Brusilow discusses aspects of his career as a violinist, including his early years as a professional, how he came to the Phila. Orch. from Cleveland (and the friction it caused between George Szell and Eugene Ormandy), a comparison of Leopold Stokowski and Ormandy, his own experince conducting the Phila. Orch. and the Phila. Chamber Orch. (and Ormandy's reactions), his experience as soloist with the Phila. Orch., his working and personal relationship with Ormandy, and how guest conductors dealt with the performance characteristics of the Phila. Orch. In regard to Eugene Ormandy, Brusilow describes Ormandy's rehearsal and conducting technique (especially his downbeat), his skill as an accompanist (with distinction made between vocalists and instrumentalists), his relationship with the board of directors, his treatment of members of the orchestra, speculation about the origin of the Ormandy name and his religious beliefs, his memory skills, bowing practices he preferred, and his legacy as a conductor. Brusilow also offers anecdotes and opinions about other people, including Pierre Monteux, Alexander Hilsberg, Jake Krachmalnik, William Stokking, Samuel Mayes, William Kapell, Van Cliburn, William Kincaid, Eugene Istomin, David Oistrakh, Andre Kostelanetz, Jesse Taynton, Frederick Mann, Theodore Pitcairn, Richard Yardumian, Virgil Thomson, Sviataslov Richter, Dmitri Shostakovich, David Madison, Norman Carol, Joseph De Pasquale, Schima Kaufman, Wanton Balis, Leonard Bernstein and Alberto Ginastera.
