Program - World Doctors Orchestra

Sunday, September 11, 2011, 7pm
m e morial charity c onc e rt
The Music Center at Strathmore, North Bethesda, Maryland Worl d Doc tors Orc h e stra
September 11, 2011
~li bby larsen
World Doctors Orchestra Mem or i a l Concert
“I am constantly
amazed by the power
of art to focus
the heart on matters
of importance.”
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 , 2 0 1 1 at
the Strathmore Hall in Bethesda, M D , commemorating the
10 th anniversary of 9 - 1 1 attacks and supporting WhitmanWalker 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 h iv / a i d s . 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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Memorial Charity Concert, 7 th Benef i t Concert
world doctors orchest ra
con ductor :
Stefan Willich
s oloists : Tamaki Kawakubo, violin
Jeanine De Bique, soprano
Jennifer Johnson Cano, mezzo-soprano
7 th b en ef i t c on c ert
Sunday, September 11t h, 2 011, 7 p.m.,
The Music Center at Strathmore, Bethesda, MD
samuel ba r b er
national ph ilha r monic chora le
artistic direc tor:
Stan Engebretson
(1910-198 1)
Adagio for Strings
wo lf ga n g a m a d eus m oza rt
(17 5 6 - 17 9 1)
Violin Concerto, No. 5 in A major, KV 219
Allegro aperto
Adagio
Rondo - Tempo di menuetto
g u stav m a hl er (18 6 0-1911)
Symphony No. 2 in C minor “Resurrection”
Allegro maestoso
Andante moderato
Scherzo
Urlicht (Primeval Light)
In Tempo of Scherzo
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3
World D octor s Orchestr a
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 wd o 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 550 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 wd o 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.
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 $ 2 4 , 0 0 0 u s 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 ,
2 0 0 9 in the main Philharmonic Hall, including Mahler’s 5 th
Symphony and Mozart’s Sinfonia Concertante with the soloists
Tanja Becker-Bender and Aida-Carmen Soanea. The concert
yielded 2 5 , 0 0 0 e u ro 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 9 0 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.
Thanks to the generous financial support of its sponsors,
the wd o 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.
On October 8 to 11 , 2 0 1 0 the wd o 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 2 nd 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 i r ba , which is one of the most
important h iv 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.
wdo ’s second concert, its United States debut, was held in
Cleveland, Ohio, on February 8 , 2 00 9 , thanks to the great
initiative and management skills of one of our physician/
From November 11 to 1 4 , 2 0 1 0 the wd o met in Taiwan
for its 6th session, thanks to the initiative and superb
management of the violinist colleague and ophthalmologist,
On May 4, 2 008 , 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.
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5
World D octor s Orchestr a
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.
b e n e f iciary /rec ipient
World Doctors Orchestra e.V.
Tax number 27/681/53074
ban k account usa
JP 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
com m itte e s
adv is ory b oa rd
The World Doctors Orchestra is a registered nonprofit 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.
Martin 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
wo rl d d octo r s orchest r a e . v.
in te r national orchest ra c ommit t ee
c/o Institute for Social Medicine
Charité University Medical Center
Luisenstr. 57, 10117 Berlin, Germany
[email protected]
www.world-doctors-orchestra.org
Prof. 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
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
[email protected]
bank acc oun t ger m a ny
Dt. Apotheker- und Ärztebank
Bank code: 300 606 01
Account number: 000 729 4786
iban: de52 3006 0601 000 729 4786
bic: daaededd
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March 9, 1910 – January 23, 1981
S a m uel Ba r ber
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
8
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:
S chirmers 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
9
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
January 27, 1756 – December 5, 1791
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.
Am a deus Moza rt
March 9, 1910 – January 23, 1981
S a m uel Ba r ber
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.
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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11
July 7, 1860 – May 18, 1911
Gustav Ma hler
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.
(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
12
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
13
July 7, 1860 – May 18, 1911
Gustav Ma hler
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
14
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 . . .
15
July 7, 1860 – May 18, 1911
Gustav Ma hler
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:
movem en t 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 aweinspiring 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!
16
He into whose life this call has once sounded must give an
answer. And this answer I give in the final movement.
m ove m e n t ii
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.
m ove m e n t iii
When 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.
m ove m e n t iv
The 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!”
m ove m e n t 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
17
July 7, 1860 – May 18, 1911
Gustav Ma hler
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!
