ONE WOMAN IN A HUNDRED : EDNA PHILLIPS AND THE PHILADELPHIA ORCHESTRA
by Mary Sue Welsh

Her first instrument was the piano; she started at an early age. But when she changed teachers, she became disillusioned. Afraid that she would abandon music altogether, her mother bought her a harp for her eighteenth birthday. Now she needed advanced instruction but it was hard to find an independent teacher. She auditioned, twice, at the Curtis Institute of Music for the harp and the piano. Since her skills on the harp were considered too elementary for the brilliant harpist Carlos Salzedo to take her on as his student, she spent six months working with his assistant to bring her up to par.
Less than two years later, in 1929, Leopold Stokowski needed a harpist for his orchestra and she was recommended.
On October 3, 1930, Edna Phillips joined the Philadelphia Orchestra. She was the first female to have a principal position in a major orchestra. Twenty-three years old, scared to death, surrounded by one hundred men who resented her, Phillips held her head high and plowed right through with steely determination.
One Woman in a Hundred is one fabulous book. All of the stuff that went on during rehearsals with Stokowski (how he intertwined all of the musicians together by his theories of how the music should be played), being led by other conductors such as Arturo Toscanini (he screamed), interactions with the other performers, recording for Walt Disney's Fantasia (wires all over the place), the behind-the-scenes intricacies are revealed here.
Mary Sue Welsh writes as if Phillips herself was the author and she did a masterly job.
There are great black-and-white photos of the orchestra, Phillips with her harp (natch), Stokowski, Eugene Ormandy, Toscanini, et al.
If you're a classical music aficionado, you must get this book. It's funny, fascinating, and an absolute joy to read.
Highly recommended.