It has been two months since I began writing about the impact of the coronavirus on the world of classical music. Sometimes, I have been prompted by developments in the news, and other times I have shared general ideas for potential future use as the industry recovers.

Until now, I have not really addressed an important group: the staff. These are the people who mostly work behind the scenes. You don’t know their names or even what their jobs entail. However, without them, an orchestra cannot function. As opposed to the musicians, many of these workers need to continue doing their jobs while the crisis continues. That presents a real problem, one that every organization faces.

The cancel culture is out in full force. Almost every day brings news of yet another arts institution delaying the start of its season until the new year. When I began writing this series of articles, my greatest fear was that we were not going to be prepared for this eventuality. Now that it is here, what can be done to fill in the time?

Although parts of Europe have opened up, most of the organizations across the pond have taken a conservative approach. They are presenting concerts, but for the most part, caution is being exercised. Here in America, we cannot get into a concert hall, and there is a lack of product available in the video market.

With the start of the baseball season only moments away, I thought it might be amusing to imagine what the play-by-play commentary might sound like:

Welcome to beautiful Busch Stadium. It has been a long time coming, but here we are, on July 24, finally getting the Major League season started. The groundskeepers have done a great job getting the field ready, even with the hot and humid weather St. Louis has experienced these past few weeks.

As we move forward into July, it is becoming clear that we will pay a price for not listening. Right from the start of our isolation, my thoughts have been centered on what the musical world will be like when the time comes to start the regular orchestral season. I have been concerned about the ability of music directors and soloists to come to the States. Turns out that it is problematic the other way around as well.

The EU has cracked down on its citizens entering the U.S.A. for fear of the virus being transmitted back to its own shores. Not surprisingly, given the aggressive reopening plans in some parts of the country and the lack of adherence to public health guidelines, we have experienced the highest spike in new cases of any country in the world. Some states, including New York, Connecticut, and New Jersey, are now imposing a two-week quarantine on visitors from other states with large outbreaks.

Change is not easy. It is built on a foundation of pre-existing ideas that people deconstruct, rearrange, or reshape. For the short time that we have been a nation, America has tried to find the path to the future by looking back at the lessons of history.

It is human nature to seek out stability and security, and to hold on to traditions. With the tragic consequences of the COVID epidemic, we are forced to tread carefully as we plot our return to that safe spot. We are staying conscious of the need to get back with an eye to the future. Perhaps we have been a little too conservative.

There is a lot of information. At the same time, too little information is available. We don’t know what to do with the information when we get it. Who is this information person anyway?

During the continuing pandemic, I have found myself in very strange lands, navigating the etiquette of virtual meetings, chat rooms, and even phone conferences in which I sense this odd disconnect between those I am speaking with and me. The more of these events I do, familiarity breeds acquiescence to this new set of communication tools.