today Magazine, 1972 August 31.

35 1960

1974 June 20.

35 1960

from Schwann Record and Tape Guide, 1974 July 5.

35 1962

B.  Articles, Biographies, etc.

Description & Arrangement

Arranged chronologically, with undated material alphabetized at the end. Biographical articles on Ormandy, including draft biographies for printed programs. Excerpts from books with chapters on Ormandy. Articles about the Orchestra and Philadelphia culture. Articles frequently are in draft form, though not always, and occasionally an entire magazine containing a relevant article has been filed here. Printed promotional material, such as articles, pamphlets commemorating overseas tours, booklet introducing the Orchestra members. Note that two promotional items have been place in Box 77 (oversize).

Box Folder

"Philadelphia Orchestra" , circa 1948.

35 1963

"Philadelphia Orchestra: 50th Anniversary" , 1950.

35 1964

from Music and Maestros, by John Sherman, 1952

 "Eugene Ormandy: The Philadelphia Story,"  Newsweek, 1953.

35 1966

"The Philadelphia Story,"  Musical Courier, 1954 March 15

 "The Philadelphians are Coming,"  Music Herald, 1955 March.

35 1967

"Salute to Music,"  Saturday Review, 1955 March 14

 "Music Ambassadors at Large,"  Etude Magazine, 1955 July.

35 1968

"Eugene Ormandy--Conductor," 1956 February 14

 "Eugene Ormandy,"  International Musician, 1956 September.

35 1969

"Philadelphia Orchestra," 1956

 "From Bow to Baton,"  World of Strings Newsletter, 1957.

35 1970

Annual Report of the Philadelphia Orchestra Association, 1957-1958.

35 1971

"European Tour - 1958" , 1958 March 31. .

35 1972

"Eugene Ormandy Brings Philadelphia Orchestra to London,"  American Music, 1958 May .

35 1973

"Ambassadors in B-Flat,"  Pennsylvania Traveller, 1974.

35 1974

"The World's Greatest Orchestra,"  Pennsylvania Traveler, 1959 September

 "The Philadelphians and their Ormandy,"  Review of Recorded Music, 1961 December.

35 1975

Annual Report of the Philadelphia Orchestra Association, 1960-1961

 "Philadelphia Story - Eugene Ormandy,"  Music World, 1962 April

 "The Rare Combination That is Great Music," Cornell University Newsletter, 1962 December.

35 1976

"Chamber Music's Catch-22," 1965

Paul Hume interview of President Nixon, 1970 January 26.

35 1977

"Eugene Ormandy Talks to Alan Blyth,"  The Gramophone, 1970 April

 "Magical Orchestra Tour" by Bill Lynch, 1970.

35 1978

Program bio of Ormandy, 1972-1973.

35 1979

WFLN Philadelphia Guide, twenty-fifth anniversary issue, 1973 May.

35 1980

"Philadelphia Orchestra: World Wide Ambassadors," by Louis Hood,  Destination Philadelphia, 1973 May/June

 "China Diary," by Louis Hood, 1973.

35 1981

"Chinese Odyssey," by Louis Hood, 1973.

35 1982

"Philadelphia Orchestra Welcomed at Peking Banquet,"  Hsinhua News Bulletin, 1973 September 14.

35 1983

"U.S. Philadelphia Orchestra Performs in Peking,"  Hsinhua News Bulletin, 1973 September 18.

35 1984

"Friendly, Warm, Brilliant,"  Peking Light, 1973 September 19.

35 1985

"Friendly Sentiments, Brilliant Performance,"  Peking People's Daily, 1973 September 19.

35 1986

"A Marketing Proposal for the Philadelphia Orchestra," by the Sigma Group, 1973 September.

35 1987

"The Philadelphia Orchestra on a Magical Mystery Tour," by Louis Hood,  Symphony News, 1973.

35 1988

"The Philadelphia Orchestra Tours the People's Republic of China," by Louis Hood,  Symphony News, circa 1973.

35 1989

transcript of television report on China trip, 1973.

35 1990

untitled article by Louis Hood on China trip, 1973.

35 1991

"Chinese Opus," by Louis Hood,  WFLN Philadelphia Guide, 1973 December.

35 1992

"The Philadelphia Orchestra Performs in China,"  China Reconstructs, 1973 December.

35 1993

Program bio of Ormandy, 1973-1974.

35 1994

"It's a Pleasure to Meet You" , 1974-1975.

36 1995

Program bio of Ormandy, 1974-1975.

36 1996

"Brotherly Love and the Land of Mao," by Sue E. Dunn, 1976 September.

36 1997

"Let There Be Music,"  The Franklin Mint Almanac, 1977 October.

36 1998

The Sunday Bulletin - TV Time, 1978 October

Program bio of Ormandy, 1978-1979. .

36 1999

Philadelphia News and Notes, 1979.

36 2000

Program bio of Ormandy, circa 1979

 "Rostropovich as Music Director,"  Ovation Magazine, circa 1980.

36 2001

"They'd Rather Be in Philadelphia,"  National Geographic, 1983 March.

36 2002

"The Philadelphia Orchestra Story," by Nancy Shear, circa 1983.

36 2003

"Eugene Ormandy," by Herbert Kupferberg,  Ovation Magazine, 1984 February.

36 2004

"Next Question...," by Dave Conan, circa 1987

 "Carnegie Hall Takes a Bow,"  Town and Country, 1990 July.

36 2005

"Eugene Ormandy: Subjective Reflections," by Nadia Koutzen, circa 1991

 "Art, Here and There" , undated.

36 2006

Coleman, Emily (interview with Eugene Ormandy), undated

 "Eugene Ormandy: Mr. Day-before-Yesterday,"  Music Recorder, undated.

36 2007

"Eugene Ormandy," Philips Recording Listing, undated

 "Eugene Ormandy: In Memoriam" by Roger Dettmer,  Fanfare, undated.

36 2008

"History of the Orchestra" , undated.

36 2009

"The Magnificent Sound of the Philadelphia Orchestra," Columbia Records Listing, undated

 "Mr. Ormandy Plays Musical Chairs" , undated.

36 2010

"Why Do You Always Insist on Playing..." , undated.

36 2011

C.  Press Releases.

Description & Arrangement

Orchestra press books and press releases, as well as press releases from other institutions concerning Ormandy, which are arranged chronologically.

Box Folder

Philadelphia Orchestra Press Book, circa 1939.

36 2012

Philadelphia Orchestra Press Book, circa 1944

Publicity for European Tour, 1955.

36 2013

Excerpts from the Hebrew Press, 1959

Vienna State Opera from Associated Press, 1964 July 20.

36 2014

Philadelphia Orchestra, "Mahler 10th Symphony Acclaimed by Audiences and Critics in Four Cities," 1965 November 18

Pittsburgh Symphony Orchestra, 1966 January 20

Philadelphia Orchestra, 1966 May 2-3. .

36 2015

Saratoga Performing Arts Center, 1966 August 4-5

Peabody Institute of Baltimore, 1968 March 1.

36 2016

Rensselaer Polytechnic Institute, 1968 May and June

Villanova University, 1968.

36 2017

Philadelphia Orchestra press conference "How Was China?" , 1973 September.

36 2018

Greater Philadelphia Chamber of Commerce, 1974 January 31.

36 2019

Union League of Philadelphia, 1974 October 23.

36 2020

Philadelphia Orchestra, "Eugene Ormandy Receives Honorary Doctorate at Moravian College Commencement" , 1976 June 1.

36 2021

Philadelphia Orchestra?, "Eugene Ormandy to Relinquish Music Directorship..." , 1979 March 1.

36 2022

Scheie Eye Institute, "Ormandy to Conduct Philadelphia Orchestra for Scheie Eye Institute" , 1980 March 10.

36 2023

D.  Other Print/Promotional Material.

Description & Arrangement

Arranged alphabetically, includes other biographical or promotional material not pertaining to the Orchestra or Ormandy.

Box Folder

B. Schott's Söhne, Mainz, 1954.

36 2024

Bemiss, Fitzgerald, "China Trip" , circa 1975.

36 2025

The Bohemians, New York Musicians Club, List of Members, 1985.

36 2026

Curtis Institute, 1969-1970.

36 2027

"Melbourne.. City of Beauty" , circa 1944.

36 2028

Mahanna, John G. W., "The Seated Lincoln" .

36 2029

National Press Club.

36 2030

Orff, Carl, Oedipus der Tyrann , circa 1959.

36 2031

Piston, Walter, undated.

36 2032

Sessions, Roger, circa 1965.

36 2033

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VII.  Clippings.

Series Description

Newspaper and magazine clippings spanning the length of Ormandy's career, which are arranged chronologically. A number of the clippings are obituaries from all over the country noting Ormandy's death; there are also a few Stokowski obituaries. Note that one scrapbook with clippings dated from 1931-1932 has been placed in Box 71 (oversize); while three loose scrapbook pages and one large newsprint magazine cover are located in Box 77 (oversize).

Box Folder

1932-1938.

37 2034

1941-1954.

37 2035

Amsterdam newspapers, 1955 January.

37 2036

1955 March-December.

37 2037

European tour, European newspapers (Dutch, French, Spanish, and Italian), 1955.

37 2038

European tour, European newspapers (German, Swedish, and Finnish), 1935-1936.

37 2039

1956.

37 2040

1957 January-March.

37 2041

1957 April-December.

37 2042

1958.

37 2043

European tour, European newspapers (Norwegian, Polish and German), 1958.

37 2044

1959 January-June.

38 2045

1959 September-December.

38 2046

1960.

38 2047

1961.

38 2048

1962.

38 2049

1963.

38 2050

1964 January-April.

38 2051

1964 May-August.

38 2052

Transcontinental Tour, 1964 September.

38 2016

1964 October-December.

38 2054

1965 January-August.

39 2055

1965 September-December.

39 2056

1966 January-May.

39 2057

Latin American Tour (Spanish and Portugese), 1966 May.

39 2058

1966 June-August.

39 2059

1966 September-December.

39 2060

1967.

39 2061

Japan and West Coast Tour, 1967 May-June.

39 2062

1968 January-March.

39 2063

1968 April-October.

39 2064

1969.

39 2065

1970.

39 2066

1971.

40 2067

1972.

40 2068

1973-1974.

40 2069

China Tour, 1973.

40 2070

China Tour, 1973.

40 2071

China Tour, 1973 November 4.

40 2072

Stokowski obituaries, 1977 September.

40 2073

1978-1979.

40 2074

Kennedy Center Honors, 1982.

40 2075

1982-1985.

40 2076

Ormandy obituaries, 1985.

40 2077-2082

Memorials to Ormandy, 1985-1989.

40 2083

1985-1990.

40 2084

undated.

40 2085

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VIII.  Miscellaneous Pictorial.

Series Description

Includes one Orchestra engagement calendar with photographs taken during the 1978 Japan tour, as well as various sketches and postcards of Ormandy. Note that there is one framed portrait of Rossini placed in Box 44 with other framed materials.

