The Quotations of Eugene Ormandy

• 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.
• Relax. Don't be nervous. My God, it's the Philadelphia Orchestra!
• 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.
• As pp as possible -- even softer.
• 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.
• It's hot as hell as can be.
• 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.
• Start three bars before something.
• 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.
• (To Cindy Williams, violinist) I don['t think I've ever met you. Are you Swedish?
• If you don't have it in your part, leave it out because there is enough missing already.