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In the words of one of his biographers, conductor Jean Martinon's performances "were distinguished by a concern for translucent orchestral textures, and sustained by a subtle sense of rhythm and phrasing." Occasionally, "he stressed a poetic inflection at the expense of literal accuracy."

Martinon's first instrument was the violin; he studied at the Lyons Conservatory (1924-1925), then transferred to the Paris Conservatory, where he won first prize in violin upon his graduation in 1928. He subsequently studied composition, with Albert Roussel, and conducting, with Charles Munch and Roger Desormière. Until the outbreak of World War II, Martinon was primarily a composer. His early substantial works include a Symphoniette for piano, percussion, and strings (1935); Symphony No. 1 (1936); Concerto giocoso for violin and orchestra (1937); and a wind quintet (1938). At the start of the war he was drafted into the French army. Taken prisoner in 1940, he passed the next two years in a Nazi labor camp. There, he wrote Stalag IX (Musique d'exil), an orchestral piece incorporating elements of jazz; during his internment, he also composed several religious works, including Absolve, Domine for male chorus and orchestra, and Psalm 136 (Chant des captifs), the latter receiving a composition prize from the city of Paris in 1946.

Upon his release from the Nazi camp, Martinon became conductor of the Bordeaux Symphony Orchestra (from 1943 to 1945) and assistant conductor of the Paris Conservatory Orchestra (from 1944 to 1946), then associate conductor of the London Philharmonic (from 1947 to 1949). He toured as a guest conductor as well, although his U.S. debut did not come until 1957, with the Boston Symphony giving the American premiere of his Symphony No. 2. Although he devoted as much time as he could to composing in the early postwar years -- producing a string quartet (1946), an "Irish" Symphony (1948), the ballet Ambohimanga (1946), and the opera Hécube (1949-1954) -- he was increasingly occupied with conducting, working with the Concerts Lamoureux (from 1951 to 1957), the Israel Philharmonic (from 1957 to 1959), and Düsseldorf Symphony Orchestra (from 1960 to 1966). In 1963, he succeeded Fritz Reiner as head of the Chicago Symphony. Martinon's tenure there was difficult. In five seasons, he conducted 60 works by modern European and American composers, and made a number of outstanding LPs for RCA, mostly of bracing twentieth century repertory in audiophile sound. Chicago's conservative music lovers soon sent him packing.

Martinon jumped at the chance to take over the French National Radio Orchestra in 1968; working with this ensemble, he recorded almost the entire standard French repertory for Erato and EMI. His earlier Erato efforts that focused on such secondary but nevertheless interesting figures as Roussel, Pierné, and Dukas, whereas EMI assigned him integral sets of the Saint-Saëns symphonies and the orchestral works of Debussy and Ravel, among other projects. In 1974, he was appointed principal conductor of the Residentie Orkest in The Hague, but he died before that relationship could bear much fruit.

Martinon resumed his career as a composer around 1960, writing his Violin Concerto No. 2 (1960) for Henryk Szeryng, his Cello Concerto (1964) for Pierre Fournier, and his Symphony No. 4 ("Altitudes"), composed in 1965, for the 75th anniversary of the Chicago Symphony. He acknowledged Prokofiev and Bartók as strong influences on his scores, which meld Expressionism with French Neoclassicism. Martinon continued composing into the 1970s, but he seldom recorded any of his own music, with the notable exceptions of the Second Symphony, "Hymne à la vie" (ORTF, for Barclay Inedits) and Fourth Symphony, "Altitudes" (Chicago SO, for RCA).

The Orchestre National de France has been associated with French national radio broadcasting for much of its career. It also lives up to its name, giving concerts around France in addition to those at its home venues in Paris.

The Orchestre National de France, or ONF, was founded in 1934 by Radio France as the Orchestre National, giving its first concert at the Paris Conservatory. Its first conductor was Désiré-Emile Inghelbrecht. In 1939, many of the orchestra's musicians were conscripted into the French army. The rest of the group moved to the city of Rennes but disbanded when that city was bombed. The orchestra was reconstituted in Marseilles by the collaborationist Vichy government in 1941; Jewish musicians were banned. The orchestra returned to Paris in 1943 and, the following year, gave its first concert at the Théâtre des Champs-Élysées, where it continues to perform today. It also appears at the Salle Olivier Messiaen at the Maison de Radio France. All of the group's roughly 70 annual concerts are broadcast on the French national radio network ORTF. The orchestra has changed its name several times. When independent French radio was reestablished in 1945, it became the Orchestre national de la Radiodiffusion française, and in 1949 the Orchestre national de la Radio-télévision française or Orchestre national de la RTF. In the 1950s, the orchestra issued several recordings of music by Heitor Villa-Lobos on the EMI label, becoming an early champion of his music in France. In 1964, the group took on the cumbersome name of Orchestre national de l'Office de radiodiffusion-télévision française or Orchestre national de l'ORTF, shortened in 1975 to the present name.

Manuel Rosenthal replaced Inghelbrecht in 1944, and after the war, he restored French and contemporary programming that had been banned under German rule. Major conductors have included Jean Martinon (1968-1973), Lorin Maazel (1988-1990), Charles Dutoit (1991-2001), Kurt Masur (2002-2007), Daniele Gatti (2008-2016), Emmanuel Krivine (2017-2020), and, as of 2020, Cristian Măcelaru, whose contract has been extended through at least 2027. The group has spent considerable periods without a chief conductor and, during those times, has attracted an A-list of international guest conductors that included Leonard Bernstein, Pierre Boulez, and Georg Solti. Guest soloists have been similarly prestigious, with Martha Argerich, Vladimir Ashkenazy, and Yo-Yo Ma numbered among them.

The Orchestre National de France has recorded prolifically for Erato, EMI, Naïve, and other labels. It has a long recording history; an early digital release was an Erato recording of Bizet's Carmen in 1984, starring tenor Plácido Domingo and with Lorin Maazel as conductor. The group has often premiered and recorded contemporary French works but also issues recordings of the standard repertory, not all of it French. In the late 2010s, the orchestra moved to Erato partner Warner Classics, issuing a recording of Alexandre Desplat's Airlines in 2020. The Orchestre National de France remained active during the COVID-19 pandemic, issuing several albums, including a complete set of Saint-Saëns' symphonies (its debut under Măcelaru) in 2021 and a recording of Ravel's piano concertos with pianist Alexandre Tharaud. In 2024, Măcelaru and the orchestra issued an album of George Enescu's first three symphonies. By that time, its recording catalog comprised some 60 digital releases, plus many more from the LP era. ~ James Manheim