Box Folder

Engagement Calendar, with photographs from tour to Japan, 1978-1979.

40 2086
Pictures (including sketches and postcards) of Ormandy by C. Pearson, Paul Kaufman, and others.
Contents

* Cartoon of the Philadelphia Orchestra by Alfred Bendiner

* Autographed sketch of Richard Crooks

* Drawing of Charles Ives

40 2087

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IX.  Awards and Honors.

Series Description

Materials relating to awards, tributes, and honors received by Ormandy over his career. This series is divided into paper certificates (and their bindings), hanging plaques and framed items, and various medals and free-standing awards.

A.  Certificates, Diplomas, etc.

Description & Arrangement

Arranged chronologically, unframed diplomas, citations, and certificates of appreciation awarded by schools or civic and cultural organizations. Includes programs for ceremonies. These documents have been removed from their original binders; the binders may be found filed in chronological order at the end of the certificates. At the end of the series are three booklets, two filled with signatures, given in tribute to Ormandy. Oversize artifacts are stored in Box 77.

Box Folder

Hamline University, Doctor of Music, 1934 June 12.

41 2088

Greater Texas and Pan American Exposition, 1937 June 12.

41 2089

University of Pennsylvania, Doctor of Music, 1937.

41 2090

National Music Council Award of Honor, 1947.

41 2091

Danish National Orchestra, 1952 September 19.

41 2092

Danish Knight of the Order of Dannebrog, First Class; Knight of the Order of the Elephant, 1952 November 13.

41 2093

University of Michigan, Doctor of Music, 1952.

41 2094

Lehigh University, Honorary Doctor of Humane Letters, 1953 October 11

American Society of Composers, Authors, and Publishers Membership Certificate, 1954 March 23.

41 2095

Academy of Musical Recorded Arts and Sciences, Honorary Membership, 1954.

41 2096

Finnish Order of the White Rose; Order of the Lion, 1955.

41 2097

Clark University, Doctor of Letters, 1956 October 20.

41 2098

Wisdom Society's Wisdom Award of Honor, 1957 November 6.

41 2099

Miami University, Doctor of Humanities, 1959 February 18.

41 2100

Pi Kappa Lambda, membership certificate, 1959 May 2.

41 2101

Greater Philadelphia Magazine's 50 Philadelphians award, 1959 October 14.

41 2102

La Salle College, Centennial Medal, 1963 April 5.

41 2103

Long Island University, Doctor of Humane Letters, 1965 April 21.

41 2104

Finnish Knight Order of the White Rose; Commander Order of the Lion, 1965.

41 2105

Austrian Honor Cross for Arts and Sciences, First Class, 1966 September 26.

41 2106

Lafayette College, Doctor of Letters, 1966 October 29.

41 2107

Vienna Philharmonic, Gold Nicolai Medal, 1967 March 28.

41 2108

Philadelphia City Council, Resolution No. 321, 1967 June 15.

41 2109

Villanova University, Doctor of Music, 1968 May 13.

41 2110

Peabody Conservatory of Music, 1968 June 2.

41 2111

Rensselaer Polytechnic Institute, Doctor of Music, 1968 June 7.

41 2112

Pennsylvania Awards for Excellence, 1968 November 21.

41 2113

Titulo de Reconocimiento la Organización del Festival Casals (Puerto Rico), 1968

University of Illinois, Doctor of Musical Arts, 1969 May 2.

41 2114

Little Rock Arkansas Honorary Citizenship, Arkansas Traveler's Certificate, Count of Pulaski, 1969 June 2.

41 2115

Presidential Medal of Freedom (United States), 1970 January 24.

41 2116

Philadelphia Award, 1970 March 18.

41 2117

La Salle College, Doctor of Fine Arts, 1970.

41 2118

Grammy Award Nominations, 1971.

41 2119

Order of Merit of the Italian Republic, 1972 February 4.

41 2120

Dickinson College Arts Award, 1972 November 19.

41 2121

Philadelphia City Council Resolution, 1973 September 26.

41 2122

National Press Club, 1974 January 15.

41 2123

Thomas Jefferson College, Doctor of Humane Letters, 1974 June 7.

41 2124

Union League of Philadelphia, Gold Medal Citation, 1974 October 23.

41 2125

Moravian College, Doctor of Humanities, 1976 May 30.

41 2126

Knight Commander of the Most Excellent Order of the British Empire, 1976 July 1.

41 2127

Austrian Children's Bicentennial Art Exhibit Honorary Committee, Certificate, 1976 August

Audio Engineering Society, Honorary Membership, 1976 October 31

Columbia University, Ditson Conductor's Award, 1977 May 13.

41 2128

Hahnemann Medical College, Doctor of Humane Letters, 1979 June 6.

41 2129

Scheie Eye Institute Concert Committee, Certificate, 1980 April 30

Béla Bartók Commemorative Committee, Diploma, 1981.

41 2130

Certificate Bindings (empty).

42 2131-2140

Certificate Bindings (empty).

43 2141-2143

Committee for Concerts for Youth, 1940 February 12.

43 2144

Children's Hospital of Philadelphia Honors Eugene Ormandy, 1978 September 24.

43 2145

Brandeis Book Fund, Learned Journal Patron, undated.

43 2146

B.  Award Plaques, Framed Certificates (and framed miscellany).

Description & Arrangement

Includes framed certificates and diplomas, as well as wall plaques. At end of series are two 1983 calendars commemorating the 1982 Kennedy Center Honors. Large plaques may be found in Box 78 (oversize). Note al so that there is one framed Rossini print also stored with these framed materials in Box 44.

Box Folder

Citation from the Curtis Symphony Orchestra, 1981 October 15.

43 2147

Daughters of the American Revolution, 1972 February 18.

44 2148

Distinguished Pennsylvanian Citation, 1977 October 24.

44 2149

National Academy of Recording Arts and Sciences, New York Chapter's Governor's Award, 1979 October 24.

44 2150

University of Michigan, President's Club, 1980.

44 2151

Rossini portrait, undated.

44 2152

National Academy of Recording Arts and Sciences, Award Nominations, 1958-1979.

45 2153-2158

Philadelphia Art Festival, 1955.

45 2159

Beethoven Society, 1977 March 1.

46 2160

City of New York, Certificate of Appreciation, 1980 May 6.

46 2161

In Thanks for the 1979 Benefit Concert for Delaware County Memorial Hospital, 1980 November 1.

46 2162

Kennedy Center Honors calendars, 1982.

46 2163-2164

Albert Einstein Medical Center Award, 1965.

47 2165

Key to the City of Saratoga Springs, N.Y., 1978.

47 2166

C.  Medals, Desk Plaques, Award Statues.

Description

Includes coins, medals, ribbons, and pins given to mark special honors conferred on Ormandy or to mark his membership in certain societies. Also standing statues and desk plaques, as well as a tie and scarf given by the National Press Club, an autographed Phillies baseball, and doctoral hoods.

Box

Bruckner Society of America: Medal of Honor, 1936.

48

Bruckner Society of America: Gustav Mahler Medal of Honor, 1938.

48

Knight of the Order of Dannebrog, 1st Class, Denmark, Medal and Pin, 1952.

48

Order of the White Rose, Finland, 1955 or 1965.

48

Hommage de Paris à l'Orchestre Philharmonique de Philadelphie, 1955.

48

Centenary Sibelius Medal, 1965.

48

Philadelphia Award (in wooden medal box), 1969.

48

Sanford Fellowship Medal, Yale School of Music, 1972.

48

Centenary Kodály Medal, 1982.

48

French Legion of Honor Medal and Pin, 1952 or 1958.

49

Pius 17th Medal, 1956.

49

Honor Cross for Arts and Sciences, Austria, 1966.

49

La Salle College Centennial Award, 1963.

49

Wiener Philharmoniker, Otto Nicolai Gold Medal, 1967.

49

Osaka International Festival, 1967.

49

Israel Philharmonic Orchestra 30th Anniversary, 1967.

49

Union League of Philadelphia, 1974.

49

Poor Richard Club, Philadelphia, 1974.

49

H. M. Queen Elizabeth II Medal, 1976.

49

Philadelphia Orchestra Association Award for Distinguished Service, 1980.

49

Centenary Bartok Medal, 1981.

49

Chapel of Four Chaplains, "For Cultural Contributions to the World" , 1983.

49

Greater Philadelphia Magazine Award--50th Anniversary Award, undated.

49

Music on Medals; Eugene Ormandy, undated.

49

Key to City, Ann Arbor, Michigan, undated.

49

Key to City, San Diego, California, undated.

49

Hector Berlioz Medal, undated.

49

Page One Award, Newspaper Guild of Greater Philadelphia, 1963.

50

Toscanini Medal, 1967.

50

Key to City of Osaka (presented by Mayor Kaoru Chuma), circa 1967.

50

Presidential Medal of Freedom, 1970.

50

University of Penn Glee Club, Award of Merit, 1972.

50

H. M. Queen Elizabeth II's Silver Jubilee, 1977.

51

Kennedy Center Honors (desk plaque), 1982.

50

Order of Merit of Juan Pablo Duarte, Dominican Republic, 1945.

51

Key to City: Worcester, Massachusetts, 1959.

51

Finlandia Foundation (NY Metropolitan Chapter), Arts and Letters Award, 1962.

51

Institute of High Fidelity, 1963.

51

Italian Order of Merit, 1972.

51

Daughters of the American Revolution, Americanism Medal, 1972.

51

Arthur Honegger Medal, 1982.

51

St. Louis, Vincent C. Schoemehl, Jr., Mayor, 1981-1985.

51

Bordeaux Medal, undated.

51

BVDA RECVPERATA, 1936.

52

Philadelphia Art Alliance, 1940.

52

Danish National Orchestra, 1870-1945.

52

French Legion of Honor pin, 1952 or 1958.

52

Hommage de "L' Accueil de Paris" pin, 1955.

52

Danish National Orchestra, U.S. Tour, 1958.

52

Poor Richard Club of Philadelphia, 1959.

52

Philadelphia Chapter, American Institute of Architects, 1961.

52

Robin Hood Dell Guild, 1967.

52

National Press Club, tie and scarf, 1974.

52

Knight Commander of the Most Excellent Order of the British Empire, 1976.

52

Autographed Phillies baseball, 1980.

52

ASCAP pin, undated.

52

Franz Liszt medal, undated.

52

Tokyo Metropolitan Government coin, undated.

52

ΙΚΛ charm, undated.

52

Key to City: Springfield, Illinois, undated.

52

11th Annual Singing City Award, 1960.

53

Greater Philadelphia Chamber of Commerce, William Penn Award, 1974.

54

Silver Baton Award.

55

Kennedy Center Honors: Medals and Ribbons (in award box), 1982.

56

Philadelphia Music Foundation, Hall of Fame, undated.

57

United Jewish Appeal, award, undated.

58

Philadelphia Orchestra, Presentation Desk Pen Stand, 1959 November 18.

59

Doctoral Hood, Thomas Jefferson University, 1974.

