I picked this book up as a used trade paperback, and I'm glad that I [didn't spend to much] for it. I was expecting much more. The narrative is quite choppy, with not much of a sense of continuity. Some of the critical issues/events, such as his refusual to perform in Germany and his divorce from his first wife are discussed with a severe lack of candor. The German thing bothers me the most, I feel like he felt the need to be politically correct - I would not fault him for feeling very negative feelings and being unable to overcome them even after many years. But he keeps saying that the Germans are a fine people, cognisent of their own history, and does not address his feelings on the matter in a fully satisfying way. I guess this is the flaw of the autobiography, though some authors have given their lives an unsparing look, to both their and the readers' benefit. There is much writing about his life of touring and of saving Carnegie Hall, but I never got a sense of the personal feelings and struggle that went into this staggeringly busy and full life. There are hints here and there, but it reads like an extended New Yorker puff piece much of the time. If you want an overview of a great life, but not much detail or meaningful introspection, then this book will serve your needs. For everyone else, wait for the first "unauthorized" biography.

With the exception of Yehudi Menuhin, it's best to approach the autobiographical excursions of great musical artists with more than a little skepticism. How many disappointments have flown into the meadow by that route! This engaging effort by Isaac Stern is therefore a more than little delight, filled with the characteristically notable voice of one of the authentic humanists of the 20th century, not to mention one of the great fiddlers of all time. Stern's writing is great deal like his playing; verve and confidence riding the high clouds with surety and an unmistakably personal passion. I often thought, while reading this book, how no one in my experience plays Kreisler's 'Schon Rosmarin' like Stern -for all the salon qualities of the piece, it has a heart of pure gold- and this book resembles that little encore nugget in more than a few ways: true, one wishes at times that Stern would simply go on with his thought, go on with the memory at hand, even with the discussion at hand; yet in many ways he keeps up the flavor of his reminiscences by the succinctness, and at times almost the distractedness, of his writing/speaking style. I would argue that in fact he does give us quite a bit of his way of looking at not only his own life, but the wonder called the human experience, it's just that with this man one simply wants the conversation to go on and on. Even when speaking of his children (which he does often, even including charming transcriptions of little tape recordings of Daddyspeak for his wife and children when he was so often away on tour), Stern's power to captivate arises full from his honesty, indeed one of the great attributes of his music making. Chaim Potok's hand in the affair seems somehow deep under, and therefore probably pervasive and beautifully wise (as is every Chaim Potok effort!), leaving Stern's voice alive and vibrant, humanly awkward at times, and always surprising in its direct power- very much like the playing of this most gifted of musicians. Despite the obvious limitations that will always attend a book like this, it remains a delight, charming if not all revealing, even moving. Lovers of music won't be disappointed!

What is involved in playing a musical instrument? What is needed to become really good? How should music affect you? All of these questions are answered very well and many times while reading this book. I welled up with emotion within like you sometimes do while reading the Reader's Digest because of the content. I thought Stern's life was well presented in an interesting manner and with great detail. Anyone interested in classical music should truly enjoy this life story.