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ABOUT THE ARTISTS

Programs, artists and dates subject to change. Photographing or recording of this performance without

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Segerstrom Center for the Arts, Renée and Henry Segerstrom Concert Hall

Wednesday, March 28, 2012, 8pmPre-concert lecture by Christopher Russell, 7pm

Donna L. Kendall Classical Series

BALTIMORE SYMPHONY ORCHESTRAMARIN ALSOP, CONDUCTOR COLIN CURRIE, PERCUSSION

Fanfare for the Common Man AARON COPLAND

(1900 -1990)

Fanfare for the Uncommon Woman JOAN TOWER

(b. 1938)

Percussion Concerto JENNIFER HIGDON

(b. 1962)COLIN CURRIE

— I N T E R M I S S I O N —

Symphony No. 5 in B-flat major, Op. 100 SERGEI PROKOFIEV

(1891-1953)Andante

Allegro marcato

Adagio

Allegro giocoso

Exclusive Print and Online Sponsor

Support for the BSO’s West Coast Tour programming is generously provided by a grant from

Major program support for the BSO’s season-long celebration of revolutionary women is generously provided by Marin Alsop

BALTIMORE SYMPHONY ORCHESTRA BSOmusic.org

the�Philharmonic�Society�gratefully�acknowledges�the�Donna�L.�Kendall�Foundation�for�its�generoussponsorship�of�tonight’s�concert.�we�also�wish�to�thank�Nancy�Caldwell�for�her�supporting�

sponsorship�of�this�concert.�

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CoPLAND:�FANFARE�FoR�tHE�CommoN�mANBorn in Brooklyn, N.Y., November 14, 1900; died in North Tarrytown, N.Y., December 2, 1990

When Aaron Copland submitted a three-minute fan-fare to the Cincinnati Symphony in late 1942, hehad no idea it would become one of his mostfamous pieces—in fact, one of the most famouspieces ever written by an American classical com-poser. World War II had been raging for years, andin 1942 there was little to celebrate on the Alliedside. As a morale booster, Eugene Goossens,Cincinnati's music director, decided to commissiona series of 18 fanfares from America’s most promi-nent composers—including Morton Gould, HowardHanson, William Grant Still, and Virgil Thomson-to open each of the orchestra's 1942–43 season con-certs.

Upon receiving the score, Goossens wrote Copland:“Its title is as original as its music.” The composerhad considered a number of possibilities, amongthem Fanfare for the Spirit of Democracy andFanfare for the Rebirth of Lidice (a Czech townthat had been destroyed by the Nazis that year).Finally, he settled on Fanfare for the CommonMan. As he said, “It was the common man, afterall, who was doing all the dirty work in the war andthe army. He deserved a fanfare.”

The music—scored for four horns, three trumpets,three trombones, tuba, and percussion—combinedfull-throated splendor with a sturdy, unvarnished

pride that seemed an ideal tonal personification ofthe average GI Joe. Its brass writing emphasizedbig, rangy intervals, and its powerful, equallyprominent part for timpani expressed virile force.Perhaps hoping that this inspiring music would notbe forgotten after one performance in Cincinnati,Copland also made it the focal point of the finale ofhis Third Symphony, composed between 1944 and1946 as the Allies swept to victory.

He needn’t have worried. Fanfare for the CommonMan quickly became a favorite of brass playerseverywhere, and not just in America. The youngtelevision industry adopted it for sporting events,political conventions, and the achievements of thespace program. Popular musicians loved it, and theRolling Stones appropriated it for their entrancemusic on tour. And even now, when we have heardit so many times, it never fails to raise the adrena-line.

towER:�FANFARE�FoR�tHE�uNCommoN�womANBorn in New Rochelle, New York, September 6, 1938

And now a salute to the other half of the audience!

A quiet revolution has taken place in classicalmusic over the past few decades: at long last,women have successfully begun to infiltrate themale-dominated fields of conducting and compos-ing. Joan Tower is both, but it is her creative workthat has won her a prominent place in the Americancontemporary music scene. Her vibrant, energetic,and often highly dramatic music has been commis-sioned and/or performed by major orchestras fromNew York to Tokyo.

