In the pregnant pause between when the conductor bows to the audience, and then turns, raising his baton, to face more than 100 musicians with their instruments poised, it can feel as if time has stopped. The anticipation of a whole concert of magical music to follow, the culmination of much concentrated work, gives way to relief mixed with excitement as the sound that follows is full and impressive.

The surprise is that this talented troupe are all doctors. Where else would you find such a large group of doctors from all fields of medicine coming together every year from all corners of Australia, to focus intensely on the same thing for 3 days — not only playing for free, but actually paying to be there? These doctors have more than medicine in common — they share a love of music.

The combination of music and medicine is nothing new. There are prominent examples dating back many centuries. Thomas Campion (1567–1620), English poet and musician, studied both law and medicine and worked as a doctor in London from 1606.1 The French composer Hector Berlioz (1803–1869) was originally educated in medicine,1 while Russian composer Alexander Borodin (1833–1887) studied medicine and helped found a medical school for women in 1872.1 Musicologist Albert Schweitzer (1875–1965) studied medicine in Strasbourg and worked as a medical missionary, returning regularly to Europe to give organ recitals to fund his hospital in Africa.1 Fritz Kreisler (1875–1962), violinist and composer, withdrew from music briefly to study medicine and to work as a medical officer in the Austrian army before returning to music fully in 1899.1 Flautist Jean-Pierre Rampal (1922–2000) left medical school to pursue his musical career,1 and conductor Zubin Mehta (1936- ) was another to abandon his medical studies, when he left India to pursue his musical studies.1

The Australian Doctors’ Orchestra under the baton of Keith Crellin in Perth, 2003.

The concept of combining medical and musical talents countrywide was the dream of Australian plastic surgeon and violinist Miklós Pohl, who was intrigued by the disproportionate number of doctors playing at the chamber music camps he attended. He saw the formation of a doctors’ orchestra as an exciting prospect, and his idea was welcomed with great enthusiasm by other musically talented medicos. Much planning preceded the first concert of the Australian Doctors’ Orchestra (ADO) in Melbourne in 1993. This concert featured Melbourne general practitioner, William Kimber, who received a standing ovation for his performance of Beethoven’s Piano Concerto No. 3 in C minor.

Since the resounding success of our first concert, we have featured professional musicians as soloists in our annual concerts. They enjoy working with us, and are taken aback at our dedication, energy and enthusiasm. It makes a difference when you are choosing to play music, simply for fun. We have attracted a variety of renowned and notable artists, who are keen to fit us in between their commitments worldwide.

We have been particularly fortunate to have British-born and trained Christopher Martin as conductor and artistic director. He recently retired after 20 years as senior lecturer in strings and conducting at the University of Melbourne. He works wonders to achieve cohesion from such a large and diverse group of doctors, drawing out the best possible performance in a very short time. He also chooses our music, and always seems to get it right — it is quite a feat to satisfy so many concerned and compulsive medicos! Our challenge is to satisfy him. We have often sympathised with him, especially at first rehearsals, as he tears his hair out, throws his baton down, and shakes his head as he gets over his initial concern that his choice of music might have been too ambitious. Somehow, he is always smiling at the end of each performance, and he keeps coming back for more. We have also had the privilege of working with Nicolette Fraillon (currently conductor of the Australian Ballet Orchestra) in 2002, and Keith Crellin (artistic director of the Adelaide Youth Orchestra) in 2003. Each conductor brings something of herself or himself to the orchestra, broadening our experience.

Tony Prochazka, Cosmetic Surgeon, Sydney, NSW. Principal Cello. “I made a conscious decision 10 years ago not to pursue music as a career. I don’t regret that decision, but occasionally feel wistful about what might have been. Playing music forces you to make artistic decisions all the time. I’m certain that my artistic experience from music guides me in the aesthetic judgements I am required to make on behalf of my patients.”	David Backstrom, Visiting Medical Officer, Royal Brisbane and Women’s Hospital, Qld. First Violin. “The most memorable musical moment in my life was probably the very first rehearsal piece of ADO in Melbourne 1993 — Mozart’s Il Seraglio overture. I was a founding member of the ADO. When asked about the oldest member, I think I was the only one willing (or silly enough) to volunteer my age!”	James Lie, Rural General Practitioner, Albany, WA. First Violin. “All this music has a positive impact, even though I’m very busy. It makes me happier. My wife and son also play musical instruments. We do lots of after hours musical things as a couple or as a family. My patients also love my participation in music. They are always asking when and where I will be performing again.”	Anita Green, General Practitioner, Darwin, NT. Principal Horn. “I work part-time to fit in music and family commitments. My most memorable musical moment was playing Sculthorpe’s Kakadu at Nourlangie Rock at sunset, and my favourite piece of music is Shostakovich’s 5th symphony; it has brilliant horn parts and laughs at authority — a strong Australian trait.”