60

Doctoral Hood, La Salle College, 1970.

61

Doctoral Hood, Hahnemann Medical College, 1979.

62

Doctoral Hoods.

63

Doctoral Hoods and Ribbons.

64

China Presentation Bowl from mayor Frank Rizzo, City of Philadelphia, 1972 May 30.

65

D.  Silver Presentation Awards.

Box

Silver-Plated Cigarette Box, Musical Fund Society, 1948.

66

Silver Presentation Tray, Philadelphia Arts Festival, 1955.

66

Silver Mounted Presentation Hebrew Bible, Israeli Philharmonic Orchestra, 1959.

66

Silver Presentation Vase signed by Van Cliburn, 1960.

66

Silver Presentation Goblet, Scheie Eye Institute, 1976.

66

Silver Presentation Cup, Scheie Eye Institute, 1980.

66

Silver-Plated Presentation Tray, Singing City, 1984.

66

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X.  Memorabilia.

Series Description

Comprises Ormandy's passports, film and video materials about Ormandy, a volume commemorating Ormandy's 70th birthday, and a volume by James Francis Cooke.

Box

Eugene Ormandy's Passports.

67

CBS Television Film, "Person to Person" .

68

Video, Stereo Review Award Presentation to Eugene Ormandy, 1982 November 15.

69

"Variations on Happy Birthday," book, 1970 January 24.

70

"A Historical Musical Pilgrimage," book by James Francis Cooke, 1958 December 25.

70

Necktie worn for matinee performances.

70

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XI.  Scrapbooks.

Series Description

Primarily clippings, one volume includes photographs, 1950-1953.

Box

Clippings, 1931-1932.

71

Clippings and Photos, 1950-1953.

72

Clippings (obituaries), 1985.

73

Scrapbook Binder from Columbia Records (empty).

74

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XII.  Oversize.

Series Description

Oversize memorabilia, awards, articles, scrapbook pages, concert season date sheets, diplomas, certificates, publicity, and plaques. Also includes eight conductor's batons.

Box

Signed Framed Photographs of Mary Louise Curtis Zimbalist, Pablo Casals and Irene, Princess of Greece.

75
Memorabilia and Awards.
Contents

* Presentation Baton

* 2 Conductor's Batons

* 5 Conductor's Batons in plastic case

* 1 Conductor's Batons in cardboard case

* Gift Scroll from Asian Tour

* American Symphony Orchestra League, Gold Baton Award

76
Miscellaneous.
Contents

* Date sheets, 1952-1954

*  "An Obligation to Greatness: The Philadelphia Orchestra Challenge Program," 1966-1967

* Philadelphia Orchestra Sign, undated

*  "Be Ready for Your Opportunity,"  Etude Magazine

*  Musical Courier clipping (photograph of Ormandy), 1933 July

* Scrapbook pages, 1935-1936

* Philadelphia Musical Academy, Doctor of Music, 1939

* Honorary Degrees, 1939-1970

* Certificates, 1954-1991

* Sketch of Ormandy by Roger Norman, presented by the Salt Lake Mormon Tabernacle Choir

* RCA Poster from Asian Tour

* CBS Poster from Asian Tour

77
Awards.
Contents

* National Recognition Award, 1969

* Broadcast Pioneers, Delaware Valley Chapter, 1979

78
Drawer
Miscellaneous.
Contents

* Framed photograph of Lily Pons

* Unidentified photograph, 1961

* Framed photograph of Ormandy

* Happy Birthday Maestro, 1979 November 18

* Philadelphia Proclamation by Mayor Frank Rizzo on Ormandy's 80th birthday, 1979 November 18

* EMI. Framed LP recording for Ormandy's 80th birthday

* International Society of Performing Arts Administrators, 1981

* Framed certificate

* Framed Steinway Hall program of 1877, modern facsimile

11
Degrees, Certificates and Photographs.
Contents

* University of Pennsylvania, Doctor of Music, 1937

* Curtis Institute of Music, Doctor of Music, 1946

* Ordre national de la Legion d'Honneur, 1952

* Lehigh University, Doctor of Humane Letters, 1953

* Rutgers University, Doctor of Music

* Appointment of Ormandy to the advisory committee of the National Cultural Center, 1961

* American College of Physicians, certificate, 1962

* National Music Council, citation of merit, 1962-1963

* Mayor of Newark, N.J., Proclamation, 1965

* Sexto festival del disco internacional, Mar del Plata, diploma, 1967

* Peabody Institute, Doctor of Musical Arts, 1968

* Villanova University, Doctor of Music, 1968

* Pennsylvania Award for Excellence, 1968

* Golden Slipper Club, creation of the Eugene Ormandy grant at the Curtis Institute of Music, framed, 1969

* University of Pennsylvania Glee Club, award of merit, 1972

* Thomas Jefferson University, Doctor of Humane Letters, 1974

* Mendelssohn Club of Philadelphia salute, framed, 1974

* Hahnemann University, Doctor of Humane Letters, 1979

* Sales & Marketing Executives of Philadelphia, Distingushed Salesman Award

* Certificate of appreciation with signatures

* Photograph of Ormandy conducting, 1948

* Photograph of Ormandy and Richard M. Nixon, signed Adrian Siegel, 1970

* Print of young woman, signed G. Herring (?)

* 3 posters re Ormandy and/or Philadelphia Orchestra

12

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Collection Inventory

Series I. Before 1930.

Volume Item

Johann Strauss II and Johannes Brahams, Bad Ischl, Austria (copyprint), early 1880s.

1 1.1

Eugene Ormandy age 3, Budapest, Hungary, 2 copies, 1902.

1 1.2-3

Eugene Ormandy, Budapest, Hungary, 1909.

1 1.5-6

Eugene Ormandy, Lazlo Ormandy and Martin Ormandy, Budapest, Hungary, 1909.

1 1.4.1

Lazlo Ormandy, Budapest, Hungary, 1909.

1 1.5.1

Martin Ormandy, Budapest, Hungary, 1909.

1 1.4.2

France and Austria tour, Vienna, Austria, photographs include Eugene Ormandy (photographer: F. Wunderlich), 2 copies, 1920.

1 1.7-8

France and Austria tour, photographs include Eugene Ormandy (photographer: F. Wunderlich), 1920.

57 1

Europe, photograph includes Eugene Ormandy (inscribed in Hungarian), 1922.

1 1.9.1

New York, NY, photograph includes Eugene Ormandy (photographer: H. Tarr Co. Inc., inscribed in Hungarian), 1923.

1 1.10.1

Minneapolis, MN, 1920s.

67 1

Series II. 1930s.

Volume Folder

New York, NY, photograph includes Eugene Ormandy, circa 1930.

57 2

New York, NY, photograph includes Eugene Ormandy, circa 1930.

1 1.12.1

Eugene Ormandy, circa 1930.

1 1.13.1

New York, NY, photograph includes Eugene Ormandy and Eddie Bachman, circa 1930.

1 1.11.1

1931-1932 season conducting Minneapolis Symphony Orchestra (photographer: Minneapolis Journal), circa 1931-1932.

1 1.14.1-2

Atlantic City, NJ, photograph includes Eugene Ormandy (photographer: Adrian Siegel), 1932.

1 1.15.1

Vladimir Horowitz (copyprint), 1933 December 3.

1 1.16.1

Vladimir Horowitz, negatives, 1933 December 3.

73 1

Ruth Slenczynski (inscribed in English), 1934 February 13.

1 1.17.1

New York, NY, photograph includes H. [Vectrunski] (photographer: Underwood and Underwood, inscribed in English), 1934.

1 1.18.1

Minneapolis Symphony Orchestra, Eugene Ormandy at rehearsal with, 1935 November.

1 1.19.1-2

Sergei Prokofiev, Lena Prokofiev, and their children, Paris, France (inscribed in English dated 1958), 1935.

1 1.20.1-2

Adrian Siegel with his portrait of Eugene Ormandy, circa 1935.

1 1.23.1-2

Adrian Siegel with his portrait of Eugene Ormandy, circa 1935.

57 3

Eugene Ormandy (photographer: Adrian Siegel), circa 1935.

1 1.23.3

Philadelphia, PA, photograph includes Eugene Ormandy (photographer: Richard Dooner), circa 1935.

1 1.21-22

Strobl, Austria, photograph includes Lotte Lehmann, 1936 August 18.

1 1.24.1

Strobl, Austria, photograph includes Reggie Allen, 1936 August 27.

1 1.25.1

Tel Aviv, Israel, photograph includes Arturo Toscanini (inscribed), 1936 December 25.

1 1.26.1

Albert Einstein, negatives and copy of photograph (inscribed), 1936.

73 2

Academy of Music, Philadelphia, PA, photograph includes Fritz Kreiser and Eugene Ormandy, circa 1936.

67 1

Academy of Music, Philadelphia, PA, photographs include Marian Anderson, Charles O'Connell, and Eugene Ormandy, circa 1936.

2 2.5.1

Eugene Ormandy (photographer: Bert Lawson for Columbia Broadcasting Systems), circa 1936.

2 2.3.1

Eugene Ormandy and Charles O'Connell, circa 1936.

2 2.4.1

Eugene Ormandy and Charles O'Connell, Academy of Music, Philadelphia, PA, circa 1936.

67 1

Philadelphia, PA, Eugene Ormandy conducting, circa 1936.

2 2.1.2

Philadelphia, PA, photograph includes Eugene Ormandy, circa 1936.

2 2.1-2

Philadelphia, PA, photograph includes Eugene Ormandy, circa 1936.

57 4

Philadelphia, PA, photograph includes Eugene Ormandy (photographer: David S. Loeb), circa 1936.

1 1.30.1-2

Philadelphia, PA, photograph includes Eugene Ormandy (photographer: David S. Loeb), circa 1936.

57 4

Steinway Hall, New York, NY, photographs include Eugene Ormandy and Josef Alexander Pasternack (photographers: Adrian Siegel and Howard Stein), circa 1936.

1 1.28-29

Wynnewood, PA, photographs include Reggie Allen, Harl McDonald, and Eugene Ormandy, circa 1936.

2 2.6.1

Philadelphia Orchestra RCA Victor Tour, Denver, CO, photographs include Jose Iturbi, Dean Lewis, and Eugene Ormandy, (photographer: O. Roach), 1937 May 7.

2 2.7.1

Philadelphia Orchestra RCA Victor Tour, Minneapolis, MN (photographer: Adrian Siegel), 1937 May.

2 2.8.1

Philadelphia, PA, photograph includes Eugene Ormandy (photographer: Adrian Siegel), 1938 October.

2 2.9.1-2

Mary Louis Curtis Bok (inscribed in English), 1938.

2 2.10.1

Mozart Requiem, St. Laurent, Quebec, Mozart Requiem, photograph of Eugene Ormandy conducting, 1939 June.

2 2.11.1

Eugene Ormandy, "in a cast after operation from torn ligament" (photographer: Peter Pan Prints), 1939 July.

2 2.12.1

Academy of Music, Philadelphia, PA, Leopold Stokowski conducting Philadelphia Orchestra, 1939.

