Gorodetzer describes his background, his audition before both Eugene Ormandy and Leopold Stokowski, how Stokowski got a rich sound from the string section of the Philadelphia Orchestra, his place in the violoncello section and auditions to move up, the issues of women in the orchestra and job security for men who served in World War II, how player replacements affect the orchestra, and the transition from Stokowski to Ormandy. He discusses various aspects of Ormandy's personality and career, including his treatment of players, his temper, his sense of timing (especially in recording sessions), his programming (with note of contemporary and American music), his dedication to the Philadelphia Orchestra, his shrewd business sense, his stance during the orchestra strikes, his memory skills, and his later years. Anecdotes and opinions are offered concerning other people, including Samuel Gorodetzer, Riccardo Muti, Fritz Reiner, Leonard Bernstein, Saul Caston, Samuel Mayes, Elsa Hilger, Jascha Heifetz, Sergei Rachmaninoff, Arturo Toscanini, Arthur Judson, Pierre Monteux and Ernst Ansermet.