18
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.
ch or un d s opra n
Aufersteh’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!
ch orus an d sopra no
Rise 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.
19
July 7, 1860 – May 18, 1911
Gustav Ma hler
alt
ch orus
O glaube, mein Herz! O glaube:
Es geht dir nichts verloren!
Dein ist, ja Dein, was du gesehnt,
Dein, was du geliebt, was du gestritten!
What has come into being must perish,
What perished must rise again.
so p r a n
O glaube: Du warst nicht umsonst geboren!
Hast nicht umsonst gelebt, gelitten!
ch o r
Was entstanden ist, das muss vergehen!
Was vergangen, auferstehen!
ch o r u n d a lt
Hör auf zu beben!
Bereite dich zu leben!
so p r a n un d a lt
O 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!
ch o r
ch orus an d alto
Cease from trembling!
Prepare thyself to live!
s opr an o an d a lto
Oh 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.
ch orus
With wings, which I have won,
I shall soar upwards
I shall die, to live!
ch orus, s opra no a nd a lto
Rise again, yea, thou wilt rise again,
My heart, in the twinkling of an eye!
What thou hast fought for
Shall lead thee to God!
Mit Flügeln, die ich mir errungen,
werde ich entschweben!
Sterben werd’ ich, um zu leben!
ch o r , s o p r a n u n d a lt
Aufersteh’n, ja aufersteh’n wirst du,
mein Herz, in einem Nu!
Was du geschlagen,
zu Gott wird es dich tragen!
alto
Oh 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!
so p r a n o
Oh believe, thou wert not born in vain!
Hast not lived in vain, suffered in vain!
20
21
Director, Institute for Social Medicine, Epidemiology and Health Economics, Charité University Medical Center, Berlin
-Founder and Co n du cto r o f th e Wo rl d Do cto rs Orch estra
Prof. Dr. med. Stefan N. Wi lli ch, m ph, m ba
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 ErnstMoritz-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.
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.
con tact :
Prof. Dr. Med. Stefan N. Willich, mph, mba
Institute for Social Medicine, Epidemiology
and Health Economics
Charité University Medical Center
d-10117 Berlin, Germany
+ 4 9 3 0 4 5 0 5 2 9 00 2 ph o n e
+ 4 9 3 0 4 5 0 5 2 9 90 2 fa x
[email protected] e m a i l
http://epidemiologie.charite.de
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.
22
23
Tama k i Kawa k ubo, vi oli n
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 belongs to the most remarkable upand-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.
Tamaki Kawakubo plays on a 1779 Giovanni Battista
Guadagnini of Turin kindly on loan from the s&r Foundation
in Washington, D.C.
con tact :
European Management
Classic Concerts Management GmbH
Winfried Roch, Mühlenstraße 22
86842 Türkheim, Germany
+ 4 9 (0 ) 8 2 4 5 9 6 0 9 6 0 ph o n e
+ 4 9 (0 ) 8 2 4 5 9 6 0 9 8 0 fa x
[email protected] e m a i l
www.ccm-international.de
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.
24
25
Jeanine D e Bi que, s opr a no
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.
“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 AlbertGeorge 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-inResidence 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
26
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.
con tact :
Young Concert Artists, Inc.
250 West 57 Street, Suite 1222
New York, NY 10107
2 12 - 3 0 7 - 6 6 5 5 ph on e 2 12 - 5 8 1- 8 8 9 4 fa x [email protected] e m a i l
27
Jennifer Johnson C a no, m e zzo- s opr a no
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.
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.
con tact :
Young Concert Artists, Inc.
250 West 57 Street, Suite 1222
New York, NY 10107
2 12 - 3 0 7 - 6 6 5 5 ph on e 2 12 - 5 8 1- 8 8 9 4 fa x
yc a @yc a . o rg e m a i l
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.
28
29
National Ph ilha r m oni c Chor a le
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.
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 ensemblein-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.
d irec to r sta n en geb rets on
National 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 worldrenowned Swedish Radio Choir in Stockholm, Sweden.