2 2.19.1

Academy of Music, Philadelphia, PA, photographs include Emanuel Fenermann and Eugene Ormandy (photographer: Adrian Siegel), 1939.

2 2.13-16

Academy of Music, Philadelphia, PA, photographs include Eugene Ormandy and Nelson Eddy (photographer: Adrian Siegel), 1939.

2 2.17-18

Academy of Music, Philadelphia, PA, photograph includes Nelson Eddy and Eugene Ormandy (photographer: Adrian Siegel), 1939.

57 5

Academy of Music, Philadelphia, PA, Eugene Ormandy conducting, circa 1939.

2 2.21.1

Eugene Serkin and Eugene Ormandy (photographer: Adrian Siegel), circa 1939.

2 2.20.1

Arthur Rubinstein and Eugene Ormandy, 1930s.

2 2.31.1

Mrs. Lauritz Melchior, Mr. Melchior and Eugene Ormandy, 1930s.

2 2.32.1-2

Mrs. Lauritz Melchior, Mr. Melchior and Eugene Ormandy, 1930s.

57 6

Academy of Music, Philadelphia, PA, Eugene Ormandy conducting, 1930s.

67 3

Eugene Ormandy, early 1930s.

2 2.23.1

Europe, photographs includes Zoltan Kodaly, Eugene Ormandy, Ernst von Dohnanyi, and Joseph Szigeti, early 1930s.

2 2.22.1

Havana, Cuba, Eugene Ormandy and Mrs. Verna Scott aboard ship to Havana, early 1930s.

2 2.24.1

Academy of Music, Philadelphia, PA, Eugene Ormandy conducting, late 1930s.

2 2.28.1-3

Academy of Music, Philadelphia, PA, Eugene Ormandy on podium, late 1930s.

2 2.25.1-3

Jesse Taynton, late 1930s.

2 2.30.1

Eugene Ormandy, late 1930s.

2 2.29.1

Eugene Ormandy, late 1930s.

57 6

Eugene Ormandy (photographer: Adrian Siegel), late 1930s.

2 2.27.1

Robin Hood Dell, photograph includes Eugene Ormandy, late 1930s.

2 2.26.1

Vienna, Austria, photograph includes Eugene Ormandy (photographer: Trude Fleischman), late 1930s.

67 1

Academy of Music, Philadelphia, PA, photograph includes Kirsten Flagstad and Eugene Ormandy (photographer: Richard Donner), circa 1930s.

67 2

Series III. 1940s.

Volume Item

Academy of Music, Philadelphia, PA, photographs include Eugene Ormandy and Sergei Rachmaninoff (photographer: Adrian Siegel), 1940.

3 3.1-2

Eugene Ormandy, circa 1940.

3 3.3.1

Eugene Ormandy and Stephanie Goldner Ormandy (photographer: Associated Press), circa 1940.

3 3.4-5

Eugene Ormandy and William Warfield, circa 1940.

3 3.6.1

Eugene Ormandy (photographer: Hellman), 1941 January 16.

3 3.7.1

Ann Arbor Music Festival, Ann Arbor, MI, photographs include Mr. and Mrs. Heifetz, Charles Kullman, and Eugene Ormandy, 1941 May 7-10.

3 3.8.1-3

Arturo Toscanini and Eugene Ormandy, Philadelphia, PA (photographers: M. Robert Rogers and Adrian Siegel), 1941.

3 3.9-14

Arturo Toscanini and Eugene Ormandy (inscribed by Toscanini, photographer: Adrian Siegel), 1942 January 13.

71 2

Academy of Music, Philadelphia, PA, photographs include Eugene Ormandy and Fritz Kreisler (photographers: NBC Management and Adrian Siegel), 1942.

3 3.16-18

Eugene Zador and Eugene Ormandy (photographer: Adrian Siegel), 1942.

3 3.15.1-2

Adrian Siegel photography exhibition, photographs include Elise Flun, Fritz Kreisler, Charles O'Connell, Eugene Ormandy, and Adrian Siegel (photographer: Adrian Siegel), 1943 January.

3 3.20.1

Fritz Kreisler (photographer: Adrian Siegel, inscribed in English), 1943 January.

3 3.21.1

9th Symphony performance, Philadelphia, PA (photographer: Adrian Siegel), 1943.

3 3.19.1

Arturo Toscanini and Stephanie Ormandy, Philadelphia, PA (photographer: Adrian Siegel), 1943.

3 3.23.2

Philadelphia, PA, photograph includes Sol Katzen, William Kincaid, Charles O'Connell, Eugene Ormandy, Marcel Tabiteau, and Arturo Toscanini (photographer: Adrian Siegel), 1943.

3 3.23.1

Philadelphia, PA, photographs include Alexander Hillsberg, Sol Katzen, William Kincaid, Charles O'Connell, Eugene Ormandy, Marcel Tabiteau, and Arturo Toscanini, Marcel Tabiteau (photographer: Adrian Siegel), 1943.

57 7

Philadelphia, PA, photographs include Alexander Hillsberg, Sol Katzen, William Kincaid, Charles O'Connell, Eugene Ormandy, Marcel Tabiteau, and Arturo Toscanini, Marcel Tabiteau (photographer: Adrian Siegel), 1943.

3 3.22.2

Philadelphia, PA, photographs include Mrs. Hillsberg, Mrs. Katzen, Eugene Ormandy, Stephanie Ormandy, Sophie Siegel, Arturo Toscanini, and Mrs. Toscanini, (photographer: Adrian Siegel), 1943.

57 7

Philadelphia, PA, photographs include Mrs. Hillsberg, Mrs. Katzen, Eugene Ormandy, Stephanie Ormandy, Sophie Siegel, Arturo Toscanini, and Mrs. Toscanini, (photographer: Adrian Siegel), 1943.

3 3.22.1

Australia trip, arrival in Sydney, Australia, photographs include William James, Eugene Ormandy, Benye Ross, Frederic Marquardt, Bearun, R.C. MaCall, and Leith Stevens, 1944 May 23.

3 3.24-25

Australia trip, Sydney, Australia, photograph includes Eugene Ormandy and Allison Nelson Loebbaka, 1944 May 28.

3 3.26.1

Australia trip, Sydney, Australia, reception for Eugene Mayor, Clive Evatt, Eugene Ormandy, and Mr. Bartley, 1944 May 31.

3 3.27-28

Australia trip, Sydney, Australia, ABC Party, Eugene Ormandy and Lady Mary Gordon, Australia, 1944 June.

3 3.29.1-2

Australia trip, Melbourne, Australia, photograph includes B.J. Nesslefold (photographer: Edwin G Adamson Yell, inscribed in English), 1944 July 20.

4 4.1.1-2

Australia trip, Brisbane, Australia, the Brisbane Symphony Orcestra conducted by Eugene Ormandy and a section of the audience of men and women in uniform at the concert for the troops given by the Australian Broadcasting Commission in the Brisbane City Hall and Mrs. Douglas MacArthur congratulating Eugene Ormandy on the success of his concert, photographs include Neville Amadio (flautist in Australian Army), Colonel Sydney I. Huff, Mrs. Douglas MacArthur, Eugene Ormandy, and Stephanie Ormandy (photographer: E.H. Turnor), 1944 August 13.

4 4.2-4.1

Australia trip, Lt. Hilda and Eugene Ormandy, summer 1944.

5 5.3.1

Australia trip, bust, summer 1944.

4 4.26.1-2

Australia trip, Eugene Ormandy conducting, summer 1944.

4 4.17-23

Australia trip, Eugene Ormandy conducting, summer 1944.

67 3

Australia trip, Melbourne, Australia (photographer: C.E.Flint), summer 1944.

4 4.16.1

Australia trip, photograph includes Eugene Ormandy, summer 1944.

57 8

Australia trip, photograph includes Eugene Ormandy, summer 1944.

4 4.25.1

Australia trip, photograph includes Eugene Ormandy, summer 1944.

5 5.4.1

Australia trip, photograph includes Hayden Beck (inscribed in English), summer 1944.

5 5.6.1

Australia trip, photograph includes Zara Gowrie (inscribed), summer 1944.

5 5.5.1-2

Australia trip, photographs include Eugene Ormandy, summer 1944.

4 4.31-5.3

Australia trip, photographs include Eugene Ormandy and Stephanie Ormandy, Australia, summer 1944.

4 4.27-28

Australia trip, photographs include Eugene Ormandy; Mr. J.D.G. Mealey, President University of Melbourne; and The Lord Mayor, B.J. Nessleford, summer 1944.

4 4.30.1-2

Australia trip, Sydney, Australia, summer 1944.

4 4.6-8

Australia trip, Sydney, Australia, Eugene Ormandy and Australian Union Rugby Team, summer 1944.

4 4.4.2-5

Australia trip, Sydney, Australia, photographs include Eugene Ormandy and Stephanie Ormandy (photographer: Rob Hiller), summer 1944.

4 4.9-15

New York, NY, return from Australia, photograph includes Eugene Ormandy, Stephanie Ormandy, Eugene Ormandy's mother, and Lazlo Ormandy (photographer: Larry Gordon), summer 1944.

5 5.7.1

Hayden Beck and Eugene Ormandy, summer 1944.

4 4.24.1

Hon. J Latham, Eugene Ormandy, Stephanie Ormandy, and Mr. and Mrs. [Wonall], summer 1944.

4 4.29.1-2

Academy of Music, Philadelphia, PA, photograph includes Jascha Heifetz and Eugene Ormandy (photographer: Adrian Siegel), 1944.

5 5.8.1

CBS Studios, photographs include Eugene Ormandy conducting the Philadelphia Orchestra and Lee Stevens, circa 1944.

57 8

CBS Studios, photographs include Eugene Ormandy conducting the Philadelphia Orchestra and Lee Stevens, circa 1944.

5 5.9-12

Academy of Music, Philadelphia, PA, photographs include Eugene Ormandy and Helen Traubel (photographer: Adrian Siegel), 1945.

5 5.13-14

Dearborn, MI, photograph includes Eugene Ormandy (photographer: Dorsey), 1945.

67 4

Annual recorded music award, photographs include Eugene Ormandy, Wanda Landowska, Louis Untermyer, Ezio Pinza, Milton Katims (photographer: Ben Greenhaus), 1946.

5 5.15-17

Zoltan Kodaly, 1946.

57 9

Zoltan Kodaly, circa 1946.

5 5.20-21

Zoltan Kodaly and Eugene Ormandy, circa 1946.

57 9

Zoltan Kodaly (photographer: Blackstone Studios, inscribed), circa 1946.

5 5.19.1

Zoltan Kodaly (photographer: Carlyle Studio), circa 1946.

5 5.18.1-2

American Southwest, Eugene Ormandy, 1947.

5 5.22.1

Dana Andrews' yacht, off California Coast for the filming of "Night Song" starring Dana Andrews with appearances by Eugene Ormandy and Arthur Rubinstein, circa 1947.

