It is now the middle of August. If ever there was a confluence of important decisions to be made, this is the time. Schools are supposed to reopen, but conflicting directives and information are making that choice difficult. The political conventions are approaching, and we don’t have any idea of how they will look or sound. Protests continue to grow, and the enmity between sectors of the public and law enforcement seems greater than ever. Sports are experiencing the consequences, in some cases, of seemingly reckless behavior, thereby jeopardizing all participants.

And then there is our small world of classical music. Most orchestras were expecting to start their seasons either in September or very early October. Some have cancelled all concerts until the new year, and a few have taken the entire 2020-21 season off the books. Others are holding out until the last possible moment, with the hope that some miracle will allow them to proceed in some form.

There are some things that we are all supposed to do, certainly those of us in certain age brackets. The government demands some, our family and friends ask for others, and the medical community advises on several as well. It was time for what might be my final colonoscopy. When you reach eighty, and if you are in decent health, this procedure is considered unnecessary. I will be seventy-six next month. Don’t worry. I am not going to write anything about the invasion.

Because we live in a different time, there is a new wrinkle in preparing for the operation. You have to get a COVID-19 test. All of us have watched and read about what it entails, but I thought that it might be useful for you to know how it actually works. This would apply equally to anyone who has to undergo surgery of any kind these days.

New York, Los Angeles, Chicago, Toronto, Boston, Baltimore. Those are just a few of the orchestras that have announced they will not commence the fall season and do not plan to start up again until the holidays. The next seven days will certainly see more organizations do something similar.

All of us want to return. The spring and summer vacation has lasted long enough. But now we add autumn to the list. All we need is winter and we will have completed the Vivaldi cycle, not to mention Tchaikovsky, Haydn, and Glazunov, to name a few. Perhaps those should be among the works we consider upon getting back to work.

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.

For the time being, many musicians have found novel ways to reach the public, whether through individual lessons, private concerts, or all manner of clever audio and video presentations. I have seen how creative we can be, considering that we are not actually creating the works that we perform.