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The World Doctors Orchestra (wdo) was founded in 2007 by Prof. Stefan Willich, Director of the Institute for Social Medicine of the Charité Berlin. The orchestra includes a total of over 500 physicians from 36 countries. The mission is to raise awareness that healthcare is a basic human right and a precondition for human development and productivity. Selected members of the orchestra meet several times a year for intensive rehearsals lasting several days that culminate in a benefit performance in concert halls of an international metropolis.

Following successful appearances in Berlin, Cleveland, Taipei, and Yerevan, the 7 th concert will be in the Washington, D.C. area on Sunday, September 1 1 , 20 1 1 at the Strathmore Hall in Bethesda, MD , commemorating the 10 th anniversary of 9- 1 1 attacks and supporting Whitman-Walker Health. The health centers serve Washington’s diverse urban community, including individuals who face barriers to accessing care. It has special expertise in providing care for patients with hiv/aids . It is the intent of the orchestra to add its voice to those remembering the events of that day, reminding us that violence is not the true path to solving the problems of our world, and that mutual understanding and discourse, and attention to the human spirit are essential to this task.

The program of the concert includes Mahler’s 2 nd Symphony, “The Resurrection” with excellent vocal soloists and the National Philharmonic Chorale. Also, violin soloist Tamaki Kawakubo will be featured in the Mozart Violin Concerto No. 5 . She belongs to a most remarkable group of up-and-coming internationally renowned young violin soloists and has proven her exceptional skills in numerous competitions. The S & R Foundation and Dr. Sachiko Kuno will generously support the upcoming concert.

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“I am constantly amazed by the power of art to focus the heart on matters of importance.”

~li bby larsen

7 th benef it concertSunday, September 1 1th , 201 1 , 7 p.m., The Music Center at Strathmore, Bethesda, MD

samuel barber ( 19 10- 1981)Adagio for Strings

wolfgang amadeus mozart ( 17 56- 1791)Violin Concerto, No. 5 in A major, KV 219 Allegro aperto Adagio Rondo - Tempo di menuetto

gustav mahler ( 1860- 19 1 1 )Symphony No. 2 in C minor “Resurrection” Allegro maestoso Andante moderato Scherzo Urlicht (Primeval Light) In Tempo of Scherzo

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soloists : Tamaki Kawakubo, violin Jeanine De Bique, soprano Jennifer Johnson Cano, mezzo-soprano

national ph ilhar monic choraleart i st ic d irector : Stan Engebretson

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The World Doctors Orchestra (wdo) combines the pleasure of fine music with charity. Two to three times a year, some hundred physicians from over thirty nations exchange their white coats for evening attire and perform a benefit concert for people in need of healthcare.

The proceeds from each concert go to one or two selected non-profit aid organizations. The first dedicated to an international aid organization; the second to a local aid charity situated in the city/country hosting each concert.

Founder and conductor of the wdo is Stefan Willich, director of the Institute for Social Medicine, Epidemiology and Health Economics at the Charité University Medical Center in Berlin, Germany. Willich, who studied violin, chamber music, and conducting in Stuttgart, Berlin, Boston/Tanglewood, and Paris has chosen his fellow musicians from among more than 5 50 candidates with outstanding musical credentials.

Although all of the physicians share a passion for music, this is not an end in itself. Indeed, the driving force behind the wdo is the conviction that neither national borders nor political or economic interests should limit access to adequate healthcare. With its series of benefit concerts, the wdo wants to raise global awareness that healthcare is a basic human right and a precondition for human development.

On May 4, 2008 , in the Berlin Philharmonic Hall, the wdo gave its first concert, performing Donizetti’s Overture to “L’Elisir d’Amore”, Beethoven’s Violin Concerto, and Dvorak’s Symphony No. 9 (“From the New World”). Internationally renowned violinist, Peter Zazofsky from the United States, was the soloist.

Thanks to the generous financial support of its sponsors, the wdo was able to donate all proceeds from the concert—almost $ 16 ,000 in total—to the Hugo Tempelman Foundation and Hilfswerk Indien e.V., an India-based charity.

wdo ’s second concert, its United States debut, was held in Cleveland, Ohio, on February 8 , 2009 , thanks to the great initiative and management skills of one of our physician/

cellists, Jonathan Lass, m.d., chair of ophthalmology at Case Western Reserve University who participated in the first concert the previous year. Having the second event in the United States helped secure the orchestra’s international reputation and draw even more attention to its global cause. The concert took place in Severance Hall, one of the world’s most admired concert halls and home to the renowned Cleveland Orchestra. The program included Beethoven’s Triple Concerto (with soloists Annie Fullard, Sergei Barbayan, and Saeunn Thorsteinsdottir) and Brahms’ First Symphony. About $24 ,000 us were donated to both Tempelman as well as the Cleveland Free Medical Clinic.

The orchestra’s third concert was given in Berlin on July 4 , 2009 in the main Philharmonic Hall, including Mahler’s 5th Symphony and Mozart’s Sinfonia Concertante with the soloists Tanja Becker-Bender and Aida-Carmen Soanea. The concert yielded 25 ,000 euro donations to the charity projects.

The fourth concert was performed in Armenia on January 17, 2010, in the main concert hall of Yerevan (Aram Khachaturian Hall), thanks to the initiative and management of the violinist colleague Dr. Armine Majinyan. The program included the Festive Ouverture by Alexander Harutiunian, who at the age of 90 was present, Tchaikovsky’s Violin Concerto and Beethoven’s Symphony No. 3. Soloist was Sergej Khachatryan, prize winner of Queen Elisabeth, Jean Sibelius, Fritz Kreisler, Ludwig Spohr and Indianapolis violin competitions with already a highly acclaimed international career. The proceeds of the concert went to Prkutyun, a centre for disabled children and young people in Yerevan.

On October 8 to 1 1 , 20 10 the wdo met in Berlin for its 5 th session. The orchestra was honored with an invitation to perform for a major international event, the gala evening of the 2nd World Health Summit. For this very special event, the orchestra performed Beethoven’s Symphony No. 9, joined by the Philharmonic Choir Berlin and the renowned soloists Anja Kampe, Soprano, Julia Rutigliano, Alto, Endrick Wottrich, Tenor, and Falk Struckmann, Bass. The project was generously supported by the Aventis Foundation. The proceeds from the concert went to three medical aid projects: the Hugo-Tempelmann-Stiftung, the Bioclinical research center Abidjan c irba , which is one of the most important hiv prevention research centers in Ivory Coast (West Africa), and the Berlin Center for the Treatment of Torture Victims, which offers help to victims of organized state violence suffering from physical ailments, long-term psychological sequelae and psychosomatic disorders.

From November 1 1 to 14 , 2010 the wdo met in Taiwan for its 6 th session, thanks to the initiative and superb management of the violinist colleague and ophthalmologist,

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Dr. Ching-Hong Kao. The orchestra was selected to appear in the National Concert Hall (www.ntch.edu.tw) the top concert hall of Taiwan and the concert was supported by the Formosa Cancer Foundation. The orchestra performed the Samuel Barber’s Violin Concerto together with Kim Chang, Tchaikovsky’s Symphony No. 5 and Bunun Legend by contemporary composer Shu-Si Chen, accompanied by the aboriginal Loloko Choir.

The proceeds of the concert were used for establishing a Survivors’ Care and Education Center in the South of Taiwan where a professional team consisting of medical oncologists, nurses, nutritionists, psychologists and social workers deliver professional, tailored guidance to cancer survivors on the road to full recovery.

Future concerts are already scheduled in China and South Africa.