5 5.23.1-3

William Kapell and Eugene Ormandy, circa 1947.

5 5.24.1

First TV symphony orchestra broadcast, CBS TV, Philadelphia, PA (photographer: Jules Schick), 1948 March 20.

5 5.25.1

First TV symphony orchestra broadcast, CBS TV, Philadelphia, PA (photographer: Jules Schick), 1948 March 20.

57 10

Hollywood Bowl, Los Angeles, CA, Madame Butterfly (photographer: Otto Rothschild), 1948 September 3.

6 6.1-3

Philadelphia, PA, photograph includes Ginette Neveu, Eugene Ormandy, and Claude Rains (photographer: Jules Schick), 1948 October 15-16.

6 6.4.1

On tour train, photograph includes Norman Shirk, circa 1948.

6 6.6.1

Philadelphia, PA, photograph includes Mischa Elman, Alexander Hilsberg, and Paul Rosenbaum (photographer: Jules Schick), 1949 January.

6 6.6.1

Great Britain trip, on board "Parthia," photographs include Orville Bullitt, Harl McDonald, Eugene Ormandy, Helen Traubel, Margaret Truman, and orchestra instruments being hoisted into the hold (photographers: Jules Schick and Adrian Siegel), 1949 May.

67 4

Great Britain trip, on board "Parthia," photographs include Orville Bullitt, Harl McDonald, Eugene Ormandy, Helen Traubel, Margaret Truman, and orchestra instruments being hoisted into the hold (photographers: Jules Schick and Adrian Siegel), 1949 May.

6 6.8-11

Great Britain trip, England, photographs include Eugene Ormandy, Orville Bullitt, and Harl McDonald (photographer: Jules Schick), 1949 May.

6 6.12.1-2

Great Britain trip, London, England, photographs include William Kincaid and Eugene Ormandy (photographer: George Konig), 1949 May.

6 6.13-15

Great Britain trip, Birmingham, England, photographs include Marilyn Costello and Jesse C. Taynton (photographer: George Konig), spring 1949.

6 6.19-22

Great Britain trip, Edinburgh, Scotland, Usher Hall, rehearsal with Philadelphia Orchestra, spring 1949.

6 6.16-17

Great Britain trip, England, Eugene Ormandy (white shirt), spring 1949.

6 6.23.1-3

Great Britain trip, Eugene Ormandy, Alexander Hillsberg, Harl McDonald, Jesse Tayton, England, spring 1949.

6 6.24.1

Great Britain trip, Eugene Ormandy, England, spring 1949.

6 6.23.4

Great Britain trip, Manchester, England, photographs include Eugene Ormandy, spring 1949.

6 6.18.1-3

Temple University Commencement , Philadelphia, PA, photographs include Eugene Ormandy, Virginia Mae Watters, Dr. Robert Johnson, (photographer: Jules Schick), 1949 May.

6 6.7.1-2

Philadelphia Orchestra, plaque, 1949 June 28.

57 11

Philadelphia, PA (inscribed), 1949 June.

6 6.25.1

Eugene Ormandy conducting (photographer: Jules Schick), 1949 October.

6 6.26.1

Academy of Music, Philadelphia, PA, photograph includes Eugene Ormandy, 1940s.

8 8.23.1

Eugene Ormandy, 1940s.

8 8.21-22

Eugene Ormandy, 1940s.

8 8.31.1

Eugene Ormandy, 1949.

6 6.28.1

Eugene Ormandy (photographer: Adrian Siegel), 1940s.

8 8.26-27

Eugene Ormandy center, 1940s.

8 8.16.1

Eugene Ormandy center, 1940s.

8 8.18.1

Eugene Ormandy center, 1940s.

8 8.24.1-2

Eugene Ormandy center, standing, 1940s.

8 8.19.1

Eugene Ormandy on podium, 1940s.

8 8.17.1

Eugene Ormandy on podium, 1940s.

8 8.20.1

Gretel Ormandy, 1940s.

9 9.1.1

Harl McDonald and Eugene Ormandy, 1940s.

9 9.6.1

Harl McDonald and Eugene Ormandy (photographer: Jules Schick), 1949.

6 6.27.1

John Conte and Vladimir Horowitz, 1940s.

9 9.4.1

New Orleans, LA, photograph includes Mrs. Herman Barnett and Corrine Mayer, 1940s.

9 9.2.1

Orville Bullitt, Anton Horner, and William A. Schmidt, 1940s.

9 9.3.1

Orville Bullitt, Goddard Lieberson, Eugene Ormandy, and Red Wallerstein (photographer: Adrian Siegal), 1940s.

8 8.29.1

Pablo Casals, Eugene Ormandy, Mr. Tortellier, and Mr. van der Mueler (photographer: Paul Moor), 1940s.

8 8.28.1

Philadelphia, PA, photograph includes Eugene Ormandy (photographer: Faust's Photo Services), 1940s.

8 8.30.1

Philadelphia, PA, photograph includes Eugene Ormandy (photographer: Triangle Publishing, Philadelphia Inquirer Division), 1940s.

8 8.25.1

Sergey Prokofiev, Moscow, Russia (inscribed by Lena Prokofiev), 1940s.

9 9.5.1

Eugene Ormandy, Rudolf Serkin, David Oppenheim and Alexander Hilsberg; New York, NY; Die Fledermans, the Met; Hungarian Ambassador and honorary degree from Lehigh University (photographers: Fred Plant and Editta Sherman), 1940s-1950s.

68 2

Academy of Music, Philadelphia, PA, Eugene Ormandy conducting, early 1940s.

7 7.9.1

Academy of Music, Philadelphia, PA, photograph includes Eugene Ormandy, early 1940s.

7 7.12.1

Academy of Music, Philadelphia, PA, photographs include Eugene Ormandy conducting and Harl McDonald (photographers: Sydney M. Schonbrunn and Adrian Siegel), early 1940s.

6 6.29-7.5

Eugene Ormandy, early 1940s.

7 7.7.1

Eugene Ormandy, early 1940s.

7 7.10.1

Eugene Ormandy, early 1940s.

7 7.11.1

Eugene Ormandy, early 1940s.

7 7.13-14

Eugene Ormandy, early 1940s.

7 7.21-23

Eugene Ormandy, early 1940s.

7 7.27.1

Eugene Ormandy, early 1940s.

72 1-2

Eugene Ormandy (foreground), early 1940s.

7 7.8.1

Eugene Ormandy (photographer: Emil Rhodes), early 1940s.

7 7.18-19

Eugene Ormandy (photographer: Ray Lee Jackson), early 1940s.

7 7.20.1

Eugene Ormandy (photographer: Ray Lee Jackson), early 1940s.

72 2

Eugene Ormandy (photographer: Ray Lee Jackson), includes one photograph with Arthur Judson, early 1940s.

68 1

Eugene Ormandy and Miklos Rozsa, early 1940s.

7 7.25.1

Eugene Ormandy and Stephanie Ormandy, New York, NY (contact sheet, photographer: Fred Fehl), early 1940s.

7 7.15.2

Eugene Ormandy, New York, NY (photographer: Fred Fehl), early 1940s.

7 7.6.1-2

Eugene Ormandy, New York, NY (photographer: Fred Fehl), early 1940s.

7 7.16-17

Eugene Ormandy, New York, NY (photographer: Fred Fehl), early 1940s.

57 12

Lazlo Ormandy and Eugene Ormandy, Washington, DC, early 1940s.

7 7.26.1-2

New York, NY, photographs include Eugene Ormandy (contact sheet, photographer: Fred Fehl), early 1940s.

7 7.15.1

Oscar Levant, Goddard Lieberson, and Eugene Ormandy (photographer: CBS Records), early 1940s.

7 7.24.1

Stephanie Goldner Ormandy, early 1940s.

7 7.28.1

Academy of Music, Philadelphia, PA, Eugene Ormandy on podium, mid 1940s.

7 7.29.1

Academy of Music, Philadelphia, PA, photograph includes Eugene Ormandy, mid 1940s.

7 7.32.1

Eugene Ormandy, mid 1940s.

8 8.3-5

Eugene Ormandy (photographer: Adrian Siegel), mid 1940s.

7 7.30.1-2

Eugene Ormandy (photographer: Adrian Siegel), mid 1940s.

57 12

Eugene Ormandy (photographer: Alfredo Valente), mid 1940s.

8 8.1-2

Eugene Ormandy conducting, mid 1940s.

7 7.31.1

Eugene Ormandy, conducting, mid 1940s.

57 12

Rudolf Serkin and two daughters (photographer: Adrian Siegel), mid 1940s.

8 8.6.1

Alexander Hilsberg, Eugene Ormandy, and Virgil Thomson, late 1940s.

8 8.11-12

B.J. Nesslefold and Anton Horner (photographer: Jules Schick), late 1940s.

8 8.15.1

Eugene Ormandy on stool and standing, late 1940s.

8 8.7-9

Hollywood, CA, photograph includes Lionel Barrymore and Eugene Ormandy (photographer: Otto Rothchild), late 1940s.

8 8.13.1

Lionel Barrymore (inscribed in English), late 1940s.

8 8.14.1

William Kincaid, Eugene Ormandy, and Marcel Tabuteau, late 1940s.

8 8.10.1

Series IV. 1950s.

Volume Item

South America (photographer: Cooperativa Fotografica), 1950 February 15.

9 9.7.1

Washington, DC, Eugene Ormandy receiving French Legion of Honor award, photographs include Harl McDonald, French Ambassador Henri Bonnet, Madame Bonnet, Eugene Ormandy, and Gretel Ormandy (photographer: Adrian Siegel), 1950 March.

9 9.8-9

Worcester, MA, Eugene Ormandy after receiving gold key from Mayor Andrew B. Holstrom (photographer: Harry Rubenstein), 1950 October 23-28.

9 9.10.1-2

Strawbridge and Clothier window, Philadelphia, PA (photographer: Mitchell Studios), 1950 November 21.

9 9.11.1

Atlantic City, NJ, photograph includes Eugene Ormandy and Gretel Ormandy (photographer: Bob Barrett), circa 1950.

9 9.13.1

Alexander Brailowsky and Eugene Ormandy, circa 1950.

9 9.14.1

Sir Thomas Beecham (inscribed in English, photographer: Adrian Siegel), circa 1950.

9 9.12.1

Florence, Italy, photographs include Maggio Musical, Eugene Ormandy, and Gretel Ormandy (photographer: Foto Levi), summer 1951.

9 9.15-21

Milan, Italy, summer 1951.

9 9.21.2

Eugene Ormandy and Gretel Ormandy returning from Scandinavia, circa 1951.

9 9.23.1

Berlin, Germany, Eugene Ormandy and Gretel Ormandy, circa 1951.

9 9.22.1

Virgil Thomson (inscribed in English, photographer: Berko), 1952 January 20.

9 9.24.1

Jayce Awards, Academy of Music, Philadelphia, PA, photographs include Eugene Ormandy, J.W.F. Leman, Earl Cunerd and Kenneth Kamp, (photographer: Bell), 1952 March 12.

