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Leo Ornstein
Leo Ornstein (born ''Lev Ornshteyn''; (ロシア語:Лев Орнштейн); c. December 2, 1893 – February 24, 2002)〔The year of Ornstein's birth has frequently been misreported, often as 1892 (see, e.g., (Leo Ornstein, United States Social Security Death Index )), and sometimes as 1894. For proper dating of 1893, see Broyles (2004), p. 73; Oja (2000), p. 409, n. 2. In reference to the specific date, "December 2 () the day that Ornstein believes is his birthday, though documents differ" (Gann ()).〕 was an American composer and pianist of the early twentieth century. His performances of works by avant-garde composers and his own innovative and even shocking pieces made him a cause célèbre on both sides of the Atlantic.
Ornstein was the first important composer to make extensive use of the tone cluster. As a pianist, he was considered a world-class talent.〔In addition to the citations below, see also, e.g., Broyles and Von Glahn (2007), p. 9 ("a pianist of extraordinary skill"); Rumson (2002), p. 352 ("enormous pianistic skills"); Perlis (1983), p. 104 ("recognized as a world famous concert pianist"). According to Oja (2000), he was "the single most important figure on the American modern-music scene in the 1910s" (p. 15).〕 By the mid-1920s, he had walked away from his fame and soon disappeared from popular memory. Though he gave his last public concert before the age of forty, he continued writing music for another half-century and beyond. Largely forgotten for decades, he was rediscovered in the mid-1970s. Ornstein completed his eighth and final piano sonata in September 1990 at the age of ninety-six, making him the oldest published composer in history (a mark since passed by Elliott Carter).
==Early life==
Ornstein was born in Kremenchuk, a large town in the Ukrainian province of Poltava, then under Imperial Russian rule. He grew up in a musical environment—his father was a Jewish cantor, while a violinist uncle encouraged the young boy's studies. Ornstein was recognized early on as a prodigy on the piano; in 1902, when the celebrated Polish pianist Josef Hofmann visited Kremenchug, he heard the eight-year-old Ornstein perform. Hofmann gave him a letter of recommendation to the highly regarded St. Petersburg Conservatory. Soon after, Ornstein was accepted as a pupil at the Imperial School of Music in Kiev, then headed by Vladimir Puchalsky. A death in the family forced Ornstein's return home. In 1903, Osip Gabrilovich heard him play and recommended him to the Moscow Conservatory. In 1904, the ten-year-old Ornstein auditioned for and was accepted by the St. Petersburg school.〔Martens (1975), pp. 10–11. Note that Martens, like many others, has the incorrect year of Ornstein's birth and thus his age wrong: Martens says he was eight when he entered the school; Anderson (2002a), for example, says he was twelve. Part of the confusion is based in the fact that Ornstein was under the age limit when he entered the conservatory, so a false date of birth was given to the school, identifying him as older than he was (see, e.g., Anderson ()). On other occasions, the family apparently understated the boy's age, to make him appear that much more of a prodigy (see, e.g., ("Postlude: Vivian Perlis Remembers Leo Ornstein" ) ''NewMusicBox'', April 1, 2002; web magazine of the American Music Center. Retrieved 1/31/07.) Aside from this issue, Martens's dating of Ornstein's encounters with famous pianists and the sequence of educational opportunities appears to be the most authoritative.〕 There he studied composition with Alexander Glazunov and piano with Anna Yesipova. By the age of eleven, Ornstein was earning his way by coaching opera singers.〔Broyles (2004), p. 73.〕 To escape the pogroms incited by the nationalist and antisemitic organisation Union of the Russian People, the family emigrated to the United States in February 1906.〔Broyles and Von Glahn (2007), p. 3.〕 They settled in New York's Lower East Side, and Ornstein enrolled in the Institute of Musical Art—predecessor to the Juilliard School—where he studied piano with Bertha Feiring Tapper. In 1911, he made a well-received New York debut with pieces by Bach, Beethoven, Chopin, and Schumann. Recordings two years later of works by Chopin, Grieg, and Poldini demonstrate, according to music historian Michael Broyles, "a pianist of sensitivity, prodigious technical ability, and artistic maturity."〔Broyles (2004), p. 75.〕
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