The World Doctors Orchestra is a registered non- profit association (District Court Berlin-Charlottenburg, vr 27873 b), independent of any political, religious, or economic affiliations. It has received both local and international sponsorships for all its concerts to date.

world doctors orchestra e .v.c/o Institute for Social Medicine Charité University Medical Center Luisenstr. 57, 10117 Berlin, Germany world-doctors-orchestra@charite.de www.world-doctors-orchestra.org

Musical Director: Stefan Willich Management: Anne Berghöfer Phone: ++49-30-450 529 034

World Doctors Orchestra, Inc. Leah Lass, mba Development Officer 33176 Woodleigh Rd Pepper Pike, OH 44124, United States Phone: ++1-216-342-4766 llass@world-doctors-orchestra.org

bank account ger manyDt. Apotheker- und Ärztebank Bank code: 300 606 01 Account number: 000 729 4786 iban: de52 3006 0601 000 729 4786 bic: daaededd

benef ic iary/rec ip ientWorld Doctors Orchestra e.V. Tax number 27/681/53074

bank account usaJP Morgan Chase, NY One Chase Manhattan Plaza, NY 10005 Routing No: 021000021 swift: chasus33 For Credit to: Fidelity Services llc Account No: 066196-221 For the Benefit of: World Drs Orchestra # x42-955906

committees

advisory boardMartin Hoffmann, General Manager Berliner Philharmoniker Pamela Rosenberg, Dean, The American Academy in Berlin Prof. Jörg-Dietrich Hoppe, President of the German Medical Association Dr. Günther Jonitz, President of the Medical Association North Rhine

inter nat ional orchestra committeeProf. Jonathan Lass, Cleveland, OH, United States Dr. Philip Dodd, Dublin, Ireland Dr. Tobias Breyer, Essen, Germany Dr. Wibke Voigt, Dortmund, Germany Dr. Ching-Hong Kao, Taipei, Taiwan

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Samuel Barber arranged the Adagio for Strings for string orchestra from the second movement of his String Quartet, Op. 11. Barber finished the arrangement in 1936, the same year as he wrote the quartet. It was performed for the first time in 1938, in a radio broadcast from a New York studio attended by an invited audience, conducted by Arturo Toscanini, who also took the piece on tour to Europe and South America. It is disputed whether the first performance in Europe was conducted by Toscanini or Henry Wood. Its reception was generally positive, with Alexander J. Morin writing that Adagio for Strings is “full of pathos and cathartic passion” and that it “rarely leaves a dry eye.”

The piece begins with a B flat played by violins, leading to the lower strings’ entrance. The rhythm is mainly compressed with sustained notes, and Barber uses some unusual time signatures including 4/2, 5/2, 6/4, and 3/2.

While Barber rejected many arrangements published by G. Schirmer, such as the organ arrangement by William Strickland, he did transcribe the piece in 1967 for eight-part choir, as a setting of the Agnus Dei (“Lamb of God”).

Barber’s Adagio for Strings began as the second movement of his String Quartet, Op. 11, composed in 1936 while Barber was spending a summer in Europe with his partner Gian Carlo Menotti, an Italian composer who was a fellow student at the Curtis Institute of Music. The inspiration came from Virgil’s Georgics. Kimberly Keir of Cecil County Public Schools stated that “Barber envisioned a small stream that grows into a river.” In the quartet the Adagio follows a violently contrasting first movement (Molto allegro e appassionato) and is succeeded by music which opens with a brief reprise of the music from the first movement (marked Molto allegro (come prima) – Presto).

In January 1938 Barber sent an orchestrated version of the Adagio to Arturo Toscanini. The conductor returned the score without comment, which annoyed Barber. Toscanini then sent word through Menotti that he was planning to

perform the piece and had returned it simply because he had already memorized it. It was reported that Toscanini did not look at the music again until the day before the premiere. On November 5, 1938, a selected audience was invited to Studio 8H in Rockefeller Center to view Toscanini conduct the first performance, a radio broadcast which was recorded for posterity. Initially, the critical reception was positive, as seen in the review by the New York Times’s Olin Downes. Downes praised the piece, but he was reproached by other critics who claimed that he overrated the piece.

Toscanini took Adagio for Strings on tour to South America and Europe, thus giving the first Adagio performances in both continents. A concert program from London, England, however, cites that the first performance of the Essay for Orchestra (another work of Barber’s) was conducted by Henry Wood on August 24, 1939.

On April 16-19, 1942, the piece had public performances by the Philadelphia Orchestra conducted by Eugene Ormandy at Carnegie Hall. Like the original 1938 performance, these were broadcast on radio and recorded. Barber felt the Toscanini recording well surpassed the Carnegie Hall recording.

G. Schirmer has published several alternate arrangements for Adagio for Strings. William Strickland has presented an arrangement that included an organ part. The arrangement was sent to Barber, who initially responded:

Schirmers have had several organ arrangements submitted of my “Adagio for Strings” and many inquiries as to whether it exists for organ. I have always turned them down, as, I know little about the organ, I am sure your arrangement would be best. Have you got the one you did before, if not, would you be willing to make it a new? If so, will you ever be in N.Y. on leave, so I could discuss it with you and hear it? If it is done at all, I should like it done as well as possible, and this by you. They would pay you a flat fee for the arrangement, although I don’t suppose it will be very much. However, that is their affair. Let me know what you think about it.

Strickland, having kept the piece, sent his organ arrangement to G. Schirmer who would eventually publish it in 1949.

Adagio For Strings begins softly with a B flat played by the violins. The lower strings come in two beats after the violins, which, as Johanna Keller from The New York Times put it, creates “an uneasy, shifting suspension as the melody begins a stepwise motion, like the hesitant climbing of stairs.” npr

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Music said that “with a tense melodic line and taut harmonies, the composition is considered by many to be the most popular of all 20th-century orchestral works.” Many recordings of the piece have a duration of about eight minutes.

Samuel Barber’s Adagio for Strings is a short instrumental piece for orchestra. The work is a slow, minor-key lament, which evokes a deep sadness in those who hear it… The Adagio has captured the emotions of millions of listeners since Barber first wrote it as the middle movement of a string quartet in September 1936.

A chordal accompaniment is included for all instruments not playing the melody or counter-melody. The song’s contour is melodic and is mostly diatonically stepwise. The rhythm is mainly compressed with sustained notes and includes both the time signatures of 4/4 and 6/4. The piece’s melody is made up mostly by violins and violas, while the counter-melody is played by second violins at measures 25 and 40. The dynamics range from pianissimo (very soft) to fortissimo (very loud). A climax occurs from measures 44-50, followed by a resolution and dynamic change as the piece switches tones. After the climax and a long pause the piece recapitulates to the beginning with several hairpins. The end is a fading away on a sustained tone. The piece follows the arch form.

From Wikipedia – The Free Encyclopedia

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The Violin Concerto No. 5 in A major, K. 219, was written in 1775, premiering during the holiday season that year in Salzburg. It follows the typical fast-slow-fast musical structure.

Mozart composed the majority of his concertos for string instruments from 1773 to 1779, but it is unknown for whom, or for what occasion, he wrote them. Similarly, the dating of these works is unclear. Analysis of the handwriting, papers and watermarks has proved that all five violin concertos were re-dated several times. The year of composition of the fifth concerto “1775” was scratched out and replaced by “1780”, and later changed again to “1775”. Mozart would not use the key of A major for a concerto again until the Piano Concerto K. 414.

The autograph score is preserved in the Library of Congress, Washington, D.C.