“Creating ‘high-energy’ music is one of my specialtalents,” Tower says. “I like to see just how high Ican push a work’s energy level without making itchaotic or incoherent.” Certainly this is true of herFanfare for the Uncommon Woman No. 1, whichhas become her most frequently performed piece(played by more than 500 ensembles since its pre-miere by the Houston Symphony in 1987).

Its title, of course, is a play on Copland’s Fanfare.And it even shares the same instrumentation: threetrumpets, four horns, three trombones, tuba, tim-pani, and two percussionists playing a very loudbattery including tamtams (gongs). Tower has longbeen a fan of Copland’s music, and so when shereceived a commission to write a short work for theHouston Symphony's Fanfare Project, she original-ly wanted to create a tribute to him. But ultimately

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Copland

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her fanfare adopted a feminist message; it cele-brates, in Tower’s words, “women who take risksand are adventurous.” And it is dedicated to justsuch a woman: the BSO’s Marin Alsop.

HigDoN:�PERCuSSioN�CoNCERtoBorn in Brooklyn, New York, December 31, 1962;now living in Philadelphia

Jennifer Higdon also represents the BSO’s seasonaltheme of adventurous women, for she has success-fully broken the barriers of classical composition,until recently a field exclusively for men. The year2010 was a banner year for Higdon: she won thecoveted Pulitzer Prize for Music for her ViolinConcerto for Hilary Hahn and she won a GrammyAward for Best Contemporary ClassicalComposition for a recording by Colin Currie,Marin Alsop, and the London Philharmonic of herbrilliant Percussion Concerto, which we hear at thisconcert.

Now a prolific composer in constant demand fornew works by major orchestras and ensembles allover America, Higdon also manages to pursuecareers as a virtuoso flute player, a conductor, and avery popular teacher of composition atPhiladelphia’s Curtis Institute of Music (she holdsthe Milton L. Rock Chair in CompositionalStudies). Her roots at Curtis run deep, for sheearned an artist’s diploma in composition there(studying with Ned Rorem), before moving on tothe University of Pennsylvania for master’s anddoctoral degrees in composition, studying with theprominent composer George Crumb.

Crumb has fingered several of the qualities thatmake Higdon’s music special: “rhythmic vitality,interesting coloration, and sensitivity to nuance andtimbre.” But beyond that, Higdon succeeds becauseshe is a very original, personal, and emotionallycommunicative composer whose music, thoughmodern in its techniques, is also immediatelyaccessible and appealing. And she incorporates ele-ments of her early love for folk and rock music intoher classical compositions. Growing up, she recallsthat her favorite musicians were The Beatles.“Classical music was probably the least presentmusic in our household…my dad worked athome—he was an artist, which meant there was a

lot of music in the background all the time—butnormally it was rock and roll or bluegrass or reg-gae.”

Higdon’s Percussion Concerto was a joint commis-sion of the Philadelphia Orchestra, the IndianapolisSymphony, and the Dallas Symphony; it receivedits premiere in November 2005 by thePhiladelphians led by Christoph Eschenbach withColin Currie as soloist. Written for Currie, it is ded-icated to him “with great admiration.”

Higdon has provided the following guide to theConcerto:

“The 20th century saw the development of the per-cussion section as no other section in the orchestra.Both the music and the performers grew in visibili-ty as well as in capability. And...the appearance andgrowth of the percussion concerto as a genreexploded during the latter half of the century.

“My Percussion Concerto follows the normal rela-tionship of a dialogue between soloist and orches-tra. In this work, however, there is an additionalrelationship, with the soloist interacting extensivelywith the percussion section. The ability of perform-ers has grown to such an extent that it has becomepossible to have sections within the orchestra inter-act at the same level as the soloist.

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“When writing a concerto, I think of two things: theparticular soloist for whom I am writing and thenature of the solo instrument. In the case of percus-sion, this means a large battery of instruments,from vibraphone and marimba...to non-pitched,smaller instruments (brake drum, wood blocks,Peking Opera gong) and to the drums themselves.Not only does a percussionist have to perfect play-ing all of these instruments, but he must make hun-dreds of decisions regarding the use of sticks andmallets, as there is an infinite variety of possibili-ties from which to choose. Not to mention the cho-reography of the player’s movement; where mostperformers do not have to concern themselves withmovement across the stage, ...a percussion soloistmust have every move memorized. No other instru-mentalist has such a large number of variables tomaster.