9 9.25-26

Chexbres, Switzerland, home of Swiss physicist Professor Jacques Piccard, photographs include Nicolas Nabokov, Eugene Ormandy, Gretel Ormandy, Auguste Piccard, Virgil Thomson, summer 1952.

9 9.27-32

Eugene Ormandy and Gretel Ormandy, summer 1952.

9 9.33.1

Berlin, Germany, photographs include Eugene Ormandy and Gretel Ormandy, Berlin, Germany (photographer: RIAS Rudolph), 1952 September.

9 9.34.1-2

Academy of Music, Philadelphia, PA, Eugene Ormandy (photographer: Adrian Siegel), 1952 November 15.

10 10.1.1

Menotti violin concerto premiere, photograph includes Eugene Ormandy, Gian Carlo Menotti and Efrem Zimbalist, 1952 December 5.

10 10.2.1

Arthur Honegger's "Jeanne d'Arc au bucher," photograph includes Eugene Ormandy and Vera Zorina (photographer: Adrian Siegel), 1952.

10 10.5.1

Concert for closing of Broad Street station, Philadelphia, PA, photographs include William Kincaid and John Krell, 1952.

10 10.6-9

Denmark, Eugene Ormandy receiving Knight Order of Dannebrog 1st class (photographer: Illustrators Photograph), 1952.

10 10.3-4

Fritz Kreisler, negatives, 1953 January.

73 3

Vienna, Austria, Grosser Mukikvereinsaal, photographs include Rudolf Bing, Clemens Krauss, Eugene Ormandy, Gretel Ormandy, Felix Prohaska, Mrs. Schoenfelder, Eleanor Steber, Jonathan Sternberg, and Hans Swarosky (photographer: Wilfred Broneder), 1953 June 12-15.

10 10.11-17

Academy of Music, Philadelphia, PA, Eugene Ormandy (photograher: Illustrators Photographers), 1953 September 28.

10 10.18.1

Jacob Krachmalnick and Eugene Ormandy, filming for WFIL-TV (photographer: Adrian Siegal), 1953.

10 10.25.1

Rudolf Serkin and Peter Serkin (photographer: Adrian Siegel), 1953.

10 10.26.1

Lehigh University, Founders Day Exercises, Eugene Ormandy receiving honorary degree from Dr. Martin D. Whitake, 1953 October 11.

10 10.19-20

Carnegie Hall, New York (photographer: Adrian Siegel), 1953 November 7.

10 10.21.1

Emma Feldman's 20th anniversary party, Eugene Ormandy and Gretel Ormandy (photographer: Adrian Siegel), 1953 December 10.

10 10.22.1-2

Herman Beerman (inscription in English, photographer: Fabian Bachrach), 1953 December.

10 10.23.1

Igor Stravinsky, negatives, 1953 December.

73 4

Igor Stravinsky, Vancouver, Canada (inscription in English, photographer: Skipsey), circa 1953.

10 10.24.1

Bellevue, Philadelphia, PA, photographs include Eugene Ormandy, Gretel Ormandy and friends, circa 1953.

10 10.10.1-2

Alan and Emile Charpentier, circa 1953.

10 10.27.1

Caracas, Venezuela, Eugene Ormandy and Gretel Ormandy (photographer: Foto Studio Moderno), 1954 January.

10 10.29.1

Caracas, Venezuela, photograph includes Eugene Ormandy (inscribed in English), 1954 January 10.

10 10.28.1-2

Youngstown, OH, photograph includes Eugene Ormandy, Gretel Ormandy, and Carl W. Ullman, 1954 February 16.

57 14

Youngstown, OH, photograph includes Eugene Ormandy, Gretel Ormandy, and Mrs. Carl W. Ullman, 1954 February 16.

10 10.30.1

Philadelphia, PA, 1954 March 11.

10 10.31.1

Gretel Ormandy, 1954 June.

11 11.1.1

Music Teachers Dinner, Philadelphia, PA (photographer: Jules Schick), 1954 October.

11 11.3.1

Academy of Music, Philadelphia, PA, photographs include Marilyn Costello, Marcella Decray,Anthony Gigliotti, Elsa Hilger, Fred Hinger, William Kincaid, Jacob Krachmalnick, Lorne Munroe, Eugene Ormandy, and Jules Serpentine (contact sheet, photographer: Eugene Cook), 1954.

11 11.4-25

Anthony M. Gigliotti, Mason Jones, William Kincaid, Sol Schoenbach and John de Lancie, 1954.

11 1.26.1

Anthony M. Gigliotti, Sol Schoenbach, Academy of Music, Philadelphia, PA, 1954.

11 11.28.1

Franklin Fach and Eugene Ormandy (inscribed in English), 1954.

12 12.6.1

Nathan Milstein and Eugene Ormandy, 1954.

11 11.2.1

Academy of Music, Philadelphia, PA, Eugene Ormandy, 1954.

57 14

Academy of Music, Philadelphia, PA, Eugene Ormandy, 1954.

12 12.2-4

Academy of Music Philadelphia, PA, photographs include Saul Caston, Danny Kaye, and Eugene Ormandy (photographer: Adrian Siegel), 1954.

12 12.7.1

Philadelphia, PA, photographer includes Gretel Ormandy (photographer: Triangle Publications), 1954.

12 12.10.1

Jacob Krachmalnick and David Madison, Academy of Music, Philadelphia, PA, 1954.

11 11.28.2

Jacob Krachmalnick and Lorne Munroe, 1954.

11 11.29.2

John De Lancie, 1954.

11 11.27.2

Lorne Munroe, Academy of Music, Philadelphia, PA, 1954.

12 12.1.2

Marilyn Costello, Academy of Music, Philadelphia, PA, 1954.

12 12.5.1

Old Original Bookbinder's, Philadelphia, PA, photograph includes Eugene Ormandy, John Taxin, Gretel Ormandy, Danny Kaye, Jean Taxin, (photographer: Dufor Studios), 1954.

12 12.8-9

Philadelphia Orchestra basses, Carl Torello and Roger Scott, Academy of Music, Philadelphia, PA, 1954.

12 12.1.1

Philadelphia Orchestra floutist, 1954.

11 11.27.1

Philadelphia Orchestra String Quartet, Frank Costanza, Francis dePasquale, 1954.

11 11.26.2

Philadelphia Orchestra, floutists, John Krell, 1954.

11 11.29.1

Eugene Ormandy, Max Rudolf, and Eleanor Steber (photographer: Ben Greenhaus), circa 1954.

57 14

Eugene Ormandy, photographs include Lily Pons, Jan Peerce, Max Rudolf, and Eleanor Steber (photographer: Ben Greenhaus), circa 1954.

12 12.12-15

Norman Black, Arco-Arte Sinfonietta (photographer: Adrian Siegel), circa 1954.

12 12.11.1-2

Eugene Ormandy and Gretel Ormandy, day of Harl McDonald's death (photographer: Bob Phillips for LIFE), 1955 March.

12 12.17.1

Eugene Ormandy and Gretel Ormandy, day of Harl McDonald's death (photographer: Bob Phillips for LIFE), 1955 March.

57 15

Dwight D. Eisenhower and Eugene Ormandy, Philadelphia, PA, 1955 April 27.

12 12.18.1

European tour, Paris, France, Eugene Ormandy and Gretel Ormandy arriving for Philadelphia Orchestra European tour, photographs include Alan Charpentier and Emile Charpentier, (photographer: Gerard Decaux), 1955 May 15.

12 12.19-23

European tour, Melsbroeck, Belgium, Eugene Ormandy and Gretel Ormandy arriving for Philadelphia Orchestra European tour, 1955 May 17.

12 12.24.1

European tour, Amsterdam, Netherlands, 1955 May 18.

57 15

European tour, Amsterdam, Netherlands, Concertgebow Hall (photographers: Schima Kaufman and Particam pictures), 1955 May 18.

12 12.25-29

European tour, Eugene Ormandy and Gretel Ormandy, 1955 May 20.

12 12.30.1

European tour, Paris France, photographs include Eugene Ormandy conducting Philadelphia Orchestra at the Palais de Chaillot, Anatole Heller, Heller's secretary Carlotta, Arthur Honegger, and Adrian Siegel, 1955 May 23 or 24.

13 13.1-9

European tour, Vienna, Austria, photographs include Eugene Ormandy rehearsing at Grosser Musikvereinssaal, Hilde Gueden, Martin Markoff, Eleanor Steber, members of the Vienna Philharmonic (photographer: Charlotte Till-Borchardt), 1955 June 13 or 14.

13 13.10-17

European tour, Vienna, Austria, Vienna Philharmonic, photograph includes Hilde Gueden and Eugene Ormandy, 1955 June 13-14.

57 15

European tour, Helsinki, Finland, Jean Sibelius and Eugene Ormandy, negatives, 1955 June 17 or 18.

73 5

European tour, Helsinki, Finland, Jean Sibelius and Eugene Ormandy, 1955 June 17 or 18.

57 15

European tour, Helsinki, Finland, photograph includes Mr. Sweins, Assistant Director, Mr. Spaens, President of Philips, Mr. van Sendenburg, Jean Sibelius and Mrs. Sibelius (photographer: Aarne Pietinen Oy), 1955 June 17 or 18.

13 13.19.1-2

European tour, Helsinki, Finland, photographs include Eugene Ormandy, Jean Sibelius, Nils-Eric Ringborn (photographers: Bertil Dahlgren; Keystone Press, London; Adrian Siegel; and Schima Kaufman), 1955 June 17 or 18.

13 13.20-27

European tour, Helsinki, Finland, Jean Sibelius Festival, Messuhalli, 1955 June 17 or 18.

13 13.18.1

European tour, Zurich, Switzerland, photographs include Clifford Curzon and Eugene Ormandy conducting (photographer: Klaus Hennch), 1955 June.

13 13.28-29

European tour, photograph includes Eugene Ormandy, Nathan Milstein, Isaac Stern and David Oistrakh (photographer: Adrian Siegel), 1955.

13 13.30.1

Academy of Music, "Tastycake Christmas Hour," Philadelphia, PA, Eugene Ormandy filming, photograph includes Andre Eglevsky, Eugene Ormandy, and Maria Tallchief (photographer: Edgar S. Brinker), 1955 December 15.

14 14.1-4

Baby twins: Randy and Christopher, 1955.

14 14.5.1

David Oistrakh (inscribed not in English), 1955.

14 14.10.1

Emil Gilels (inscribed in Russian), 1955.

14 14.9.1

Emil Gilels and Eugene Ormandy, Philadelphia, PA (inscription not in English, possibly Russian, photographer: Adrian Siegel), 1955.

14 14.7.1

Eugene Ormandy and Gretel Ormandy (photographer: Adrian Siegel), 1955.

14 14.6.1

Eugene Ormandy conducting, 1955.

14 14.12.1

Academy of Music, Philadelphia, PA, photograph includes Eugene Ormandy, David Oistrakh, and Isaac Stern, 1955.