The concerto is scored for two oboes, two horns and strings. The aperto marking on the first movement is a rare marking in Mozart’s instrumental music, but appears much more frequently in his operatic music. It implies that the piece should be played in a broader, more majestic way than might be indicated simply by allegro. The first movement opens with the orchestra playing the main theme, a typical Mozartian tune. The solo violin comes in with a short but sweet dolce adagio passage in A Major with a simple accompaniment in the orchestra. (This is the only instance in Mozart’s concerto repertoire in which an adagio interlude of this sort occurs at the first soloist entry of the concerto.) It then transitions back to the main theme with the solo violin playing a different melody on top of the orchestra.

The rondo finale’s main theme is a typical Mozartean theme, but the contrasting sections feature loud passages of Turkish music that have caused some to call this the

“Turkish Concerto”.

Mozart later composed the Adagio for violin and orchestra, K. 261 as a substitute slow movement for this concerto.

From Wikipedia – The Free Encyclopedia

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(Program note originally written for the following performance: National Symphony Orchestra: Iván Fischer, conductor/Mahler’s Second Symphony Apr. 3-5, 2008 © Richard Freed)

The title Resurrection has, understandably enough, led to the inference on some parts that Mahler composed this symphony on a religious impulse, and to those unacquainted with the work its presentation at this time of year must suggest even more pointedly a celebration of the Easter theme. This, however, was not a factor in Mahler’s composing the work, and is not part of its substance. While it is certainly true that the inspiration for the choral finale came to Mahler in the course of a church service he attended, he specified that the symphony is actually an extension of, or sequel to, the personal narrative represented in his First Symphony. It is thus a more personal, and yet hardly less universal, concept of

“resurrection” that Mahler undertook to convey in this music, characteristic of his own vision of human aspiration and idealism which informs so many of his works, and particularly those of his so-called Wunderhorn period— the years in which he set verses from the collection of folk poetry known as Des Knaben Wunderhorn (“The Youth’s Magic Horn”) as songs and used several of the same themes in his Symphonies Nos. 2 through 5.

Mahler composed his First Symphony during the period in which he served as assistant to the famous conductor Arthur Nikisch in Leipzig, and as soon as he completed that work he began writing the music that was to grow into his Second. In August 1888, as he was preparing to take up his duties as director of the Budapest Opera, he composed a 20-minute symphonic movement, clearly destined to be the opening movement of a symphony; at some point, well before he was able to proceed further with the symphony, he came to call this solitary movement Todtenfeier (“Funeral Rite”). This, he explained, was a direct sequel to his First Symphony, representing the funeral of the hero celebrated as a young man in that just-completed work. It

was not until after the premiere of the First Symphony, in November 1889, that he began writing the Andantethat was eventually to follow the Todtenfeier in the Second, and that was as far as he got with the new symphony in Budapest. In 1891 he was called to Hamburg, where he was to remain until the beginning of his tenure as director of the Vienna Opera six years later—and where he was to complete his Second and Third symphonies.

What was of most immediate interest to him when he arrived in Hamburg was that Hans von Bülow had been resident there since 1888. Bülow was one of the towering musical figures of his time: an outstanding pianist and conductor (one of the early conductors of the Berlin Philharmonic Orchestra), a pupil of Liszt, whose daughter Cosima he married and then lost to Richard Wagner. He nevertheless conducted the premieres of Tristan und Isolde and Die Meistersinger in Munich during the period in which his wife left him for Wagner and began a new family. He championed Brahms as well as Wagner, introduced music by Tchaikovsky (gave the premiere, as soloist, of the famous Piano Concerto in Boston in 1875), and promoted the works of the young Richard Strauss, whom he made his assistant conductor with the Meiningen Orchestra. As it turned out, both Bülow, in a posthumous sense, and his protégé Strauss, in a directly active one, played important parts in bringing the Second Symphony into being.

When Mahler called on Bülow in September 1891 to play the Todtenfeier for him, Bülow listened for the most part with his hands over his ears. Whenever Mahler would look up, Bülow would ask him to continue playing, but at the end he said nothing for some time, finally breaking his silence only to remark, “If what I have just heard is still music, then I no longer understand anything about music!” Mahler was crushed, and a short time later wrote to Strauss (with whom he had established a collegial friendship) that he was at the point of giving up as a composer.

He did not give up, of course, and in July 1893 he completed the Andante he had begun in Budapest four years earlier and composed a scherzo; these pieces were to be joined to the Todtenfeier (in its revised form) to constitute the first three movements of his Second Symphony. The scherzo, dated July 19, was based on a Wunderhorn song he had composed barely a week earlier (and in fact identified as “a preliminary study for the scherzo”): Des Antonius von Padua Fischpredigt (“St. Anthony of Padua Preaching to the Fishes”). Mahler evidently found that legend especially intriguing, for he kept on the wall of his study in Hamburg

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a print depicting the saint sermonizing to his finny congregation; he described both the song and the scherzo as containing “a certain sweet-sour humor.”

In that same productive month, between the completion of the scherzo and that of theAndante, Mahler composed another Wunderhorn song, Urlicht, which would later become part of the Second Symphony. By this time he had decided that he would use a chorus in the symphony’s finale (though he expressed concern that such a gesture might be taken as “an imitation of Beethoven”), but the problem of finding a suitable text continued to stump him until the following spring, when none other than Bülow, who had questioned whether the Todtenfeier could even be called music, became the posthumous godfather to the concluding movement, and thus of the work as a whole.

On February 12, 1894, Bülow died in Cairo, where he had arrived five days earlier in hopes of restoring his failing health. On March 29, after his body was returned to Hamburg, a funeral service was held in St. Michael’s Church and upon its conclusion the procession to the cemetery paused before the Opera House, from whose terrace Mahler (filling in for Strauss, who had declined the invitation to conduct in this memorial for his benefactor) conducted Siegfried’s Funeral March, from Wagner’s Götterdämmerung. Later that day he was visited by the Bohemian composer Josef Bohuslav Foerster, to whom he declared with happy excitement that he had found the solution to his finale problem in the church service they both had attended that morning. Foerster understood at once, and without waiting for Mahler to continue began chanting the opening phrase of Friedrich Gottlob Klopstock’s “Resurrection Ode” (Die Auferstehung), which they both had heard sung by a boys’ choir in that morning’s church service. Mahler subsequently elaborated on this in a letter:

It flashed on me like lightning, and everything became plain and clear in my mind! It was the flash that all creative artists wait for—”conceiving by the Holy Ghost!” What I then experienced in sound now had to be expressed in sound. And yet—if I had not already borne the work within me—how could I have had that experience? . . . It is always the same with me: only when I experience something do I compose, and only when composing do I experience!

Mahler completed his finale three months after Bülow’s funeral, choosing what he found usable in Klopstock’s ode and supplying additional text of his own. The point at

which he decided to include Urlicht in the symphony is uncertain; according to his friend Foerster, it was only after he had composed the final movement that he decided to insert the song, to serve as transition from the three purely instrumental movements to the choral finale.

