A café by the river Rhône. Sunny September skies. The sounds of many languages floating in the air. It is Lyon and the start of a beautiful relationship.

Although it should really be called “The City Where Cholesterol Is King,” Lyon is my second home now and this was the first time I would see my new orchestra as its music director. I had guest conducted here five times previously and each was a wonderful experience. The position had been offered to me quite a while ago but due to administrative changes it took some time to effect a contract. But that is long past and we were off and running with a bang.

After almost six weeks of tending to Cindy, it was time to get back on the podium. She was doing extraordinarily well and all the signs pointed to a complete remission. There were still chemo and radiation treatments to go but they seemed more precautionary than necessary. I continued to admire Cindy’s strength and resolve during this time.

I headed out to Santa Barbara alone for a couple days. Two years ago I had conducted at the Music Academy of the West and completely enjoyed the experience. This school and festival is a bit different than most of the others. There are only 135 students or so. They stay for eight weeks of intensive study and performance. Every one of them comes on a full scholarship, showing the commitment of the community. I did wonder whether the locals were referred to as “Santa Barbarians.”

July was not a month for music, at least as far as I was concerned.

Upon returning from South America, it was my job to take care of Cindy, who would be undergoing a double mastectomy at the beginning of the month. There were numerous decisions to be made, all of them difficult. One of the most important things we discovered throughout this process was how many people either had undergone some form of the cancer or knew someone who did. Getting information was not so problematic.

What a strange month June turned out to be. It looked pretty simple on paper. One week of concerts in Detroit and a trip to Rotterdam, preparing for a tour of South America.

But normal does not seem to apply these days.

To start with, I began French lessons in preparation for the new job in Lyon. When I was in high school, French was actually my foreign language and I have usually managed to get by when travelling to Paris and other destinations in France. Cindy was also on board for this education experience.

About halfway through May, I started thinking about some of the composers I would be conducting just in a four-week span. The list is something like this:

Prokofiev
Del Tredici
Milhaud
Gershwin
Dvořák
Beethoven
Tchaikovsky

This reminded me of how fortunate I am to be in the music profession. Rehearsing and performing compositions of this caliber week in and out is something that none of us must ever take for granted. It remains a privilege as well as a responsibility to take care of these masters and all the others that we musicians present.

Although I had a hefty tax bill to pay, nothing could diminish my pleasure in having my own orchestra back.

After the free concerts we gave in Detroit, things began to return to normal in our second week. Putting an abbreviated season together was not easy. Several decisions were made quickly. All of the guest conductors originally scheduled were still available to us. If that had not been the case, I probably would have asked to be relieved of my own guest conducting obligations for the remainder of April and May.

It took six months, interminable meetings and ultimate patience, but the strike that beset the Detroit Symphony Orchestra finally ended. After maintaining a self-imposed silence, I was able to greet my orchestra with the simple words, “Welcome home.”

Not that the two days leading up to the first rehearsal were all that easy. We had learned that there were massive negotiating sessions taking place over the weekend, and when the two parties emerged, the basis for an agreement had taken place. Although it remained for the membership of the orchestra to vote on ratification, everyone agreed that the best medicine was to get back to the Orchestra Hall stage as soon as possible.

Although several conductors cancelled, and one tragically passed away in March, I was not needed as a fill in and simply stayed on my planned schedule. Of course that still meant no concerts with the Detroit Symphony, as the strike went into the half-year mark.

More and more people are asking me how I am doing with all this and I certainly appreciate the concern. It is frustrating, disappointing and often depressing. Just as much as the musicians and public, I am more than anxious to get back on the Orchestra Hall stage, but I am equally anxious to know under what conditions that will be. It is sometimes forgotten that the music director is still the person who formulates artistic policy, but at the same time must adhere to the rules.

If March is supposed to come in like a lion, I wonder what animal people will make of this past February?

Most of you will undoubtedly know that the Detroit Symphony Orchestra has suspended the remainder of its strike-ridden season. More than half of the concerts had already been taken down and it really was only a matter of time before we were either back to work or down for the year. Much has been written, discussed and argued about. It is still not my place to comment –that will come later.

Last time, I wrote a little about the orchestra in Lyon and its ability to retain its individual sound and style. This hit home even harder with my next stop on the tour.

Some people think that the Vienna Philharmonic or New York Philharmonic is the oldest orchestra in the world. In reality, it is the Gewandhaus Orchestra in Leipzig. Its history can be traced back to 1781. The first well-known music director was the composer Felix Mendelssohn. The city itself is a haven for cultural mavens. Bach was here. Schumann and Mahler lived here.