Page discusses his background, how he attained the position at Temple University, his first experience working with Eugene Ormandy and the Philadelphia Orchestra in performances of Carl Orff's Trionfo di Afrodite, what he learned about conducting from Ormandy, his process of preparing a chorus for performances with the Philadelphia Orchestra (especially Krysztof Penderecki's Utrenja and Samuel Barber's The Lovers), and his working and personal relationship with Ormandy. Page also talks about various aspects of Ormandy's characteristics as a conductor, including his process of learning a score, his rehearsal technique, his concept of orchestral sound and how he achieved it, his sense of time, his conducting technique, and his approach to contemporary music. Page also offers anecdotes and opinions concerning others, including Elaine Brown, Margaret Hillis, Lorin Maazel, Zubin Mehta, Claudio Abbado, Martial Singher, Phyllis Curtin, Jon Vickers, Dag Hammarskjold, Leopold Stokowski, Seth McCoy, John McCollum, and William Smith.