Even after he had extended the layout to five movements, the matter of the symphony’s overall structure continued to give him concern. At one point he placed the scherzo before the Andante; after going back and forth on that issue he settled on the reverse sequence, but that left him so uncomfortable about the “overemphasized, sharp and inartistic contrast” between the hugeness of the opening movement and the lightness of the Andante that he considered reordering the internal structure of the Andante. What he did instead was call for a pause of “at least five minutes” between the first and second movements. This was to be the only major pause in the long work, whose third, fourth and fifth movements were to be played without interruption. Strauss, already an influential figure at age 30, arranged for one of his own concerts with the Berlin Philharmonic to be given over in part to Mahler, to conduct the first three movements of the Second Symphony in March 1895, and Mahler conducted the same orchestra in the premiere of the entire work at the end of that year. Several years later he came to feel that the Symphony’s contents indicated a “natural division” somewhat different from the one just described. In March 1903, when Julius Buths conducted the Symphony in Düsseldorf with a pause between the Urlicht and the finale, Mahler wrote to him, congratulating him on his insight:

Thus the main break in the concert hall will be between the fourth and fifth movements. I am amazed by the sensitivity of feeling that enabled you to find the natural division of the work, and this contrary to my own indications. I have long been of the same opinion, and all the performances I have conducted have only strengthened it. Nevertheless, a pause must also be made after the first movement, because otherwise the second will seem a mere discrepancy. . . . The Andante is a kind of intermezzo (like a last echo of bygone days in the life of the man who was carried to his grave in the first movement—”for the sun still shines upon him”). Whereas the first, third, fourth and fifth movements are connected as to theme and atmosphere, the second stands alone and rather interrupts the austere progression of events. Perhaps this is a weakness in the plan, but my intention is certainly clear to you now . . .

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A review in the New-York Daily Tribune on December 9, 1908, reported that Mahler did take two five-minute pauses when he conducted the Second Symphony in that city, but he made no alteration to the score in this respect. His confidante Natalie Bauer-Lechner recalled that when he introduced the work in Vienna, in 1899, “he actually repeated the Urlicht because the audience had applauded when it concluded, and Mahler said that the fifth movement had to be played attaca.” That was apparently his final decision as well. In any event, the years between the composition of the Symphony and that letter to Buths found him explaining or justifying the work’s programmatic content several times. About a week after the full premiere, in December 1895, he wrote to the critic Max Marschalk:

The original aim of this work was never to describe an event in detail; rather it concerns a feeling. Its spiritual message is clearly expressed in the words of the final chorus. . . . The parallel between life and music is perhaps deeper and more extensive than can be drawn at present. Yet I ask no one to follow me along this track, and I leave the interpretation of details to the imagination of each individual listener.

Not long after that, though, Mahler remarked, “In my two symphonies there is nothing except the complete substance of my whole life,” and between January 1896 and the fall of 1900 he wrote out no fewer than three fairly detailed

“programs” for the Second Symphony. Although he subsequently withdrew all of them, they provide uniquely valuable background for the work. Gilbert Kaplan, who has conducted numerous performances of the Second Symphony and created a foundation for research into Mahler’s works and publication of critical editions of them, has assembled a digest combining elements of all three versions:

movement i We stand by the coffin of a person well loved. His whole life, his struggles, his passions, his sufferings and his accomplishments on earth once more for the last time pass before us. And now, in this solemn and deeply stirring moment, when the confusions and distractions of everyday life are lifted like a hood from our eyes, a voice of awe-inspiring solemnity chills our heart—a voice that, blinded by the mirage of everyday life, we usually ignore: “What next? What is life and what is death? Why did you live? Why did you suffer? Is it all nothing but a huge, frightful joke? Will we live on eternally? Do our life and death have a meaning?” We must answer these questions in some way if we are to go on living—indeed, if we are to go on dying!

He into whose life this call has once sounded must give an answer. And this answer I give in the final movement.

movement i i A memory, a ray of sunlight, pure and cloudless, out of the departed’s life. You must surely have had the experience of burying someone dear to you, and then, perhaps, on the way back, some long forgotten hour of shared happiness suddenly rose before your inner eye, sending, as it were, a sunbeam into your soul—not overcast by any shadow—and you almost forgot what had just taken place.

movement i i iWhen you awaken from that blissful dream and are forced to return to this tangled life of ours, it may easily happen that this surge of life ceaselessly in motion, never resting, never comprehensible, suddenly seems eerie, like the billowing dancing figures in a brightly lit ballroom that you gaze into from outside in the dark—and from a distance so great that you can no longer hear the music. Then the turning and twisting movement of the couples seems senseless. You must imagine that, to one who has lost his identity and his happiness, the world looks like this—distorted and crazy, as if reflected in a concave mirror. Life then becomes meaningless. Utter disgust for every form of existence and evolution seizes him in an iron grip, and he cries out in a scream of anguish.

movement ivThe moving voice of naive faith sounds in our ears. “I am from God and will return to God. The dear God will give me a light, will light me to eternal blessed life!”

movement v Once more we must confront terrifying questions. The movement starts with the same dreadful scream of anguish that ended the scherzo. The voice of the Caller is heard. The end of every living thing has come, the Last Judgment is at hand, and the horror of the Day of Days has come upon us. The earth trembles; the Last Trump sounds; the graves burst open; all the creatures struggle out of the ground, moaning and trembling. Now they march in a mighty procession: rich and poor, peasants and kings, the whole church with bishops and popes. All have the same fear, all cry and tremble alike because, in the eyes of God, there are no just men. The cry for mercy and forgiveness sounds fearful in our ears. The wailing becomes gradually more terrible. Our senses desert us; all consciousness dies as the Eternal Judge approaches. The trumpets of the Apocalypse ring out. Finally, after all have left their empty

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graves and the earth lies silent and deserted, there comes only the long-drawn note of the bird of death. Even it finally dies.

What happens now is far from expected. Everything has ceased to exist. The gentle sound of a chorus of saints and heavenly hosts is then heard. Soft and simple, the words gently swell up: “Rise again, yes, rise again thou wilt! Then the glory of God comes into sight. A wondrous light strikes us to the heart. All is quiet and blissful. Lo and behold: there is no judgment, no sinners, no just men, no great and no small; there is no punishment and no reward. A feeling of overwhelming love fills us with blissful knowledge and illuminates our existence.

Big effects are achieved in part through the use of huge performing forces, but there are many episodes of intimacy in the work, and none more poignant than the entire fourth movement, in which the voice appears for the first time in Mahler’s symphonies. (This may in fact have been the first instance of an existing song’s being used in full, and in more or less its original form, to constitute a movement of a symphony, whereas the preceding movement represents a reversal of this procedure.) The text, as already noted, is from Des Knaben Wunderhorn, and it is sung by the alto. This expression of simple faith provides an effective transition from what Mahler called the “narrative” sections of the symphony to the “dramatic” one, and the solo voice initiates the already mentioned transition from the purely instrumental portions to the massive choral affirmation to come.

Urlicht (Altsolo) O Röschen rot! Der Mensch liegt in größter Not! Der Mensch liegt in größter Pein! Je lieber möcht’ ich im Himmel sein! Da kam ich auf einen breiten Weg; da kam ein Engelein und wollt’ mich abweisen. Ach nein! Ich ließ mich nicht abweisen! Ich bin von Gott und will wieder zu Gott!

Der liebe Gott wird mir ein Lichtchen geben, wird leuchten mir bis in das ewig selig Leben!

Primal Light (Alto solo) Oh red rose! Man lies in deepest need, Man lies in deepest pain. Yes, I would rather be in heaven!

I came upon a broad pathway: An angel came and wanted to send me away. Ah no! I would not be sent away! I am from God and will return to God. The dear God will give me a light, Will light me to eternal blessed life!

