gobble, gobble gobble 44tiv (14 , 44., vot r JAir e Complete Turkey Dinner (10 person minimum please) manic to depressive stages. The corn- poser's hallucinations and delusions — as well as creativity — will enter into the concert presentation. "Schumann spent the last couple of years of years of his life in an insane asylum, but well before that, he benefited enormously from his illness," Kogan explains. "During the times when he was in his manic states, the racing thoughts, sharp- ened imagination and decreased need for sleep contributed to his composing prolifically." Kogan's interest in classical music reaches back to childhood, while his fascination with psychiatry devel- oped in college. Piano lessons and practice, begun during preschool years, led to con- cert engagements starting in elemen- tary school. A liberal arts program at Harvard introduced inquiry into the mystery and complexity of the mind, and residency work with patients emphasized the need for treating sexuality problems. Support for Kogan's musicianship also came from friendship. While attending the Juilliard School, he became close to now-famous fellow students — cellist Yo Yo Ma and violinist Lynn Chang — who became his Harvard roommates and concert associates in duos and trio. "I did a recital with Yo Yo Ma at Orchestra Hall while I was still a medical student," Kogan recalls. "I was very fortunate because the dean of Harvard Medical School was sup- portive of my _dual career and per- mitted me to take time off to travel and concertize. "It took me more years to get through the university, but I wound up gaining an education and having the ability to continue with my con- cert career." Kogan, married and the father of three, concedes that balancing music and medicine often can be precari- ous. Although he arranges for other doctors to cover medical emergen- cies when he travels to perform, Kogan often talks to troubled patients by phone immediately before and after concerts as well as during intermission. "The rule rather than the excep- tion is for people in the audience to come up to me with psychiatric questions after concerts," Kogan says. "They want to talk about prob- lems they have been having or mem- bers of their families have been hav- ing that relate to what I've discussed. "Depending on the nature of the problem, I may suggest reading material or make a referral if I know some excellent clinician in the area." Kogan believes his musical talents allow him to give back to the Jewish community in which he was raised. He performs at fundraising benefits, often in synagogues, and has appeared for large organizations such as Hadassah. "Since I've been a psychiatrist, I've treated lots of patients who have had the kind of illness that Schumann had, and I believe that makes me understand the music much more," says Kogan, who has studied the letters and diary of the 19th-century musical icon he will salute in Detroit. "I think most musicians are famil- iar with stories about Schumann, but I now have more of a sense of the particular drama of the manic- depressive and what Schumann was trying to communicate about that. "Schumann believed that the only reason for becoming a composer is to actually express what's on the composer's mind, and as a per- former, I always try to catch the inner state of mind of the composer, no matter whose work I'm playing." Kogan, on the brink of doing a DVD series on various composers and their battles with emotional dis- tress, asserts that a disproportionate number of composers had psychi- atric conditions that simultaneously plagued and inspired them. "I think the main reason I'm able to balance both careers is that I'm highly motivated," says Kogan, the son of a music teacher and doctor. "I feel passionately about making music and being a clinician. "I did standard piano recitals for many years, but by combining the music with psychological issues, I feel like I'm integrating my careers. I practice the piano every day, but I don't have a set schedule because of all the other things that come into play. 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