Note that Hyperion's online track listing for Marc-André Hamelin's performance of the Eighth Piano Sonata mistakenly refers to "A Lament for a Lost Boy" and "Sources of a Hurdy-Gurdy"; the liner notes by Anderson (2002b) correctly state "A Lament for a Lost Toy" and "Sounds of a Hurdy-Gurdy."
newmusicbox.org
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 [2002a]). 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"Archived June 4, 2011, at the Wayback MachineNewMusicBox, 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.
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 [2002a]). 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"Archived June 4, 2011, at the Wayback MachineNewMusicBox, 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.