The final movement opens with a shattering outburst. Fragments of the Dies irae flash by, along with various motifs introduced or hinted at in the first movement (one of these to be identified now as the “Resurrection” motif itself), and these elements form themselves into a march—irresistible in its drive, awesome in its proportions, with summonses from the offstage band echoed thunderously in the huge orchestra. Following “der grosse Appell” (a marking usually translated as “the Great Call,” but actually a reference to a military expression for a roll call), a passage for flute and piccolo represents the hovering “Bird of Death” (destined to make a brief reappearance in Mahler’s last completed work, his Ninth Symphony). More than half of this vast movement goes by before the chorus makes its hushed entrance, singing the first two of the five stanzas of Klopstock’s ode Die Auferstehung, with the solo soprano lending emphasis to the final line of each stanza.

chor und sopranAufersteh’n, ja aufersteh’n wirst du, mein Staub, nach kurzer Ruh! Unsterblich Leben! Unsterblich Leben wird, der dich rief, dir geben.

Wieder aufzublühn, wirst du gesä’t! Der Herr der Ernte geht und sammelt Garben uns ein, die starben!

chorus and sopranoRise again, yea, though wilt rise again, My dust, after a short rest! Immortal life! Immortal life He who called thee willgrant thee.

To bloom againt thou art sown! The Lord of the Harvest goes And gathers in, like sheaves, Us who died.

Here Mahler dispenses with a “Hallelujah” in Klopstock’s text, and with the remainder of the ode, substituting his own words from this point to the end of the symphony.

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altO glaube, mein Herz! O glaube: Es geht dir nichts verloren! Dein ist, ja Dein, was du gesehnt, Dein, was du geliebt, was du gestritten!

sopranO glaube: Du warst nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten!

chorWas entstanden ist, das muss vergehen! Was vergangen, auferstehen!

chor und altHör auf zu beben! Bereite dich zu leben!

sopran und altO Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod! Du Allbezwinger! Nun bist du bezwungen!

Mit Flügeln, die ich mir errungen, in heißem Liebesstreben werd’ ich entschweben zum Licht, zu dem kein Aug’ gedrungen!

chorMit Flügeln, die ich mir errungen, werde ich entschweben! Sterben werd’ ich, um zu leben!

chor, sopran und altAufersteh’n, ja aufersteh’n wirst du, mein Herz, in einem Nu! Was du geschlagen, zu Gott wird es dich tragen!

altoOh believe, my heart, oh believe: Nothing is lost with thee! Thine is what thou hast desired, What thou hast loved for, what thou hast fought for!

sopranoOh believe, thou wert not born in vain! Hast not lived in vain, suffered in vain!

chorusWhat has come into being must perish, What perished must rise again.

chorus and altoCease from trembling! Prepare thyself to live!

soprano and altoOh Pain, thou piercer of all things, From thee have I been wrested! Oh Death, thou masterer of all things, Now art thou mastered! With wings which I have won,

In love’s fierce striving, I shall soar upwards To the light to which no eye has soared.

chorusWith wings, which I have won, I shall soar upwards I shall die, to live!

chorus , soprano and altoRise again, yea, thou wilt rise again, My heart, in the twinkling of an eye! What thou hast fought for Shall lead thee to God!

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After completing his medical studies in Berlin, Munich, and New York, Professor Willich obtained a Master of Public Health degree from Harvard University, United States, and an mba from Insead, France. Following residency and cardiology fellowship he passed his boards in internal medicine. From 1993 to 1995 he served as acting chair of epidemiology at Ernst-Moritz-Arndt University in Greifswald and as visiting professor at Harvard University. In 1995 he was appointed professor and director of the Institute for Social Medicine, Epidemiology and Health Economics at the Charité University Medical Center in Berlin, Germany. In 2006 he was additionally appointed chairman of the Charité Center 1 for Human and Health Sciences.

Professor Willich is member of numerous professional organizations and a fellow of the American College of Cardiology and of the European Society of Cardiology. His research focus is on cardiovascular disease, preventive medicine, clinical epidemiology, health economics, and integrative medicine combining conventional and complementary methods. He is the author and coauthor of more than 500 international publications.

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In addition to his work in medicine, Stefan Willich is an avid and accomplished musician. He began playing violin at the age of six, supported from the very beginning by his music-loving parents. He studied violin, chamber music, and conducting in Stuttgart and Berlin. Since then, he has participated in prestigious conducting workshops under Sergiu Celibidache in Munich, Leon Fleisher in Boston/Tanglewood, and Leon Barzin in Paris. He regularly engages in conducting activities and chamber music and founded the World Doctors Orchestra in 2007.

contact :Prof. Dr. Med. Stefan N. Willich, mph, mba Institute for Social Medicine, Epidemiology and Health Economics Charité University Medical Center d-10117 Berlin, Germany +49 30 4505 29002 phone +49 30 4505 29902 fax stefan.willich@charite.de email http://epidemiologie.charite.de

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Tamaki Kawakubo belongs to the most remarkable up- and-coming artists in the subject violin and has proven her exceptional skills in numerous competitions.

At the age of only five years Tamaki Kawakubo began her violin studies in Los Angeles at the Colburn School of Performing Arts. She won her first prizes at some of the most important competitions in the United States at a very young age and became a first prize winner of the International Violin Competition Pablo Sarasate 2001. Ensuing, she won the International Tchaikovsky Competition in Moscow. After studies in Lübeck and Cologne, she is now studying under Prof. Zakhar Bron in Zurich.

Her extraordinary virtuoso skills, her intuitive intonation and distinct charisma already thrill concert audiences around the globe. Particularly in Japan she gives regularly concerts with the leading orchestras (e.g. nhk Orchestra) at the most important cities such as Tokyo, Osaka and Nagoya. In 2003, she has been touring with the mdr Symphony Orchestra, the Moscow Radio Symphony Orchestra, the Peking Symphony Orchestra as well as the Tokyo Metropolitan Symphony Orchestra.

Soon she will have a great European tour together with Fabio Luisi, Christoph Eschenbach, Vladimir Fedoseyev and Kent Nagano.

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lin Her interpretations of P. Tchaikovsky’s violin concerts in

San Francisco were celebrated with superlatives by the press and with standing ovations by the enthusiastic audience.

Recently, Tamaki Kawakubo presented a cd-recording with violin concerts of Mendelssohn and Tchaikovsky. The New Japan Philharmonic Orchestra under Maestro Tastuya Shimono accompanied her.

Tamaki Kawakubo plays on a 1779 Giovanni Battista Guadagnini of Turin kindly on loan from the s&r Foundation in Washington, D.C.

contact :European Management Classic Concerts Management GmbH Winfried Roch, Mühlenstraße 22 86842 Türkheim, Germany +49 (0) 8245 960 960 phone + 49 (0) 8245 960 980 fax info@ccm-international.de email www.ccm-international.de

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“From the moment she stepped on stage it was apparent to the large audience that she has genuine star quality,” wrote The New York Amsterdam News of soprano Jeanine De Bique, about her New York debut. Ms. De Bique begins her season as soloist in the Gala opening of the New Jersey Symphony, under the direction of Jacques Lacombe. She gives concerts at the Isabella Stewart Gardner Museum in Boston, the Mondavi Center for the Performing Arts, the Washington Center for the Performing Arts, in the Tuesday Musical Club Series, for Fishers Island Concerts, the Honest Brook and Chappaquiddick Festivals. Ms. De Bique’ appearances with orchestra include Barber’s Knoxville Summer of 1915 with the Charlotte Symphony and conductor Albert-George Schram and Villa-Lobos’s Bachianas Brazilieras with the Sarasota Orchestra and conductor Leif Bjaland. In Rome, she performs Brahms’ Requiem under the baton of Lorin Maazel and the Orchestra della Svizzera italiana. She has also appeared with Lorin Maazel and the New York Philharmonic in Mahler’s Symphony No. 8 at Avery Fisher Hall.