Each year, we meet for three days of rehearsals which culminate in our annual concert. The venue for our rehearsal period and concert alternated between Melbourne and Sydney for 5 years, after which we went to Adelaide, followed by Hobart, Brisbane, and, this year, Perth. Melbourne will be our host city in 2004, followed by Canberra in 2005.

There are now over 500 doctors and medical students on the database, which has gradually grown as more and more people become aware of ADO, mainly by word of mouth. Invitations are sent to all, but only just over 100 participate each year. Our record was 170 players in Sydney in 2002, when we celebrated our 10th anniversary. It was a welcome achievement to have as many as 125 players in Perth this year. A hard core of players makes up about half of the orchestra; other players come and go. A few keen veterans have played in every one of the 11 years of our existence.

About 3–4 months before the annual concert, we are sent the music scores as well as a practice compact disc. This recording helps us familiarise ourselves with the music, and allows us to play along in orchestral rehearsal at whatever times suit our schedules.

When we meet, we have tremendous fun during the rehearsals, especially on first playing together something that we have only practised with the recording. However, the fun can be mixed with some initial doubt and trepidation, when facing unforeseen challenges just 2 days before the performance. It all gains momentum as we rehearse all day Friday, Saturday and the morning of Sunday, in preparation for the concert on Sunday afternoon. We soak in the uplifting spirit as the time of our concert looms closer. The sense of achievement is great, and it takes us a while to come down after such an adrenalin rush. Every performance has been recorded and videoed, so that players can keep a memento of their experience. In 2003, we also produced a CD of our performance.

The orchestra donates all profits from its performances to a different medical charity each year. Apart from sacrificing time away from their work, all players pay a subscription fee, and meet all of their own costs, including those for travel and accommodation. Any sacrifices on our part are well compensated for by the sheer thrill of being part of such magic. A local organising committee in the host city works closely with the chosen medical charity to add corporate sponsorship to these funds wherever possible. This means that most of the door takings are passed on to the nominated charity.

Many multi-talented doctors also take the opportunity to showcase their other skills, so that we don’t have to employ anyone else to organise the orchestra. The ADO was incorporated in 1998, and is coordinated with the assistance of a large team of doctors on national and local committees. Apart from a president and vice-president, treasurer and secretary, we also have librarians, a website manager (www.ado.net.au), database manager, publicity officer, video producer, photographer, stage manager, program editor, entertainment and social event organisers, and a master of ceremonies, in addition to many other willing helpers.

Phillip Antippa, Cardiothoracic Surgeon, Royal Melbourne Hospital, Vic. Principal Viola. “Music is an integral part of my professional life. I never operate without music, be it classical or other. My favourite composer is Shostakovich and certainly my most memorable moment was playing his 11th Symphony at National Music Camp in 1985.”	Rowan Thomas, Anaesthetist, St Vincent's Hospital Melbourne, Vic. First Violin and Concertmaster. “Playing music helps me relax. My association with professional musicians reminds me of a few fundamental truths — the best car to own is one that gets you from A to B, and if you can eat and are warm, there is not too much to worry about.”	Cathy Fraser, General Practitioner–Psychotherapist, Sydney, NSW. Flautist, Leader of the Woodwinds. “The need to practise means something else has to go, and that usually can't be work, so it can mean less time eating, exercising or even sleeping! My favourite piece is Samuel Barber’s Adagio for Strings because it moves me more than any other piece of music.”	Ti-wan Ng, Paediatrician, Perth. Double Bass player. First time player in 2003. “Music provides an escape from medicine and the chance to create something beautiful. Medicine is not intrinsically very creative. My most memorable musical moment was a night in Florence, listening to a recital in a small church which was raising funds for restoration work.”