14 14.11.1

Atlanta, GA , photograph includes J.K. Bauer, Marvin MacDonald, Eugene Ormandy, Gretel Ormandy, and Joseph Sautarlasci (photographer: Adrian Siegel), 1955.

12 12.16.1

Emil Gilels, Mrs. Gilels, Eugene Ormandy, Gretel Ormandy, Mary Louise Curtis Zimbalist, and Efrem Zimbalist (inscribed not in English, signed, photographer: Adrian Siegel), 1955.

14 14.8.1

London, England, Royal Festival Hall, photographs includes Eugene Ormandy and David Oistrakh (signed, photographer: Erich Auerbach), 1955.

13 13.31-32

Ann Arbor Music Festival, Ann Arbor, MI, photograph includes Hilde Gueden, Eugene Ormandy, and Gretel Ormandy, 1956 May.

14 14.15.1-3

Midway Airport, Chicago, IL, photograph includes Eugene Ormandy and Gretel Ormandy (photographer: Metro News), 1956 June 24.

14 14.16.1

Matinee Musical Club, Philadelphia, PA, photographs include Eugene Ormandy and members of the MMC (photographer: Jules Schick), 1956 October 29.

14 14.19.1-2

Worcester Music Festival, Worcester, MA, photographs include Eugene Ormandy and Gretel Ormandy (inscribed, photographer: Marvin Richmond), 1956 October 15-20.

14 14.17-18

Columbia Records, PR Department, photograph album, 1956 November 18.

66 8

Academy of Music, Philadelphia, PA, photograph includes Eugene Ormandy, 1956.

14 14.27.1-2

Celebrating 20 years with the Philadelphia Orchestra, photographs include Mrs. Bay, wife of Embassador to Norway; Arthur J. Kinsolving; Mrs. Kinsolving; Andre Kostelantz; Alexander McLanahan; Eugene Ormandy; Gretel Ormandy; Lily Pons; David Rockefeller; Mrs. Rockefeller; John E. Slater; Mrs. Slater; and Mrs. Joseph A Thomas, 1956.

14 14.21-24

Academy of Music, Philadelphia, PA, Eugene Ormandy and the Philadelphia Orchestra, 1956.

57 15

Academy of Music, Philadelphia, PA, Eugene Ormandy, 1956.

57 15

Jamaica, photograph includes Eugene Ormandy, Paley, and Ed Sullivan (photographer: William S. Paley), 1956.

14 14.20.1

Philadelphia, PA, Princess Grace Kelly, Prince Ranier, Eugene Ormandy, and Gretel Ormandy (contact sheet, photographer: Adrian Siegel), 1956.

14 14.25.1-2

Mary Louise Curtis Bok Zimbalist, 80th birthday party, photograph includes Mary Louise Curtis Bok Zimbalist and Gretel Ormandy, 1956.

14 14.26.1

Bellvue-Stratford, Philadelphia, PA, photographs include Eugene Ormandy, Gretel Ormandy, Zino Francescatti, and Nathan Milstein, circa 1956.

14 14.13-14

Rudolf Serkin, Academy of Music (photographer: Adrian Siegel), circa 1956.

14 14.28.1

Ormandy home, Philadelphia, PA, photographs include Eugene Ormandy and Gretel Ormandy (for the Philadelphia Inquirer), 1957 January 16.

15 15.1-2

Hartford, CT, photograph includes Eugene Ormandy (photographer: Ted Kosinski), 1957 April 8.

15 15.3.1

Zurich, Switzerland, photograph includes Eugene Ormandy and Isaac Stern (photographer: Klaus Hennch), 1957 June.

15 15.4.1

Chexbres, Switzerland, home of Swiss physicist Professor Jacques Piccard, photograph includes Eugene Ormandy and Auguste Piccard, 1957 July.

15 15.5.1

Finland, Jean Sibelius's funeral, 1957 September.

15 15.17.1

Helsinki, Finland, 1957.

15 15.6.1

Nora, Sweden, photograph includes Eugene Ormandy (photographer: Toben Christian), 1957 September.

58 1

Nora, Sweden, photographs include Eugene Ormandy (photographer: Toben Christian), 1957 September.

15 15.11-16

Copenhagen, Denmark, photograph includes Eugene Ormandy and Gretel Ormandy (photographer: Thomas Andresen), 1957 September 8-12.

15 15.7-10

Copenhagen, Denmark, photograph includes Eugene Ormandy (photographer: Thomas Andresen), 1957 September 8-12.

58 1

Carnegie Hall, New York, NY, photograph includes Gretel Ormandy, 1957 October 1.

15 15.18.1

Carnegie Hall, 1957.

58 1

Hollywood Bowl, Los Angeles, CA, 1958 August.

18 18.17.1

Philadelphia, PA, photographer includes Gretel Ormandy (photographer: Jules Schick), 1958 December 3.

18 18.18.1-2

Academy of Music, Philadelphia, PA, Eugene Ormandy conducting (contact sheet, photographer: Adrian Siegel), 1958 December 13.

18 18.19.1-2

Havana, Cuba, Eugene Ormandy and Gretel Ormandy flying (photographer: Jules Schick), 1958 January 12.

15 15.20.1

Eugene Ormandy with two nieces, Carnegie Hall, New York, NY (photographer: Impact Photo, Inc.), 1958 April.

15 15.21.1

Philadelphia Airport, Philadelphia, PA, photograph includes Eugene Ormandy, "the weather girl", Mrs. Manny Roth and Manny Roth (photographer: Jules Schick), 1958 May 10.

15 15.22-23

European tour, Paris, France, party for Eugene Ormandy receiving the French Legion of Honor, photographs include Eugene Ormandy and Marguerite Long (photographer: D. Berretty), 1958 May 18-19.

15 15.24-26

European tour, Bucharest, Romania, Eugene Ormandy and Gretel Ormandy arriving in Bucharest, Romania (photographer: Rumania Today Illustrated Monthly), 1958 May 20.

15 15.27-29

European tour, Romania, photograph includes Eugene Ormandy and William Kincaid, 1958 May 20-26.

15 15.32.1

European tour, Bucharest, Romania, 1958 May 21.

15 15.30.1

European tour, Kiev, 1958 May 22-23.

15 15.31.1

European tour, Moscow, Russia, Eugene Ormandy conducting the Bolshoi zal Konservatorii, photographs include George Dreyfus, Emil Gilels, Harry Gorodetzer, Dmitri Kabalevsky, William Kincaid, Amran Khachatrian, Jacob Krachmalnick, Rostapovich Khachatriam, Eugene Ormandy, Gretel Ormandy, Mrs. Prokofiev and her two sons, Sviatoslav Richter, and Jerry Wilgler, 1958 May 27-30.

16 16.1-17.10

European tour, Moscow, Russia, 1958 May 27-30.

58 2

European tour, Leningrad, Russia, Eugene Ormandy conducting the Bolshoi zal Konservatorii, photographs include Alexander Hilsburg, Eugene Ormandy, and Gretel Ormandy, 1958 June 1-4.

17 17.11-17

European tour, Leningrad, Russia, 1958 June 1-4.

58 2

European tour, Katowice, Poland, Silesian State Philharmonic Hall, Eugene Ormandy conducting Philadelphia Orchestra, 1958 June 15.

17 17.25.1

European tour, Stuttgart, Germany, reception for Philadelphia Orchestra, photographs include Eugene Ormandy, Joseph Hirn, Mrs. Arnulf Klett, Arnulf Klett, Gretel Ormandy, Mrs. Allen Moreland and Allen B. Moreland, 1958 June 23.

17 17.26-27

European tour, Vatican City, Italy, Eugene Ormandy and Gretel Ormandy in Papal audience, 1958 June 26.

58 2

European tour, Vatican City, Italy, photographs include Eugene Ormandy, Gretel Ormandy and Pope Pius XII, 1958 June 26.

17 17.28.1-2

European tour, Vienna, Austria (photographer: Fayer), 1958 July.

17 17.29-32

Eugene Ormandy and Gretel Ormandy at home, Philadelphia, PA, photographs include Mary Krause, Eugene Ormandy and Gretel Ormandy (photographer: Louis Lux), 1958.

18 18.20-23

European tour, photograph includes Louis Gesensway and Eugene Ormandy, 1958.

58 2

European tour, Antwerp, Belgium, photographs include Eugene Ormandy, Gretel Ormandy, and Theodore Pitcairn, (photographer: Philippe), 1958.

18 18.2-8

European tour, Hungary, 1958.

18 18.1.1

European tour, Hungary, 1958.

58 2

European tour, photographs include Eugene Ormandy conducting, flying over Eastern Europe, Louis Gesensway, Gretel Ormandy, and Isaac Stern, 1958.

18 18.9-16

European tour, Russia, photographs include Don Engle, Jacob Krachmalnick, Eugene Ormandy, Gretel Ormandy, a Russian interpreter, and Van Cliburn, 1958.

17 17.18-24

European tour, Flying over Eastern Europe, 1958.

58 2

Columbia, SC, photograph includes Eugene Ormandy, Gretel Ormandy and Gov. Ernest F. Hollings (inscribed in English), 1959 February 13.

18 18.31.1

University of Miami, Oxford, OH, Eugene Ormandy receiving honorary degree (photographer: Audio Visual Service, Miami University), 1959 February 18.

18 18.32.1

Philadelphia, PA, photographs include W. Baylis, Stuart Lockheim, Eugene Ormandy, Gretel Ormandy, and Mary Louise Curtis Bok Zimbalist, Philadelphia, PA (photographer: Adrian Siegel), 1959 April 23.

18 18.33.1-2

Israel trip, Eugene Ormandy and Gretel Ormandy arriving in Israel and Eugene Ormandy conducting, photographs include Hannoch Nenner, Mayor of Eliat, Eugene Ormandy, Gretel Ormandy, and Isaac Stern (photographer: Isaac Berez), 1959 May 11-25.

19 19.1-21

Eugene Ormandy sitting for sculptor, 1959 May.

19 19.22-23

Israel (photographer: Sam Frank), 1959 May.

58 3

New York, NY, Eugene Ormandy and Gretel Ormandy returning from London greeted by Roger Hall, 1959 September 19.

19 19.25-26

Dimitri Schostakovich and Eugene Ormandy (photographer: Adrian Siegel), 1959 November.

58 3

Eugene Ormandy, Rostapovich and Shostakovich, negatives, 1959 November.

73 6

Academy of Music, Philadelphia, PA, photographs include Eugene Ormandy, Mstislav Rostropovich, Dimitri Shostakovich, Boris Yarustovsky, (photographers: Adrian Siegel and United Press International), 1959 November.

19 19.27-29

Governor Robert B. Meyner, Helen Stevenson Meyner, and Eugene Ormandy, 1959 December.

19 19.30.1

Columbia Records, commemorative gold record, 1959.

19 19.32.1-2

Columbia Records, commemorative gold record, 1959.

58 3

Columbia record, negatives, 1959.

73 7

Envelope addressed to Eugene Ormandy from Elizabeth Fieher, 1959.

