All of a sudden, there is a break in the gloom. For the first time in quite a while, people are actually starting to believe there will be a future. Perhaps for that reason, many are still acting irresponsibly. More on that in a minute.

With the possibility of three vaccines being available as early as next month, it is not out of the question to look at what lies ahead in terms of—well, almost everything. Schools can start to plan for the winter semester, and if not that, the spring. Businesses will look carefully at their books and determine how best to get back to work. Musicians will be thinking about what it will be like to perform with their colleagues again.

Amidst all the furor during this election season, it has been easy to forget that the tiny world of classical music has its own battles to fight. For a few days, COVID-19 has not been top of mind, even as cases in the United States have reached all-time highs that increase on a daily basis. Few have been paying attention to the stock market, even though the delay in getting election results should be an indicator that nothing is normal. We have sputtered to find ways to entertain and amuse ourselves as we look for diversions to alleviate our ennui.

Two items on the musical front have caught my attention over the past couple of weeks, one somewhat frivolous and the other potentially serious.

With lines stretching for blocks, waiting times of more than eight hours, and many ballots cast early, either in person or by mail, voter turnout is of historic proportions despite all the chaos and turmoil of 2020.

With that in mind, we sometimes forget that we are voting not only for president, but also for members of Congress, state officials, and various local initiatives. It can get very confusing, but that was the case right from the start. In December of 1788–January 1789, the United States held its first election, and it did take almost two weeks to get the results and determine who had won.

Whatever happened to the calm before the storm?

As I write this, we are about a week away from the election, or as I prefer to call it, “Waiting for the Seventh Trumpet.” Any diversion of attention is welcome during this time, and some charming events took place this past weekend. Not that any of them were accomplished in a traditional way, but they certainly put the political contest out of mind for a brief while.

During the more than half a year of pandemic shutdowns, I have spent a lot of time dwelling on what others should or should not be doing. Whether addressing matters concerning performers, administrators, or audiences, my observations and suggestions have come from the standpoint of an outsider looking in. Other than a decision not to make the nine-hour drive to Detroit to lead rehearsals and a concert, I have mostly been shielded from heeding my own advice.

Ever since it became clear that musical life was being turned inside out, I realized that a major verdict might need to be rendered as October arrived. When COVID-19 first reared its ugly head, I, like so many others, did not believe that it would affect me. Exercising every precaution, I believed that together, we could beat the virus into submission. It did not take very long to realize that this was not going to be the case.

In recent weeks, there has been a lot of news about orchestras settling contracts, some for up to five years. This is a very encouraging sign, as security for the musicians has been hard to calculate during this shutdown. One must hope that contingency plans are in place should the virus continue well into the new year.

The reason I am bringing this up has to do with the role of music directors as we move forward. Many of them cannot enter the States right now or are put into quarantine upon arrival. In several cases their services as conductors have not been required, as their orchestras are not working, even in reduced numbers. Perhaps some are assisting in repertoire choices for chamber music concerts.