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 semiprofessional 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 SpoletoUSA 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.
con tact :
National Philharmonic Administrative Offices
The Music Center at Strathmore
5 3 0 1 Tuckerman Lane
North Bethesda, MD 2 0 8 5 2 - 3 3 8 5
3 0 1- 4 9 3 - 9 2 8 3 ph o n e
3 0 1- 4 9 3 - 9 2 8 4 fa x
[email protected] e m a i l
www.nationalphilharmonic.org
Stan Engebretson
National Philharmonic Chorale Artistic Director
[email protected] e m a i l
A native of North Dakota, Engebretson grew up in a
musical environment, receiving his early training in the
Scandinavian choral tradition. After receiving undergraduate
30
31
Membe r s of the Orchestr a
v iola
v io l i n
Kim Chang, Danshuei, Taipei County, Taiwan, concert master
Arlene Rosenberg, Solon, OH, United States, principal 2nd violin
Florin Amzica, Montreal, QC, Canada
Joel Ang, Washington, D.C., United States
Malgorzata Barwicka, Warsaw, Poland
Karl E. Bergmann, Berlin, Germany
Sheyna Nicole Burt, Washington, D.C., United States
Reto F. Cadisch, Kriens, Switzerland
Ting Chao, Taipei, Taiwan
Indre,Chmieliauskaite, Vilnius, Lithuania
Philip Dodd, Dublin 4, Ireland
Carolyn Dyson, Edinburgh, Scotland, United Kingdom
Adela Simona Farcas ép. Henriques, Villeneuve le Roi, France
Ekkehart Frank, Düsseldorf, Germany
Carola Gudohr, Erkrath, Germany
Margaret Yu-ning Hsu, Dublin 2, Ireland
Ching-Hong Kao, Taipei, Taiwan
Ólöf Júlía Kjartansdóttir, Reykjavik, Iceland
Ronald H. Krasney, Gates Mills, OH, United States
Anna-Margarete Kries, Saarbrücken, Germany
Norbert Kries, Saarbrücken, Germany
Helmut Küster, Wilmshagen, Germany
Andrew Lan, Palo Alto, CA, United States
Dietrich Lasius, Berlin, Germany
Jack Han-Hsing Lin, Taipei, Taiwan
Armine Majinyan, Yerevan, Armenia
Carmen Meissner, Wien, Austria
Jacques Moser, Lausanne, Switzerland
Cinderella Nonoo-Cohen, Highgate, London, United Kingdom
Corrado Roselli, Bari, Italy
Ellen Rothchild, Cleveland, OH, United States
Ulrike Schatz, Dresden, Germany
Ronald Strauss, Cleveland Heights, OH, United States
Debra Tabas, Pittsburgh, PA, United States
Naoko Takebe, Elkridge MD, United States
Margaret Tsai, Kent, OH, United States
Blaise R. Udriot, Martigny, Switzerland
Cristina Vitan, Chichester, United Kingdom
Roger Vogel, Sarasota FL, United States
Jeffrey Yung, Bloomfield Hills, MI, United States
32
Vincent Pitteloud, Sion, Switzerland, principal
Reinhild Allef, Friedberg, Germany
Roland Baur, Berlin, Germany
Janette Caputo, Alma, MI, United States
Anette Friedrichs, Kiel, Germany
Michaela Granfors, Västeras, Sweden
William Krzymowski, Gallup, NM, United States
Richard Lederman, Shaker Heights OH, United States
Reinhold Niewöhner, Haan, Germany
Vincent Poirier, Montreal, Qc, Canada
Laura Rabinowitz, Shaker Heights, OH, United States
Hans Roll, Tuttlingen, Germany
Romanie Ruggier, Richmond, Surrey, United Kingdom
Patricia W. Samson, Inverness-shire, Scotland, United Kingdom
Verena Schelling, Zürich, Germany
Johannes Stelzer, Oberhausen, Germany
Alison Elizabeth Van Buren, Tintern, Mon, United Kingdom
Margit Wiessner-Straßer, Gauting, Germany
v iolon ce llo
Normann Willich, Münster, Germany, principal
Susanne Brakemeier, Berlin, Germany
Emanuel Christ, Niederscherli, Switzerland
Shelley Cross, Rochester, MN, United States
Leonard Gettes, Chapel Hill, NC, United States
Karen Horowitz Kahn, Beachwood, OH, United States
Ulrich Kerl, Mannheim, Germany
Takashi Kiyoizumi, San Diego, CA, United States
Jonathan Lass, Pepper Pike, OH, United States
Antony Prochazka, Shanghai, China PRC
Lee Shahinian, Los Altos, CA, United States
Stephen Somach, Shaker Heights, OH, United States
Stefanie Uibel, Frankfurt, Germany
Elfriede Wittschier-Bouaziz, Brühl, Germany
double bas s