“This work begins with the sound of the marimba,as Colin early on informed me that he has a fond-ness for this instrument. I wanted the opening to beexquisitely quiet and serene, with the focus on thesoloist. Then the percussion section enters, mimick-ing the gestures of the soloist. Only after this dia-logue has been established does the orchestra enter.There is significant interplay between the soloistand the orchestra with a fairly beefy accompani-ment in the orchestral part, but at various times themusic comes back down to the sound of the soloistand the percussion section playing together withoutorchestra.

“Eventually, the music moves through a slow lyri-cal section, which requires simultaneous bowingand mallet playing by the soloist, and then a returnto the fast section, where a cadenza ensues withboth the soloist and the percussion section. A dra-matic close to the cadenza leads back to the orches-tra’s opening material and the eventual conclusionof the work.”

PRoKoFiEV:�SymPHoNy�No.�5�iN�B-FLAtmAjoRBorn in Sontsovka, Ukraine, April 23, 1891; died in Moscow, March 5, 1953

The premiere of Prokofiev’s Symphony No. 5 inMoscow on January 13, 1945, was an occasion

charged with emotion. The great Soviet pianistSviatoslav Richter vividly recalled the moment asProkofiev mounted the podium: “He stood like amonument on a pedestal. And then, when [he] hadtaken his place…and silence reigned in the hall,artillery salvos suddenly thundered forth. His batonwas raised. He waited, and began only after thecannons had stopped. There was something verysignificant in this, something symbolic. It was as ifall of us—including Prokofiev—had reached somekind of shared turning point.”

Richter’s observation was correct. The cannons thatinterrupted the start of the Fifth Symphony werecelebrating the news that the Soviet Army wascrossing the Vistula River into the territory of NaziGermany. The end of World War II was nowassuredly in sight. The music that followed this joy-ful roar proved worthy of the moment, and 40 min-utes later, the audience set off its own explosion.For with his longest and arguably greatest sympho-ny, Prokofiev had summed up the mood of theRussian people at this momentous time in their his-tory with music that paid tribute both to the terriblesuffering they had experienced and to the victorythat would soon be theirs.

Prokofiev, too, had reached a personal turningpoint. Since he returned from the West to theU.S.S.R. in 1936, he had struggled to adjust toStalin's cultural whims. Now for a brief moment, hewas at the apex of his career: no longer a suspi-ciously watched “foreigner” but the voice of theRussian people. Later, Prokofiev commented thatthe Fifth Symphony was “very important not onlyfor the musical material that went into it, butbecause I was returning to the symphonic formafter a break of 16 years. The Fifth Symphony isthe culmination of an entire period of my work. Iconceived of it as a symphony on the greatness ofthe human soul.”

Oddly, it had been easier to be a composer in theSoviet Union during World War II than in the yearsbefore or after: Stalin was too busy prosecuting thewar to worry about subversive artists. Retreats farfrom the front lines were set aside for Soviet cre-ators, and Prokofiev had spent most of 1944 at a“House of Creative Work” near Ivanovo, west of


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Moscow, with other leading composers, includingShostakovich, Glière, and Khachaturian. Buoyed bythe news of the successful Normandy invasion inJune, Prokofiev wrote the Fifth very rapidly duringthe summer and early fall.

The sonata-form first movement, in the home keyof B-flat major, is unusual for being a slow move-ment, and in fact slow tempos dominate theSymphony. It opens with the haunting principaltheme sung in octaves by flutes and bassoon.Strings then reveal its beauty with lush harmonies.A wartime mood prevails with drums and darkbrass adding military color and weight. As thetempo quickens slightly, flute and oboe present themore flowing and optimistic second theme. Theexposition sections closes with a grand fanfare-liketheme for full orchestra envisioning the victory tocome.

Working out all these themes, the development sec-tion reaches a powerful climax, out of which theprincipal theme, now triumphant rather than wist-ful, is trumpeted forth by the brass. To cymbalcrashes and blows on the gong, the movementreaches a staggering conclusion—expressive ofRussia’s will to prevail—mighty enough to close asymphony. But there's still much more to come.

Leaving memories of the war behind, movementtwo is a wry, ironic scherzo in D minor set topropulsive rhythms. Prokofiev originally intendedthis music for his ballet Romeo and Juliet, written adecade earlier, and it is a very characteristic expres-sion of his black-comedy vein. A solo clarinet singsthe winding, sassy principal theme. The scherzomusic segues smoothly into a slightly slower triosection, opened by oboe and clarinet singing adownward sliding tune. Subtle, imaginative scoringcharacterizes this section, which has an elusive,slightly macabre mood.

