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  1. #1
    Ble medlem
    Mar 2003
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    Eugene Ormandy

    Here are some of the funniest things Ormandy uttered during his tenure with the Philadelfia Orchestra

    · Now we will play something we have never played before. I didn't mean that. Mahler wrote it as the 3rd Movement of his 4th Symphony. I mean the 4th Movement of his 1st Symphony - we play it third. The trumpet solo will be played by our solo trumpet player. It's named "Blumine" - which has something to do with flowers.
    · With us tonight is William Warfield, who is with us tonight.
    · ... He is a wonderful man and so is his wife.
    · (On the occasion of the death of David Oistrakh) I told him he'd have a heart attack a year ago, but unfortunately he lived a year longer.
    · I conduct faster here so you can see my beat.
    · The next movement is still in the factory.
    · Think of your girlfriend or boyfriend or whomever you want to.
    · At every concert I've sensed a certain insecurity about the tempo. It's clearly marked quarter note = 80, uhh, 69.
    · All of you are ready to start so I must be ready.
    · It's not important. It's only important when it's late.
    · It's difficult to remember when you haven't played it before.

    · I'm conducting slowly because I don't know the tempo.
    · I don't want to repeat this 100 times. When you see crescendo, it means p.
    · I cannot give it to you so try to watch me.
    · I was trying to help you so I was beating wrong.
    · The minute you slow down a fraction, you're behind.
    · I wrote it the right way so it was copied the wrong way right - I mean the right way wrong.
    · Who is sitting in that empty chair?
    · Bass Clarinetist: What note do I have?
    EO: The score is written out the way you hear it the way you play it - and I have to transpose back to normal.
    · Tubist: Long note?
    EO: Yes, make it seem short.

    · I guess you thought I was conducting, but I wasn't.
    · The notes are right, but if I listened they would be wrong.
    · You have to do two things. Watch it and me.
    · Even if the right instruments are not here, we will play it anyway. It's only a short piece.
    · I am thinking it right but beating it wrong.
    · I can conduct it better than I count.
    · Intonation is important, especially when it is cold.
    · It is not together, but the ensemble is perfect.
    · Don't ever follow me because I am difficult.
    · I purposely gave you a slower tempo, because I did not know what the right one was.
    · Suddenly I was in the right tempo -- but it wasn't.

    · Brass, stay down all Summer.
    · My bowings are only general.
    · After two minutes after this time, and I am already there.
    · This is one bar you should take home.
    · I never know where I am.
    · Tonight is the night when 300 years ago Johann Strauss was born. That's why this year is important.
    · Something went wrong. It was correct when I studied it.
    · There was confusion since I stood here 35 years ago.
    · During the rests -- pray.
    · It has no rhythm, but it will because it's so much faster.
    · Don't play louder, just give it more.
    · I don't get into politics, general or musical, but just call me if you get jury duty. Even in New Jersey I was able to help somebody.
    · More basses because you are so far away.
    · You're looking at me so strangely.
    · I purposely didn't do anything and you were all behind.
    · It can either be too soon or too late or not together.

    · I go forward in tempo.
    · There is a shadow on every page.
    · You know who you are.
    · EO: To the Woodwinds: There are no woodwinds at Number 6.
    Woodwinds: We're at number 15.
    EO: I know. that is why.
    · Start 4 and be 42.
    · Did you play? It sounded very good.
    · I never say what I mean but I always manage to say something similar.
    · EO: Percussion a little louder
    Percussion: We don't have anything.
    EO: That's right, play it louder.

    · If you don't have it in your part, leave it out because there is enough missing already.
    · That C major chord is always out of tune. I don't know why -- it can't be you.
    · Let me explain what I do here. I don't want to confuse you any more than absolutely necessary.
    · That's the way Stravinsky was -- Bup, bup, bup - The poor guy's dead now. Play it legato.
    · (To William Smith) Did you play?
    WS: Yes.
    EO: I know. I heard you.

    · Why do you always insist on playing while I'm trying to conduct?
    · We can't hear the balance yet because the soloist is still on the airplane.
    · I think one thing and say another.
    · Start at B. No. Yes. No. Yes. NO.
    · Congratulations to each and every one of you for the concert last night in New York and vice versa.
    · Watch me closely -- only one can spoil it.
    · Accelerando means in tempo. Don't rush.