Angiolo Tarocchi, Milano, Italy, principal
Gerlind Blees, Berlin, Germany
Ulrich W. Kolck, Bonn-Bad Godesberg, Germany
Mark McCarthy, London, United Kingdom
Rodolfo Merizzi, Bovolone VR, Italy
Ulf Müller, Magdeburg, Germany
Eberhard Neumann-Meding, Berlin, Germany
Patricia Zangger, Sion, Switzerland
33
Membe r s of the Orchestr a
f l ut e
trom b on e
Wibke Voigt, Dortmund, Germany
Monika Curlin, Claremont, CA, United States
Catherin Fraser, Lindfield NSW , Australia
Miriam Isabel Eliane Freundt, Mannheim, Germany
Richard 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
o b oe
tuba
Jonas Högberg, Fjärås, Sweden
Emanuel Bührer, Bern, Switzerland
Judith Gadol, Chevy Chase, MD, United States
Barry Grimaldi, London, United Kingdom
Winfried Westermann, Neuenkirchen-Vörden, Germany
clar i n et
David 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
bass o o n
Friedrich J. Albrecht, Grand Island, NY, United States
David R. Brunner, Fraubrunnen, Switzerland
Johannes Heusgen, Düsseldorf, Germany
Eugene Lewis, London, United Kingdom
fre n ch hor n
h ar p
Nawid Salimi, Köln, Germany
Patrice Lockhart, Gorham, ME, United States
organ
Pascal Zangger, Sion, Switzerland
tim pan i
Anna Lensebråten, Oslo, Norway
William Thomson, Carmarthenshire, Wales, United Kingdom
pe rcus s ion
Craig B. Teer, Washington D.C., United States
Paul Cassen, Washington D.C., United States
Kevin Thompson, Washington, D.C., United States
Paul Durning, Washington, D.C., United States
Tobias Breyer, Essen, Germany
Edgar Dorman, London, United Kingdom
Kerstin Kreis, Falkensee, Germany
Hans-Jürgen Nabel, Berlin, Germany
Sandra Pittl, Füssen, Germany
Germain Poirier, Candiac, Quebec, Canada
James Smith, Manly NSW , Australia
András Thoman, Budapest, Hungary
Wilfried Winkelhog, Mechernich-Weyer, Germany
Matthias Zürcher, Uettligen, Switzerland
t ru m pet
Dominik Scheruhn, Hof/ Saale, Germany
Richard Feyrer, Herzogenaurach, Germany
Joseph Markoff, Moorestown, NJ, United States
Ronald Markoff, Providence, RI, United States
Robert Orlando, Newport Beach, CA, United States
Nichol L. Salvo, North Royalton, OH, United States
Jose Luis Oviedo, New York, NY, United States
Avery Boddie, Washington, D.C., United States
34
35
Who Wi ll Benef i t?
On behalf of our entire Whitman-Walker family, I want to thank the
World Doctors Orchestra for such a wonderful evening of music.
wh it m a n - wa l ker hea lt h
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.
•
•
On behalf of our entire Whitman-Walker family, I want to thank the
Tonight’s concert offers us a unique opportunity for
World Doctors Orchestra for such a wonderful evening of music.
remembrance, dialogue and continued healing. Together we
can reflect on the events of September 11, 2001 and the more
Tonight’s
concert
offers us
a unique
opportunity
for remembrance,
dialogue
than 3,000
individuals
who
lost their
lives. Together
we can
and
continued
healing.
Together
we
can
reflect
on
the
events
of
September
11,
talk about how the tragic events of this one day ten years
2001
morenot
than
3,000
lost our
theirsense
lives. Together we
ago and
havethe
altered
only
our individuals
daily living who
but also
canoftalk
about howAnd
the together
tragic events
of truly
this one
day tenabout
years ago have altered
community.
we are
reminded
notwhat
onlyisour
living
but also our sensecompassion
of community.
bestdaily
about
our community—our
and And together we
arecaring
truly reminded
about what
best about
ourneed,
community—our
compassion
for one another
in ouris hour
of great
our
determination
the faceinofourtrue
darkness,
and
caring for oneinanother
hour
of great and
need,our
our determination in the
unwavering
belief
in
the
promise
of
a
new
day.
face of true darkness, and our unwavering belief in the promise of a new day.