Many commentators have suggested that the third-movement Adagio—the heart of this symphony—was patterned after the grief-laden third movementof Shostakovich’s Fifth Symphony. The success ofthe Shostakovich work, written nearly a decade ear-lier, had made it a model of the ideal symphony forSoviet composers. But though Prokofiev's Adagio

is also music of mourning, it is more sensuous andartful than Shostakovich’s blunt cry of pain. Itsquality of lyric tragedy is embodied in its beautiful,poignant principal theme, introduced by the wood-winds but soon passed to its rightful owners, thestrings. The gorgeous string writing here is vintageProkofiev, as first violins soar to the stratosphere,arcing against the second violins not far below. Themovement's middle section is darker and more tur-bulent in its depiction of wartime suffering. Twofuneral-march themes—one emphasizing jaggeddotted-rhythms and associated with strings, theother for winds and containing a sinister trill—strive against each other. This rises to a climax ofshattering volume and dissonance before the ethere-al close.

After a brief recall of the melody that launched thesymphony (heard most clearly in richly divided cel-los), the Allegro giocoso finale shakes off the sor-rows of war and exuberantly prepares for peace. Itsmanic, almost comic mood is a violent contrast tothe Adagio. Over rollicking horns, the clarinet leadswith a theme of Prokofievian drollery, followed bya chirpy idea for oboes, and finally a jauntily opti-mistic tune for flute. The development transformsthe clarinet theme into a smoother, very Slavicmelody for low strings, which is given lively fugaltreatment. With whirring, clattering percussion andthe Slavic tune blazing in the brass, the symphonycloses with a joyful noise.

Program Notes by Janet E. Bedell copyright 2012


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friends A

BOUT THE ARTISTS

ABOUT THE ARTISTS

BALtimoRE�SymPHoNy�oRCHEStRA

The Grammy Award-winning Baltimore SymphonyOrchestra (BSO) is internationally recognized ashaving achieved a preeminent place among theworld’s most important orchestras. Acclaimed forits enduring pursuit of artistic excellence, the BSOhas attracted a devoted national and internationalfollowing while maintaining deep bonds throughoutMaryland with innovative education and communi-ty outreach initiatives.

The BSO made musical history in September 2007,when Maestra Marin Alsop led her inaugural con-certs as the orchestra’s 12th music director, makingher the first woman to head a major Americanorchestra. With her highly praised artistic vision,her dynamic musicianship and her commitment toaccessibility in classical music, Maestra Alsop’sleadership has ushered in a new era for the BSOand its audiences.

Under Music Director Marin Alsop’s leadership,the BSO has rapidly added several criticallyacclaimed albums to its already impressive discog-raphy. The BSO and Maestra Alsop partnered withthe Naxos label to record a three-disk Dvořák sym-phony cycle. The first disc, which includes

Symphony No. 9, “From the New World” andSymphonic Variations, was released in February2008. The second disk in this cycle, released inJune 2012, features Symphonies Nos. 7 and 8, andthe third disk features Symphony No. 6, Nocturnein B major, and Scherzo capriccioso was alsoreleased in 2010. In August 2009, the BSO andMarin Alsop released Bernstein’s Mass featuringbaritone Jubilant Sykes, the Morgan StateUniversity Choir and the Peabody Children’sChorus. The album rose to number six on theClassical Billboard Charts and received a 2009Grammy nomination for Best Classical Album. Theorchestra made its foray into online distribution inApril 2007 with the release of a live recording ofStravinsky’s The Rite of Spring on iTunes, whichbecame the site’s number one classical musicdownload.

In addition to the Joseph Meyerhoff SymphonyHall, where the orchestra has performed for 29years, the BSO is a founding partner and the resi-dent orchestra at the state-of-the-art Music Centerat Strathmore, just outside of Washington, D.C.With the opening of Strathmore in February 2005,the BSO became the nation’s only major orchestrawith year-round venues in two metropolitan areas.


