So I had in a way been “in” on his [Stokowski] conductorial beginnings some fifteen years before he was to usher in my American debut with the impressive playing of the orchestral statement of those ineffable themes that precede the entry of the solo violin in Beethoven’s Concerto. / When I call the playing of this orchestral exposition of Beethoven’s themes “impressive,” I should add “intimidatingly impressive.” For that was precisely its effect on me as I stood there at the Philadephia rehearsal – it was in December 1925- my fingers cold, awaiting the redoubtable entry of the solo violin. I was getting weaker and weaker at the knees as the silken sheen of that orchestral introduction enveloped me – me, who had never before heard an American orchestra. << less