This
same
spirit
compassion,determination
determinationand
and hope
hope can be found at
This
same
spirit
ofof
compassion,
can be found at Whitman-Walker
day we
care
Whitman-Walker
Health. Each day Health.
we care Each
for more
than
100 people who
for more than 100 people who need timely, high quality
need timely, high quality care so that they can meet the challenges of living with
care so that they can meet the challenges of living with hiv
HIV or other major health conditions. By attending tonight’s concert, you are
or other major health conditions. By attending tonight’s
providing more than just financial support to our health center. You are once
concert, you are providing more than just financial support
again
offering
beaconYou
of light
and hope
our community
to our
healtha center.
are once
again to
offering
a beacon at a time when
there
is much
our world. at
That
is why
I am
so grateful
for your
of light
anduncertainty
hope to ourincommunity
a time
when
there
is
support
tonight of Whitman-Walker
Health.
much uncertainty
in our world. That
is why I am so grateful
for your support tonight of Whitman-Walker Health.
Yours in service,
Yours in service,
Don Blanchon, Executive Director
Don Blanchon, Executive Director
e l iza b et h tay lo r m ed i cal ce n te r
1701 14th St. nw (14th & r Streets)
Washington, D.C. 20009
max ro b i n s o n c en t er
23 0 1 Martin Luther King Jr. Avenue se
Washington, D.C. 2 002 0
0 0 1 202 74 5 7000 pho n e
[email protected] email
http://www.whitman-walker.org
36
37
Benefactor s a nd D onor s
f re s h color press
7625 Golden Triangle Drie,
Eden Prarie, MN 55344
952-914-0700
[email protected]
For providing the paper and the printing
for the postcards
s & r fo u n dat i on
7501 Wisconsin Avenue, Suite 600 e,
Bethesda, MD 20814
240-223-0630
[email protected]
For their generous financial support
in de pe n de n t print ing
1801 Lawrence Drive,
De Pere, WI 54115
800-236-2439
www.independentprinting.com
For the paper and the printing of the posters.
b osto n hea lt h care
75 Federal Street,
9th Floor,
Boston, MA 02110
617-482-4004
[email protected]
For generous financial support
s h ey na n icole burt, esq.
burt & pe aco ck, plc
la r s en d es i g n
7101 York Avenue South,
Minneapolis, MN 55435
952-835-2271
www.larsen.com
1600 Tysons Boulevard, Suite 200
McLean, VA 22102
703-992-9205
www.burtpeacock.com
For generous and excellent legal support.
For generous donated design and production
services for art post cards, emailing, large posters
and the program
38
39
Benefactor s a nd D onor s
m e m b e r s of t he ba lt imore symphony
1st Violin Rebecca Nichols
(1st violin)
2nd Violin Qing Li
(Principal 2nd violin)
Viola Richard Field
(Principal Viola)
jo sh ua hen ry b ow m a ker
9970 Lake Landing Road,
Montgomery Village, MD 20886
[email protected]
Emergency services for string players
spe c t rum p r i n t i n g
and g r a phi cs
CelloChang Woo Lee
(Associate Principal Cello)
BassEric Stahl
(Bassoon)
WindsPhillip Kolker (former Principal Bassoon,
Currently Professor, Peabody Conservatory)
BrassAndrew Balio
(Principal Trumpet)
601 Dover Road, Suite 1,
Rockville, MD 20850
301-762-6900
[email protected]
Percussion Chris Williams
(Principal Percussion)
A discount on the printing of the large advertising poster at Strathmore
wdo m e m b e r s
d il lo n m u s i c , b r a s s sto re
Stuart 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
325 Fulton Street,
Woodbridge, NJ 07095
732-634-3399
www.Dillonmusic.com
For the donation of the use of a tuba
mr. r i cha rd f reed
American Writer on Music, member of the Music Critics,
Association of North America, Consultant to the Music
Director of The National Symphony Orchestra
For generously coaching of sections within the orchestra
For their financial support
For kind permission to use his program notes for the Mahler
2nd Symphony
n sa, t he m a ker of j ui ce plus + ®
140 Crescent Drive,
Collierville, TN 38017
www.juiceplus.com
For their financial support
40
41
WORLD
DOCTORS
ORCHESTRA
w w w.wo rld-do c to rs-o rchestra. org