    · It's so legato it's difficult to splice. Sibelius was famous for that.
    · I can see none of you are smugglers, that's why it's so loud.
    · You notice I go faster and slower, faster and slower. It is all in relation to the previous tempo.
    · The tempo remains pp.
    · Without him here, it is impossible to know how fast he will play it, approximately.
    · We do not know when he is coming. He is coming tomorrow.
    · Someone came too sooner.
    · After one performance it will be perfect.
    · That's the way it was every time I studied it.
    · Serkin was so sick he almost died for three days.

    · We have to play it longer because there are no numbers or letters.
    · Thank you for your cooperation and vice versa.
    · Don't think you are looking at me because you are not.
    · I mean what I meant.
    · I don't mean to make you nervous but unfortunately I have to.
    · Even when you are not playing, you are holding me back.
    · Not one of you told me I was too slow - I know I was too slow - why didn't you tell me?
    · He was listening so I don't remember.
    · I know this music from memory, not from the music.
    · I always feel I do it too slow, but then others do it faster.

    · Chorus, I am sorry you have to stand so long, but can you stand again?
    · Beauty is less important than quality.
    · There is a number missing. I can see it.
    · That was perfect. It was just the opposite from what I said yesterday.
    · Please follow me because I have to follow him and he isn't here.
    · I need one more bass less.
    · Yes, the mutes are already on. You took them off in the beginning.
    · I am glad you asked me, or am.
    · You know me. I'm a maniac when it comes to rhythm.

    · I forgive you for shaving yourself.
    · It is not as difficult as I thought it was, but it is harder than it is.
    · It's marked accelerando, so you push ahead.
    · Q: is that a G or a G# Maestro? EO: Yes.
    · Why do you always start after my beat then rush to catch up? Do you want us to stay behind?
    · (Before walking on stage) Is the audience all here?
    · Tonight I'm going to listen with my ears.
    · Muti is going to do the Alpine Symphony this year. He will do it well because it is not very well known.
    · I will beat in six because of the distance.

    · It's all very well to have principles, but when it comes to money, you have to be flexible.
    · (In reference to Willy Knappell's death) Death is an awful thing. I don't believe in it myself.
    · (To Kendall Betts) When you have those dark glasses on, I can't tell whether you're looking at me or doubling.
    · Bizet was a very young man when he composed this symphony, so play it softly.
    · (To Cindy Williams, violinist) I don't think I've ever met you. Are you Swedish?
    · Write it down in your own handwriting.
    · (To the horns) The trouble is not with you; it is with me. I have to catch him and then it is too late.
    · Let's start at 35 because I don't know where it is.
    · This is a very democratic organization, so let's take a vote. All those who disagree with me, raise their hands.
    Masse utstyr - men mest musikk!

  2. #2
    Ble medlem
    Apr 2008
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    Ser ut som en fin type, den gamle Eugene.
    Føler han kunne passet bra inn her hos meg.
    Har aldri kunnet fordra skråsikre typer.
    In theory, theory and practice are the same. In practice, they are not. A. Einstein

  3. #3
    Æresmedlem emotikon's Avatar
    Ble medlem
    Oct 2004
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    Har plukket opp noen godbiter som skal drysses på jobb i løpet av sesongen. Takk

    ED: når jeg tenker meg om, tror jeg nok at noen av disse replikkene har jeg allerede klart å bruke i løpet av årene....
    Siste redigert av emotikon; 05.09.2014 kl. 09:27.

  4. #4
    Ble medlem
    Apr 2008
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    Sitat Sitat fra emotikon Se Innlegg
    ... godbiter som skal drysses på jobb i løpet av sesongen.....
    · It's all very well to have principles, but when it comes to money, you have to be flexible.
    Kan tenke meg det ja

    Forresten: vi kunne la det bli en lengre Ormandy-tråd
    Jeg lytter ikke mye til Ormandy for tiden, men husker ham godt med gamle Philadelphia Orchestra, og deres deilige varme flytende klanger. Det første som renner i hu er min første plate med Smetana og MaVlast. Intens nytelse i 70-talls kjellerstue der med konfirmasjonsfinansiert Philips/Tandberg/Seas gutteanlegg.
    In theory, theory and practice are the same. In practice, they are not. A. Einstein

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