Although many people think of St. Louis as being in the southern part of the country, we can have some winter weather close to that of Buffalo, New York. Such was the case in the middle of January, when the temperatures dipped below zero; thankfully, the snow was minimal.

All bundled up, I began a two-week stay with my old band, the SLSO. Many things are different this year, not the least of which is that Powell Hall is under renovation and the orchestra has had to relocate. They play in two venues, one of them being the Stifel Theatre, the orchestra’s former home until 1968, when the R.K.O. St. Louis Theatre was converted from a movie palace into one of the finest concert halls in the country.

And a joyous New Year to all of you! Hopefully 2023 ended on a high note.

While most people head home for the holidays, Cindy and I usually go on an extended vacation. For the most part, we travel to places that are somewhat remote. Past trips have taken us to Morocco, the Galapagos, and the Amazon. This time we explored Tanzania.

To say that November was a jam-packed month would be an understatement. With the middle portion of a six-week concert tour in full swing, I realized that no two works would be repeated during this trip. Only one of them was new to me, however, and as I explained in last month’s journal entry, The Fountains of Rome became an old friend during the first stop back in October.

Continuing in Spain, I moved on from Valencia to Madrid. In times’ past, the country, in general, was not a pleasant place to make music. Its resident orchestras were undisciplined and did not possess the musical values I was used to in other parts of the world. That has changed drastically over the past fifteen years or so, with exciting and vibrant music-making now taking place throughout Spain, even in smaller cities.

The road beckoned, and I travelled west and east for what I hoped would be lovely sets of concerts. That wish has so far come true, but the intrusions on beauty by events taking place at home and abroad prevented total immersion in the music.

Over and over, I kept wondering what those of us who practice our art in public could do as war broke out in Gaza. And as usual, there was no answer. Organizations and individual artists can make statements, but ultimately we are powerless to do much more than offer some sort of diversion for a little while to those who attend our performances. The audience comes to the concert hall or opera house to escape the outside world. And, to an even greater degree, so do my fellow musicians, who work tirelessly to get to the heart and soul of the music we play.