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ABOUT THE ARTISTS

ABOUT THE ARTISTS

mARiN�ALSoP,�muSiC�DiRECtoR

Hailed as one of the world’s leading conductors forher artistic vision and commitment to accessibilityin classical music, Marin Alsop made history withher appointment as the 12th music director of theBaltimore Symphony Orchestra. With her inauguralconcerts in September 2007, she became the firstwoman to head a major American orchestra. Shealso holds the title of conductor emeritus at theBournemouth Symphony in the United Kingdom,where she served as the principal conductor from2002-2008, and is music director of the CabrilloFestival of Contemporary Music in California.

In 2005, Ms. Alsop was named a MacArthurFellow, the first conductor ever to receive this pres-tigious award. In 2007, she was honored with aEuropean Women of Achievement Award, in 2008she was inducted as a fellow into the AmericanAcademy of Arts and Sciences and in 2009 Musical

America named her “Conductor of the Year.” InNovember 2010, she was inducted into theClassical Music Hall of Fame. In February 2011,Marin Alsop was named the music director of theOrquestra Sinfônica do estado de São Paulo

(OSESP), or the São Paulo State SymphonyOrchestra, effective for the 2012-13 season. Ms.Alsop was named to Guardian’s Top 100 Womenlist in March 2011. Last spring Marin Alsop wasnamed an Artist-in-Residence at the SouthbankCentre in London, England.

A regular guest conductor with the New YorkPhilharmonic, The Philadelphia Orchestra, LondonSymphony Orchestra and Los AngelesPhilharmonic, Ms. Alsop appears frequently as aguest conductor with the most distinguished orches-tras around the world. In addition to her perform-ance activities, she is also an active recording artistwith award-winning cycles of Brahms, Barber andDvořák.

Marin Alsop attended Yale University and receivedher master’s degree from The Juilliard School. In1989, her conducting career was launched whenshe won the Koussevitzky Conducting Prize atTanglewood where she studied with LeonardBernstein.

Marin Alsop (credit Grant Leighton)


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ABOUT THE ARTISTS

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CoLiN�CuRRiE,�PERCuSSioN

Percussionist Colin Currie has established a uniquereputation for his charismatic and virtuosic per-formances of works by today’s leading composers,and has appeared with many of the world’s mostimportant orchestras—the London PhilharmonicOrchestra, Royal Concertgebouw Orchestra andPhiladelphia Orchestra among them. Regularlycommissioning and recording new works, he hasmade an inspirational and innovative contributionto the percussion repertoire.

Colin Currie is deeply committed to the develop-ment of new repertoire for percussion in its widestform—orchestral, solo and in chamber music, andhis forthcoming commission projects include newworks by composers such as Elliott Carter, JamesMacMillan and Steve Reich. With trumpeter HåkanHardenberger, Currie premiered a recital programin Hannover and the Far East including works writ-ten especially for the duo by Christian Muthspiel,Lucas Ligeti and Tobias Broström. Currie also per-formed the world premiere of a percussion concertoby Dutch composer Joey Roukens commissionedby De Doelen Rotterdam. Other recent premieres

include works written for Currie by Simon Holt,Kurt Schwertsik, Jennifer Higdon and AlexanderGoehr, among others.

Currie also performs extensively as recitalist andchamber musician. Following its hugely successful,sold-out performances of Steve Reich’s Drumming

at the Southbank Centre last season, Currie’srecently established ensemble. The Colin CurrieGroup. returns to the Southbank Centre and toursthe UK giving further performances of this iconicwork. Other highlights of this season include per-forming Bartók with Stephen Kovacevich andMartha Argerich at the Wigmore Hall, collaboratingwith the Miró Quartet for concerts in the U.S. andjoining the Hebrides Ensemble to perform music byMaxwell Davies.

Colin Currie’s latest CD release features JenniferHigdon’s Percussion Concerto conducted by MarinAlsop with the London Philharmonic Orchestra, adisc which won a 2010 Grammy Award. Currie’srecital disc Borrowed Time, which features musicby British composer Dave Maric, is available onthe Onyx label.

Audio and Video Credits:

Video produced by Borletti-Buitoni Trust

www.bbtrust.com

Jennifer Higdon's Percussion Concerto courtesy of the

London Philharmonic Orchestra conducted by Marin Alsop.

LPO-0035

Dave Maric, Lucid Intervals from the ONYX Classics disc

Borrowed Time

Supported by the Borletti-Buitoni Trust

A co-production with KML Recordings Ltd

James MacMillian’s Veni Veni Emmanuel licensed

courtesy of Naxos Rights International Ltd.