Winner of the Paul A. Fish First Prize in the 2008-09 Young Concert Artists International Auditions, Ms. De Bique gave debut recitals in the Young Concert Artists Series at Merkin Concert Hall in New York and the Kennedy Center in Washington, D.C. She was Artist-in-Residence with the Basel Opera in Switzerland during the 2009-10 season, where she sang “Kate Pinkerton” in Madam Butterfly, “Barberina” in Le nozze di Figaro and “Sophie” in Werther.

Ms. De Bique’s operatic performances have included the title role in Monteverdi’s L’Incoronazione di Poppea and “La Princesse” in Ravel’s L’enfant et les sortileges at the Chautauqua Music Program, “Yum Yum” in Gilbert and Sullivan’s The Mikado with the St. Louis Opera Theatre, “the Woman of the River” in Tarik O’Regan’s Heart of Darkness with American Opera Projects, in the premiere of Paul Brantley’s On the Pulse of Morning with the Manhattan School of Music Philharmonic, and she has toured Eastern Europe and

Russia as “Clara” in Gershwin’s Porgy and Bess with the Russian Philharmonic. In the opera studio at the Manhattan School of Music, she performed “Adele” in Strauss’s Die Fledermaus, the title role in Handel’s Semele,

“Lauretta” in Puccini’s Gianni Schicchi, “Sister Constance” in Poulenc’s Les Dialogues des Carmelites, and “Girl” in Bernstein’s Trouble in Tahiti.

Born in Trinidad and Tobago, Ms. De Bique earned her Bachelor’s Degree in 2006, her Master’s degree in 2008 and her Professional Studies Certificate in 2009 at the Manhattan School of Music. She has won many competitions and honors including the 2010 Arleen Auger Prize at the International Vocal Competition

‘s-Hertogenbosch in The Netherlands, the 2010 Borse di Studio Prize at the Premio Spiros Argiris 11th International Competition for Young Opera Singers in Italy, the 2009 Gerda Lissner Vocal Competition in New York, the Lys Symonette Award in the Kurt Weill Foundation’s 2007 Lotte Lenya Competition, First Prize in the 2006 National Association for Negro Singers Competition, Regional Finalist and Study Grant Winner in the 2007 Metropolitan Opera National Council Auditions, and was First Place Winner of the 2005 Long Island Masterworks, Inc. Vocal Competition. Ms. De Bique received a Study Grant from the Licia Albanese-Puccini Foundation in 2006, and has participated in master classes with Renee Fleming, Marilyn Horne, Catherine Malfitano, Thomas Hampson, and Mirella Freni.

contact :Young Concert Artists, Inc. 250 West 57 Street, Suite 1222 New York, NY 10107 2 12- 307-6655 phone 2 12- 58 1 -8894 fax yca@yca.org email

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As First Prize winner in the 2009 Young Concert Artists International Auditions, mezzo-soprano Jennifer Johnson Cano appears in her recital debuts this season in New York, sponsored by the Peter P. Marino Prize, and at the Kennedy Center in Washington, D.C. Equally at home in the world’s of opera, lieder and chamber music, she appears as

“Wellgunde” in Wagner’s Das Rheingold at The Metropolitan Opera, “Ludmilla” in The Metropolitan Opera and The Juilliard School’s joint production of The Bartered Bride, returns to the Chicago Opera Theater singing Schumann’s Frauenliebe und leben, and tours with Musicians from Marlboro. She performs recital and outreach activities with the Brownville Concert Series and at the Strauss Performing Arts Center in Omaha, and appears at the Isabella Stewart Gardner Museum in Boston, the Macomb Center for the Performing Arts (MI) and Saint Vincent College (PA). Ms. Johnson Cano makes her New York Philharmonic debut this season in Mendelssohn’s Elijah, under the direction of conductor Alan Gilbert.

At the yca Auditions, Ms. Johnson Cano was also awarded the Mecklenburg-Vorpommern Festival Prize and the Princeton University Concerts Prize. Other accolades include a 2009 Sullivan Foundation Award, and she was a Winner of the Metropolitan Opera National Council Auditions in 2008.

During the 2009-10 season, Ms. Johnson Cano returned for her second year of the Lindemann Young Artist Development Program at The Metropolitan Opera. She made her Met debut singing a Bridesmaid in Le nozze di Figaro and Sandman in Hansel and Gretel, and performed a concert with the Philadelphia Chamber Music Society. Ms. Johnson Cano was a participant in the Marlboro Chamber Music Festival and performed in Russia at the St. Petersburg Palaces Music Festival.

Ms. Johnson Cano made her debut with the Chicago Opera Theater as “Kate Julian” in Benjamin Britten’s Owen Wingrave in 2009. She has been presented in recital by the Houston Tuesday Musical Club and The Dame Myra Hess Memorial Concert Series in Chicago. Other concerts have included Handel’s Messiah and Haydn’s Creation Mass with the DuPage Chorale (il), and Pergolesi’s Stabat Mater with the New York City Ballet. After two seasons as a Gerdine Young Artist with the Opera Theatre of St. Louis, Ms. Johnson Cano made her principal artist debut in 2008 as “The Muse/Nicklausse” in Offenbach’s The Tales of Hoffmann. In the summer of 2008, she participated in the Ravinia Festival’s Steans Institute for Young Artists.

Ms. Johnson Cano hails from St. Louis, Missouri, and obtained her Bachelor’s degree in Music from Webster University in St. Louis. She received her Master’s degree from Rice University in Houston, Texas, where she performed the roles of “Ramiro” in La finta giardiniera,

“Emma Jones” in Street Scene, and the title role in Handel’s Rinaldo.

contact :Young Concert Artists, Inc. 250 West 57 Street, Suite 1222 New York, NY 10107 212- 307-6655 phone 2 12- 58 1 -8894 fax yca@yca.org email

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and Master’s degrees in Piano and Voice from the University of North Dakota, he earned his Doctor of Musical Arts degree in Conducting from Stanford University. Dr. Engebretson has held faculty positions within the University of Texas system and at the University of Minnesota. In addition, he served as the Artistic Director of the Midland-Odessa Symphony Chorale and was the Associate Conductor of the Minnesota Chorale.

In Washington, D.C. since 1990, Dr. Engebretson, in addition to his work with the National Philharmonic Chorale, is Professor of Music and Director of Choral Studies at George Mason University, and is the Director of Music at the historic New York Avenue Presbyterian Church. From 1993-2003, he was the Artistic Director of the predecessor to the National Philharmonic Chorale, the Masterworks Chorus and Orchestra, and their semi-professional smaller ensemble, the National Chamber Singers. In addition to these commitments, Dr. Engebretson remains active in other areas, including performances as a professional chorister. From 1993-2000, he served as lecturer for the Carmel Bach Festival and since 1998, he has led the Smithsonian Institution’s Study Journeys at the Spoleto-USA Festival of the Arts. In the summer of 2003, Dr. Engebretson appeared at the Europa Cantat in Barcelona, Spain, guiding participants on the presentation and interpretation of American music.

contact :National Philharmonic Administrative Offices The Music Center at Strathmore 5 30 1 Tuckerman Lane North Bethesda, MD 20852-3 38 5 30 1 -493-9283 phone 30 1 -493-9284 fax office@nationalphilharmonic.org email www.nationalphilharmonic.org

Stan Engebretson National Philharmonic Chorale Artistic Director stan@nationalphilharmonic.org email

Each season, the nearly 200-member National Philharmonic Chorale is showcased at four or more concerts at the Music Center at Strathmore. The Chorale is under the direction of Chorale Artistic Director, Stan Engebretson.

