A 1959 New Yorker profile captured the inspired risk-taking and raw creative spark of a Budapest String Quartet rehearsal: "Sasha leaped from his chair and with violin held aloft, played the passage with exaggerated schmalz, like a street fiddler in Naples. Kroyt...stopped playing and started singing a Russian song....Mischa Schneider thereupon performed a number of stupendous triads on his cello....Only Roisman went quietly on with his part, untouched by the pandemonium around him, playing Beethoven with his noble tone and elegant bowing." Here were four men with personalities as varied as their ways of playing. Yet when they played, they produced a perfect union of instrumental voices and interpretive nuances that not only created an entirely new audience for chamber music in America but also made the Budapest String Quartet the premier chamber music group of the twentieth century.

Brandt presents finely wrought portraits of these people, detailing the lives of both the missionaries and thier converts, their experiences in the interior province of Shansi, and their struggle in trying to spread Christianity among people whose language they did not speak and whose traditions and customs they did not nderstand.

Brandt''s gripping narrative brings to light a penetrating and sincere study of the "Oberlin Band" of Protestant missionaries and captures the essence of their daily life. Considered in a fair and honest context, the descriptions are often taken directly from personal correspondence and journals.

This tragic story of the clash between two cultures is primarily the story of the missionaries...six men, seven women, and five children. Their names appear on bronze tablets on the only monument in America ever erected to individuals who died in that uprising, the Memorial Arch on the campus of Oberlin College in Oberlin, Ohio.

A 1959 New Yorker profile captured the inspired risk-taking and raw creative spark of a Budapest String Quartet rehearsal: "Sasha leaped from his chair and with violin held aloft, played the passage with exaggerated schmalz, like a street fiddler in Naples. Kroyt...stopped playing and started singing a Russian song....Mischa Schneider thereupon performed a number of stupendous triads on his cello....Only Roisman went quietly on with his part, untouched by the pandemonium around him, playing Beethoven with his noble tone and elegant bowing." Here were four men with personalities as varied as their ways of playing. Yet when they played, they produced a perfect union of instrumental voices and interpretive nuances that not only created an entirely new audience for chamber music in America but also made the Budapest String Quartet the premier chamber music group of the twentieth century.

Brandt presents finely wrought portraits of these people, detailing the lives of both the missionaries and thier converts, their experiences in the interior province of Shansi, and their struggle in trying to spread Christianity among people whose language they did not speak and whose traditions and customs they did not nderstand.

Brandt''s gripping narrative brings to light a penetrating and sincere study of the "Oberlin Band" of Protestant missionaries and captures the essence of their daily life. Considered in a fair and honest context, the descriptions are often taken directly from personal correspondence and journals.

This tragic story of the clash between two cultures is primarily the story of the missionaries...six men, seven women, and five children. Their names appear on bronze tablets on the only monument in America ever erected to individuals who died in that uprising, the Memorial Arch on the campus of Oberlin College in Oberlin, Ohio.