Reproduced by kind permission of Boosey & Hawkes

Music Publisher Ltd.

Colin Currie (credit Marco Borggreve)


orchestra roster

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ORCHESTRA ROSTER

marin�AlsopMusic Director Harvey M. and Lyn P. Meyerhoff Chair

jack�EverlyPrincipal Pops Conductor

yuri�temirkanovMusic Director Emeritus

Lee�millsBSO-Peabody Conducting Fellow

FiRSt�VioLiNJonathan Carney

Concertmaster Ruth Blaustein Rosenberg Chair

Madeline AdkinsAssociate Concertmaster Wilhelmina Hahn Waidner Chair

Igor Yuzefovich*Assistant Concertmaster

James BoehmKenneth GoldsteinWonju KimGregory KupersteinMari MatsumotoJohn MerrillGregory MulliganRebecca NicholsEllen OrnerE. Craig RichmondEllen Pendleton TroyerAndrew Wasyluszko

SECoND�VioLiNQing Li

Principal E. Kirkbride and Ann H. Miller Chair

Ivan StefanovicAssistant Principal

Leonid BerkovichLeonid BriskinJulie ParcellsChristina ScrogginsWayne C. TaylorJames UmberCharles UnderwoodMelissa ZarayaRui Du**

VioLARichard Field

Principal Peggy Meyerhoff Pearlstone Chair

Noah ChavesAssociate Principal

Karin BrownActing Assistant Principal

Peter MinklerSharon Pineo MyerDelmar StewartJeffrey StewartMary Woehr

CELLoDariusz Skoraczewski

Principal Chang Woo Lee

Associate Principal Bo Li

Acting Assistant PrincipalSusan Evans

Seth LowEsther MellonKristin Ostling*Paula Skolnick-ChildressPei Lu**

BASSERobert Barney

Principal Willard and Lillian Hackerman Chair

Hampton ChildressAssociate Principal

Owen CummingsArnold GregorianMark HuangJonathan JensenDavid Sheets*Eric Stahl

FLutE�Emily Skala

Principal Dr. Clyde Alvin Clapp Chair

Marcia Kämper

PiCCoLo�Laurie Sokoloff

oBoEKatherine Needleman

Principal Robert H. and Ryda H. Levi Chair

Michael Lisicky

ENgLiSH�HoRN�Jane Marvine

Kenneth S. Battye and Legg Mason Chair

CLARiNEtSteven Barta

Principal Anne Adalman Goodwin Chair

Christopher WolfeAssistant Principal

William JenkenEdward Palanker

BASS�CLARiNEt�Edward Palanker

E-FLAt�CLARiNEt�Christopher Wolfe

BASSooNJulie Green Gregorian

Acting Principal Fei XieDavid P. Coombs

CoNtRABASSooN�David P. Coombs

HoRNPhilip Munds

Principal USF&G Foundation Chair

Gabrielle FinckAssociate Principal

Beth Graham*Assistant Principal

Mary C. BissonBruce Moore

tRumPEtAndrew Balio

Principal Harvey M. and Lyn P. Meyerhoff Chair

Rene HernandezAssistant Principal

Ryan Darke**

tRomBoNE�Christopher Dudley

Principal Alex. Brown & Sons Chair

James OlinCo-Principal

John Vance

BASS�tRomBoNE�Randall S. Campora

tuBA�David T. Fedderly

Principal

timPANi�Dennis Kain

Principal Christopher Williams

Assistant Principal

PERCuSSioNChristopher Williams

Principal Lucille Schwilck Chair

John LockeBrian Prechtl

PiANoJonathan JensenMary Woehr

Sidney M. and Miriam Friedberg Chair

Director�of�orchestra�PersonnelMarilyn Rife

Assistant�Personnel�managerChristopher Monte

LiBRARiANS�Mary Carroll Plaine

PrincipalConstance A. and Ramon F. Getzov

Chair Raymond Kreuger

Associate

StAgE�PERSoNNELEnnis Seibert

Stage ManagerTodd Price

Assistant Stage ManagerFrank Serruto

Technical DirectorLarry Smith

Sound

*On leave**Guest Musician

BALTIMORE SYMPHONY ORCHESTRA


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