A judicious merging of the National Chamber Orchestra and Masterworks Chorus on July 1, 2003 created the National Philharmonic, an ensemble with a 55-year combined history of high caliber musical performances in the local area. Masterworks was originally founded in Montgomery County, MD in 1975, with Roger Ames as the first Music Director. Its main performing group consisted of a volunteer chorus of about 100 voices that showcased classical and concert hall choral works. In 1993, Stan Engebretson, currently National Philharmonic’s Chorale Artistic Director, was appointed Masterworks’ Music Director.

The National Philharmonic performed at the F. Scott Fitzgerald Theatre in Rockville, Maryland until Feb. 2005, when it became the Music Center at Strathmore’s ensemble-in-residence. Since then, the Philharmonic has performed more than 100 concerts in the Concert Hall at Strathmore, showcasing world-renowned guest artists in time-honored symphonic masterpieces conducted by Maestro Piotr Gajewski and monumental choral masterworks under National Philharmonic Chorale Artistic Director Stan Engebretson.

director stan engebretsonNational Philharmonic Chorale Artistic Director Stan Engebretson has conducted throughout the United States and in Europe, most notably in the Cathedral of St. Mark in Venice, Italy, and in conducting workshops in Cologne and Trier, Germany and St. Moritz, Switzerland. He has studied with great masters of choral music, including Robert Shaw, Gregg Smith, Richard Westenburg, Roger Wagner and Eric Ericson, Conductor Emeritus of the world-renowned Swedish Radio Choir in Stockholm, Sweden.

A native of North Dakota, Engebretson grew up in a musical environment, receiving his early training in the Scandinavian choral tradition. After receiving undergraduate

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v iol inKim Chang, Danshuei, Taipei County, Taiwan, concert masterArlene Rosenberg, Solon, OH, United States, principal 2nd violinFlorin Amzica, Montreal, QC, CanadaJoel Ang, Washington, D.C., United StatesMalgorzata Barwicka, Warsaw, PolandKarl E. Bergmann, Berlin, GermanySheyna Nicole Burt, Washington, D.C., United StatesReto F. Cadisch, Kriens, SwitzerlandTing Chao, Taipei, TaiwanIndre,Chmieliauskaite, Vilnius, LithuaniaPhilip Dodd, Dublin 4, IrelandCarolyn Dyson, Edinburgh, Scotland, United KingdomAdela Simona Farcas ép. Henriques, Villeneuve le Roi, FranceEkkehart Frank, Düsseldorf, GermanyCarola Gudohr, Erkrath, GermanyMargaret Yu-ning Hsu, Dublin 2, IrelandChing-Hong Kao, Taipei, TaiwanÓlöf Júlía Kjartansdóttir, Reykjavik, IcelandRonald H. Krasney, Gates Mills, OH, United StatesAnna-Margarete Kries, Saarbrücken, GermanyNorbert Kries, Saarbrücken, GermanyHelmut Küster, Wilmshagen, GermanyAndrew Lan, Palo Alto, CA, United StatesDietrich Lasius, Berlin, GermanyJack Han-Hsing Lin, Taipei, TaiwanArmine Majinyan, Yerevan, ArmeniaCarmen Meissner, Wien, AustriaJacques Moser, Lausanne, SwitzerlandCinderella Nonoo-Cohen, Highgate, London, United KingdomCorrado Roselli, Bari, ItalyEllen Rothchild, Cleveland, OH, United StatesUlrike Schatz, Dresden, GermanyRonald Strauss, Cleveland Heights, OH, United StatesDebra Tabas, Pittsburgh, PA, United StatesNaoko Takebe, Elkridge MD, United StatesMargaret Tsai, Kent, OH, United StatesBlaise R. Udriot, Martigny, SwitzerlandCristina Vitan, Chichester, United KingdomRoger Vogel, Sarasota FL, United StatesJeffrey Yung, Bloomfield Hills, MI, United States

violaVincent Pitteloud, Sion, Switzerland, principalReinhild Allef, Friedberg, GermanyRoland Baur, Berlin, GermanyJanette Caputo, Alma, MI, United StatesAnette Friedrichs, Kiel, GermanyMichaela Granfors, Västeras, SwedenWilliam Krzymowski, Gallup, NM, United StatesRichard Lederman, Shaker Heights OH, United StatesReinhold Niewöhner, Haan, GermanyVincent Poirier, Montreal, Qc, CanadaLaura Rabinowitz, Shaker Heights, OH, United StatesHans Roll, Tuttlingen, GermanyRomanie Ruggier, Richmond, Surrey, United KingdomPatricia W. Samson, Inverness-shire, Scotland, United KingdomVerena Schelling, Zürich, GermanyJohannes Stelzer, Oberhausen, GermanyAlison Elizabeth Van Buren, Tintern, Mon, United KingdomMargit Wiessner-Straßer, Gauting, Germany

violoncelloNormann Willich, Münster, Germany, principalSusanne Brakemeier, Berlin, GermanyEmanuel Christ, Niederscherli, SwitzerlandShelley Cross, Rochester, MN, United StatesLeonard Gettes, Chapel Hill, NC, United StatesKaren Horowitz Kahn, Beachwood, OH, United StatesUlrich Kerl, Mannheim, Germany Takashi Kiyoizumi, San Diego, CA, United StatesJonathan Lass, Pepper Pike, OH, United StatesAntony Prochazka, Shanghai, China PRCLee Shahinian, Los Altos, CA, United StatesStephen Somach, Shaker Heights, OH, United StatesStefanie Uibel, Frankfurt, GermanyElfriede Wittschier-Bouaziz, Brühl, Germany

double bassAngiolo Tarocchi, Milano, Italy, principalGerlind Blees, Berlin, GermanyUlrich W. Kolck, Bonn-Bad Godesberg, GermanyMark McCarthy, London, United KingdomRodolfo Merizzi, Bovolone VR, ItalyUlf Müller, Magdeburg, GermanyEberhard Neumann-Meding, Berlin, GermanyPatricia Zangger, Sion, Switzerland

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fluteWibke Voigt, Dortmund, Germany Monika Curlin, Claremont, CA, United States Catherin Fraser, Lindfield NSW , Australia Miriam Isabel Eliane Freundt, Mannheim, Germany oboeJonas Högberg, Fjärås, Sweden Emanuel Bührer, Bern, Switzerland Judith Gadol, Chevy Chase, MD, United States Barry Grimaldi, London, United Kingdom

clarinetDavid Frank, Seattle, WA, United States Tore Høiland Aarrestad, Oslo, Norway Stuart Hirsch, Yardley, PA, United States Peter Newman, Farnham Royal, Bucks., United Kingdom Barbara Seeliger, Krefeld, Germany

bassoonFriedrich J. Albrecht, Grand Island, NY, United States David R. Brunner, Fraubrunnen, Switzerland Johannes Heusgen, Düsseldorf, Germany Eugene Lewis, London, United Kingdom

french hor nTobias Breyer, Essen, GermanyEdgar Dorman, London, United KingdomKerstin Kreis, Falkensee, GermanyHans-Jürgen Nabel, Berlin, GermanySandra Pittl, Füssen, GermanyGermain Poirier, Candiac, Quebec, CanadaJames Smith, Manly NSW , AustraliaAndrás Thoman, Budapest, HungaryWilfried Winkelhog, Mechernich-Weyer, GermanyMatthias Zürcher, Uettligen, Switzerland

