As I write this, it is a few days before September 1^st. At this time, I have no idea what is being planned for the day the birthday number on the left changes. Sometimes, momentous occasions are best celebrated quietly.

If it were up to me, I would simply watch a Cardinals game, fire up the Big Green Egg, and spend a quiet day at home with Cindy. A special bottle of wine might enhance the festivities, although we usually just have a single glass. However, I suspect that a few friends will stop by, and we shall be ready for them.

In August 1964, I made my first public appearance as a conductor. I had done bits of stick-waving in high school and had led the Marriage of Figaro Overture with the California Youth Symphony, but this was the true beginning of my musical life on the podium.

The place was Aspen, Colorado. I went there as a conducting student under the watchful eye of the Aspen Music Festival’s music director, Walter Susskind. Sixty years ago, this mountain town did not have traffic lights. Boutiques were unheard of, except for those selling skiing equipment. There were only two fine-dining establishments, the Copper Kettle and the Chart House (for steaks). The student orchestra rehearsed in the high school gymnasium.

Three very different weeks ensued during June, representing the traditional, the unconventional, and the educational. All were satisfying and made for a fine start to a not-too-busy summer conducting schedule.

After a month away from the podium, it was time to pick up the baton and strike up the bands, first in Bilbao, Spain. I was not exactly looking forward to this trip, as a scheduling error resulted in only a single conducting engagement in Europe as opposed to the usual two, three, or sometimes eight weeks overseas.

May was a time for catching up and working on projects without conducting anything. With the score-study volumes in full swing, I need to stay ahead of the game with the research and writing. Volume Two is already at the publisher with an anticipated release date in October. My job now is to focus on the next book in the series, although its path to publication is not yet clear.

In addition, I have written two new compositions that will be premiered next season. The first is a set of Scarlatti keyboard sonatas that I have transcribed for orchestral wind ensemble. The first performance will be in St. Louis in October on a program that also features a piece by Cindy as well as a new one by my son, Daniel.