De Pasquale describes how he attained his positions with the Boston Symphony, the Philadelphia Orchestra, and at Curtis Institute of Music, and the efforts of Eugene Ormandy that caused him to move to Philadelphia. De Pasquale discusses various aspects of Ormandy's career and personality, including his relationship with the Phila. Orch. players and board of directors, his longevity, stamina (especially in recording sessions), skill as an accompanist, memory, skill at learning new works of music, conducting and rehearsal technique (and the relationship between his downbeat and the type of attack he sought), his concept of orchestral sound and how he achieved it, his association with Curtis Institute, his choices in contemporary music, his reaction to string instruments made by contemporary makers, his regard for Arturo Toscanini, his later years, his generosity, and his stature as a conductor. In this context De Pasquale makes comparisons between Ormandy and other conductors, Serge Koussevitsky, Charles Munch, and Riccardo Muti. De Pasquale also discusses other matters, including his family (brothers William, Robert, and Francis, and the De Pasquale String Quartet), the unionization of the Boston Symphony, the relationship between touring and recording, details concerning the construction of the viola, and a comparison between the Boston Symphony and the Phila. Orch. (especially in regard to tuning pitch). Opinions and anecdotes are offered concerning others, including Efrem Zimbalist, Leopold Stokowski, Pierre Monteaux, Herbert von Karajan, William Primrose, Walter Piston, and Anshel Brusilow.