trumpetDominik Scheruhn, Hof/ Saale, Germany Richard Feyrer, Herzogenaurach, Germany Joseph Markoff, Moorestown, NJ, United StatesRonald Markoff, Providence, RI, United StatesRobert Orlando, Newport Beach, CA, United StatesNichol L. Salvo, North Royalton, OH, United States Jose Luis Oviedo, New York, NY, United StatesAvery Boddie, Washington, D.C., United States

tromboneRichard Gosnay, Danbury, CT, United States Birgit Kovacs, Danbury, CT, United States Daniel S. Schwartz, Middletown, CT, United States Christopher F. Wood, Prospect Heights, IL, United States

tubaWinfried Westermann, Neuenkirchen-Vörden, Germany

harpNawid Salimi, Köln, Germany Patrice Lockhart, Gorham, ME, United States

organPascal Zangger, Sion, Switzerland

t impaniAnna Lensebråten, Oslo, Norway William Thomson, Carmarthenshire, Wales, United Kingdom percuss ionCraig B. Teer, Washington D.C., United StatesPaul Cassen, Washington D.C., United StatesKevin Thompson, Washington, D.C., United StatesPaul Durning, Washington, D.C., United States

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whitman-walker health Whitman-Walker Health was established in 1978 to provide health care services to the gay, lesbian, bisexual and transgender community. The health centers were an outgrowth of the Washington Free Clinic’s Gay Men’s std Clinic which opened in 1973.

For more than three decades, Whitman-Walker Health has been renowned—locally, nationally and internationally—for the high-quality, culturally sensitive care it provides. This work remains critical in an area with the highest hiv infection rate in the country.

Today, the health centers provide health care to thousands of people in the community with specialty care for the lgbt community and those living with hiv/aids. The service areas include

• comprehensive outpatient medical services • at-cost medications provided through an on-site pharmacy • legal support including entitlements assistance, estate planning, discrimination litigation and more • behavioral health care services providing mental health care, addiction care and day treatment • more than 13,000 anonymous and confidential hiv tests and counseling.

el izabeth taylor medical center1701 14th St. nw (14th & r Streets) Washington, D.C. 20009

max rob inson center2301 Martin Luther King Jr. Avenue se Washington, D.C. 20020

001 202 745 7000 phone info@withman-walker.org email http://www.whitman-walker.org

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On behalf of our entire Whitman-Walker family, I want to thank the World Doctors Orchestra for such a wonderful evening of music. Tonight’s concert offers us a unique opportunity for remembrance, dialogue and continued healing. Together we can reflect on the events of September 11, 2001 and the more than 3,000 individuals who lost their lives. Together we can talk about how the tragic events of this one day ten years ago have altered not only our daily living but also our sense of community. And together we are truly reminded about what is best about our community—our compassion and caring for one another in our hour of great need, our determination in the face of true darkness, and our unwavering belief in the promise of a new day. This same spirit of compassion, determination and hope can be found at Whitman-Walker Health. Each day we care for more than 100 people who need timely, high quality care so that they can meet the challenges of living with HIV or other major health conditions. By attending tonight’s concert, you are providing more than just financial support to our health center. You are once again offering a beacon of light and hope to our community at a time when there is much uncertainty in our world. That is why I am so grateful for your support tonight of Whitman-Walker Health. Yours in service,

Don Blanchon, Executive Director

On behalf of our entire Whitman-Walker family, I want to thank the World Doctors Orchestra for such a wonderful evening of music.

Tonight’s concert offers us a unique opportunity for remembrance, dialogue and continued healing. Together we can reflect on the events of September 11, 2001 and the more than 3,000 individuals who lost their lives. Together we can talk about how the tragic events of this one day ten years ago have altered not only our daily living but also our sense of community. And together we are truly reminded about what is best about our community—our compassion and caring for one another in our hour of great need, our determination in the face of true darkness, and our unwavering belief in the promise of a new day.

This same spirit of compassion, determination and hope can be found at Whitman-Walker Health. Each day we care for more than 100 people who need timely, high quality care so that they can meet the challenges of living with hiv or other major health conditions. By attending tonight’s concert, you are providing more than just financial support to our health center. You are once again offering a beacon of light and hope to our community at a time when there is much uncertainty in our world. That is why I am so grateful for your support tonight of Whitman-Walker Health.

Yours in service,

Don Blanchon, Executive Director

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s &r foundation 7501 Wisconsin Avenue, Suite 600 e, Bethesda, MD 20814 240-223-0630 washingtonaward@sandr.org

For their generous financial support

boston healthcare 75 Federal Street, 9th Floor, Boston, MA 02110 617-482-4004 info@bostonhealthcare.com

For generous financial support

larsen des ign 7101 York Avenue South, Minneapolis, MN 55435 952-835-2271 www.larsen.com

For generous donated design and production services for art post cards, emailing, large posters and the program

independent pr int ing 1801 Lawrence Drive, De Pere, WI 54115 800-236-2439 www.independentprinting.com

For the paper and the printing of the posters.

sheyna n icole burt, esq .burt & peacock , plc1600 Tysons Boulevard, Suite 200 McLean, VA 22102 703-992-9205 www.burtpeacock.com

For generous and excellent legal support.

fresh color press7625 Golden Triangle Drie, Eden Prarie, MN 55344 952-914-0700 info@freshcolorpress.com

For providing the paper and the printing for the postcards

40 41

Ben

efac

tors

an

d D

on

ors

j o shua henry bowmaker 9970 Lake Landing Road, Montgomery Village, MD 20886 Bows@FineViolinBows.com

Emergency services for string players

spectrum pr int ing and g raphics 601 Dover Road, Suite 1, Rockville, MD 20850 301-762-6900 print@spectrumprinting.com

A discount on the printing of the large advertising poster at Strathmore

dillon mus ic , brass store 325 Fulton Street, Woodbridge, NJ 07095 732-634-3399 www.Dillonmusic.com

For the donation of the use of a tuba

mr. r ichard freedAmerican Writer on Music, member of the Music Critics, Association of North America, Consultant to the Music Director of The National Symphony Orchestra

For kind permission to use his program notes for the Mahler 2nd Symphony

nsa , the maker of ju ice plus+ ®

140 Crescent Drive, Collierville, TN 38017www.juiceplus.com

For their financial support

members of the balt imore symphony1st Violin Rebecca Nichols

(1st violin)

2nd Violin Qing Li (Principal 2nd violin)

Viola Richard Field (Principal Viola)

Cello Chang Woo Lee (Associate Principal Cello)

Bass Eric Stahl (Bassoon)

Winds Phillip Kolker (former Principal Bassoon, Currently Professor, Peabody Conservatory)

Brass Andrew Balio (Principal Trumpet)

Percussion Chris Williams (Principal Percussion)

For generously coaching of sections within the orchestra

wdo membersStuart and Ellin Hirsch, m.d., Yardley, PA Judy Gadol, m.d., Chevy Chase, MD Jonathan H. and Leah Lass, m.d., Cleveland, OH Christopher F. Wood, m.d., Prospect Heights, IL Jeffrey Yung, m.d., Bloomfield Hills, MI Joseph Markoff, m.d., Moorestown, NJ Ronald Strauss, m.d., Cleveland Heights, OH Friedrich J. Albrecht, m.d., Grand Island, NY Stephen Somach, m.d., Shaker Heights, OH Arlene Rosenberg, m.d., Solon, OH

For their financial support

WORLD DOCTORSORCHESTRA

www.world-doctors-orchestra .org