19 19.24.3

In letter from Elizabeth Fieher of West Germany, 1959.

19 19.24.1-2

Unknown, 1959.

19 19.31.1

Academy of Music, Philadelphia, PA, Eugene Ormandy (photographer: Eugene Cook), 1950s.

57 13

Academy of Music, Philadelphia, PA, Eugene Ormandy (photographer: Philippe Halsman), 1950s.

57 13

Academy of Music, Philadelphia, PA, Eugene Ormandy conducting (photographers: Eugene Cook and Adrian Siegel), 1950s.

21 21.15-24

Academy of Music, Philadelphia, PA, photographs include Eugene Ormandy (photographer: Adrian Siegel), 1950s.

22 22.2-3

Adrian Siegel, 1950s.

22 22.19.1

Albert Schweitzer and Pable Casals, 1950s.

22 22.23.1

Argentina, Eugene Ormandy and Gretel Ormandy, 1950s.

57 13

Argentina, Eugene Ormandy and Gretel Ormandy (photographer: Stanlee Photo), 1950s.

22 22.12.1

Columbia Records recording session, Philadelphia, PA, photographs include Eugene Ormandy and Rudolf Serkin (photographer: Adrian Siegel), 1950s.

21 21.31.1-2

Constitution Hall, Washington, DC, photograph includes Eugene Ormandy with Philadelphia Orchestra (photographer: Woltz), 1950s.

21 21.14.1

Elias Wolf, president of the Academy, 1950s.

57 13

Eugene Istomin (photographer: Fritz Henle), 1950s.

22 22.27.1-2

Eugene Ormandy, 1950s.

57 13

Eugene Ormandy, 1950s.

21 21.25.1-2

Eugene Ormandy, 1950s.

21 21.27-30.1

Eugene Ormandy, 1950s.

22 22.1.1

Eugene Ormandy, 1950s.

22 22.14.1

Eugene Ormandy, 1950s.

22 22.4-6

Eugene Ormandy, 1950s.

22 22.9.1

Eugene Ormandy (photographer: Tasnad), 1950s.

21 21.26.1-2

Eugene Ormandy and Gretel Ormandy, 1950s.

57 13

Eugene Ormandy and Gretel Ormandy, 1950s.

57 13

Eugene Ormandy and Gretel Ormandy, 1950s.

22 22.13.1

Eugene Ormandy and Gretel Ormandy, 1950s.

22 22.18.1

Eugene Ormandy and Gretel Ormandy (photographer: Adrian Siegel), 1950s.

22 22.17.1

Eugene Ormandy, London, England; with Grace Kelly at the Philadelphia Museum of Art; with Rudolf Serkin (photographers: Lotte Meitner-Graf, and Adrian Siegel), 1950s.

68 5

Eugene Ormandy, painting by Agnes Allen, 1950s.

22 22.8.1

Gretel Ormandy, 1950s.

22 22.20.1

Gretel Ormandy (photographer: Adrian Siegel), 1950s.

22 22.24.1

Jean Sibelius, inscribed portrait (photographer: O. Varing), 1950s.

22 22.26.1

Munich, Germany, photograph includes Eugene Ormandy, 1950s.

22 22.16.1

New York, NY, photograph includes Eugene Ormandy (photographer: Philippe Halsman), 1950s.

22 22.7.1-2

Philadelphia Museum of Art, Philadelphia, PA, photograph includes Grace Kelly and Eugene Ormandy, 1950s.

57 13

Philadelphia Museum of Art, Philadelphia, PA, photographs include Grace Kelly and Eugene Ormandy (photographer: Adrian Seigel and Rosen), 1950s.

22 22.10.1-2

Philadelphia Orchestra members, 1950s.

22 22.21.1

Standard Oil Company, New York, NY, Eugene Ormandy and Gretel Ormandy (photographer: Standard Oil), 1950s.

22 22.11.1

Unknown, 1950s.

22 22.14.2

Unknown (photographer: Adrian Siegel), 1950s.

22 22.28.1

Unknown child, 1950s.

22 22.25.1-2

Unknown, inscribed, 1950s.

22 22.22.1

William Kincaid and Eugene Ormandy, 1950s.

21 21.30.2

Worcester Music Festival, Worcester, MA, photograph includes Eugene and Gretel Ormandy (photographer: Telegram Gazette), 1950s.

22 22.15.1

New York, NY, photograph includes Eugene Ormandy (photographer: Philippe Halsman), includes one photograph autographed by Halsman, 1950s-1963.

68 6

Leontyne Price, circa 1957.

15 15.19.1

Eugene Ormandy, circa 1958.

18 18.30.1-3

European tour, Berlin, German, photographs include Eugene Ormandy, Adrian Siegel, Don Engle and Gretel Ormandy, circa 1958.

18 18.27.1

European tour, photographs include Don Engle, Elsa Hilger, Mary Krause, Eugene Ormandy, and Professor Auguste Piccard, circa 1958.

18 18.28-29

French Embassy, Washington, DC, photographs include Henri Bonnet, Eugene Ormandy, and Gretel Ormandy, circa 1958.

18 18.24-26

Arthur Judson and Mrs. Garner, New York, NY (photographer: Ben Greenhaus), early 1950s.

20 20.10.1

Bellevue Stratford, Philadelphia, PA, Mrs. Jacob Bauer, Mrs. Boles, Judy Colt, William Kincaid, Eugene Ormandy, and Gretel Ormandy (photographer: Adrian Siegel), early 1950s.

20 20.12.1

Chart for record 20.12.2, early 1950s.

20 20.12.2a

Eugene Ormandy, early 1950s.

20 20.2-5

Eugene Ormandy, early 1950s.

57 13

Eugene Ormandy (photographer: Columbia Records), early 1950s.

20 20.6.1

Eugene Ormandy and Gretel Ormandy, early 1950s.

20 20.8.1

Eugene Ormandy and Gretel Ormandy, early 1950s.

20 20.15.1-2

Eugene Ormandy and Gretel Ormandy (photographer: Grace Line), early 1950s.

20 20.13.1

Gian Carlo Menotti and Eugene Ormandy, early 1950s.

20 20.7.1

Gretel Ormandy (photographer: Adrian Siegel), early 1950s.

20 20.11.1

Jacob Krachmalnick and Eugene Ormandy, early 1950s.

20 20.1.1

Mrs. Arthur Judson, Erik Tuxen, Gretel Ormandy, New York, NY (photographer: Ben Greenhaus), early 1950s.

20 20.9.1

New York, NY, photographs include Mrs. McLanahan, Eugene Ormandy, and Erik Tuxen (photographer: Ben Greenhaus), early 1950s.

20 20.9.2

Philadelphia, PA, Eugene Ormandy and Gretel Ormandy (photographer: Evening Bulletin), early 1950s.

20 20.14.1

See record 20.12.2a, Bellvue Stratford, Philadelphia, PA (photographer: Adrian Siegel), early 1950s.

20 20.12.2

William Kapell with wife and son David Kapell, early 1950s.

20 20.16.1

Arthur Judson, Eugene Ormandy, Lily Pons, and Max Rudolf, mid 1950s.

20 20.20.1

David Oistrakh and Eugene Ormandy, mid 1950s.

20 20.18.1

Eugene Ormandy, mid 1950s.

20 20.17.1

Lily Pons and Eugene Ormandy (photographer: Ben Greenhaus), mid 1950s.

20 20.19.1

Philadelphia Orchestra, mid 1950s.

57 13

Roger Hall and Catherine Knight wedding, photographs include Roger Hall, Catherine Knight, Eugene Ormandy and Gretel Ormandy (photographer: Tom McCoffrey), mid 1950s.

20 20.21.1-3

Academy of Music, Philadelphia, PA, taping by WCAU TV, late 1950s.

20 20.22-23

Emil Gilels and Eugene Ormandy (photographer: Adrian Siegel), late 1950s.

21 21.10.1

Eugene Ormandy (contact sheet, photographer: Adrian Siegel), late 1950s.

21 21.4.2

Eugene Ormandy (photographer: Adrian Siegel), late 1950s.

20 20.33.1

Eugene Ormandy (photographer: Adrian Siegel), late 1950s.

21 21.4.1

Eugene Ormandy (photographer: Adrian Siegel), late 1950s.

57 13

Eugene Ormandy conducting, late 1950s.

20 20.24.1

Hamburg, Germany, photograph includes Eugene Ormandy (photographer: Berger), late 1950s.

21 21.3.1

Hilde Gueden, Elinor Gueden, Mrs. Feuchtinger and Gretel Ormandy (photographer: Adrian Siegel), late 1950s.

21 21.9.1

Hollywood Bowl, Los Angeles, CA, Eugene Ormandy conducting (photographer: Franz Roehm), late 1950s.

20 20.26-32

Hollywood Bowl, Los Angeles, CA, Eugene Ormandy, conducting (photographer: Rothschild), late 1950s.

68 4

John Coute, James Fawcett, and Eugene Ormandy, late 1950s.

21 21.12.1

London, England, photograph includes (photographer: Lotte Mietner-Graf), late 1950s.

57 13

London, England, photograph includes Eugene Ormandy (photographer: Lotte Mietner-Graf), late 1950s.

72 3

Macon, Georgia, photograph includes Corrine Claiborne "Liddy" Boggs, Eugene Ormandy, and Gretel Ormandy (photographer: Oscar Huff), late 1950s.

21 21.11.1

Mormon Tabernacle Choir, Eugene Ormandy and Gretel Ormandy with members of the Choir, late 1950s.

21 21.13.1

Philadelphia, PA, photograph includes Eugene Ormandy (photographer: Philadelphia Inquirer), late 1950s.

21 21.8.1

Samuel Barber, Donald Johanos, and Eugene Ormandy, late 1950s.

21 21.1-2

Washington, DC, photograph includes Eugene Ormandy, late 1950s.

20 20.25.1

Series V. 1960s.

Volume Item

Margaret Nelson Hausen, wife of composer Howard Hausen, and family, 1960 February 6.

22 22.29.1

Eugene Ormandy and Gretel Ormandy, Philadelphia, PA (photographer: Philadelphia Inquirer), 1960 April 9.

22 22.30.1

Singing City Award, Eugene Ormandy receiving award, Philadelphia, PA (photographer: Jules Schick), 1960 April 27.

22 22.31.1

Eugene Ormandy conducting, Philadelphia, PA, photograph includes Janice Harsanyi, Eugene Ormandy, and Herve Presnell, 1960 April.

23 22.30-23.5

Harald Saeverud, New York, NY (inscribed), 1960 April.

23 23.6.1

Eugene Ormandy, Janice Harsany and Harve Presnell, Philadelphia, PA, 1960 April.

58 4

Eugene Ormandy conducting, 1960 April.

58 4

1960 May 6.

73 8

Eugene Ormandy, Academy of Music, Philadelphia, PA (photographer: Jules Schick), 1960 May 16.

23 23.15.1

Rutgers University, NJ, Eugene Ormandy receiving honorary degree, 1960 June 8.

23 23.7.1