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Symphony #40 in G minor, K550 (1788)
Exultate Jubilate, K165 (1773)
Angela Presutti Korbitz, Soprano
Intermission
Ave Verum Corpus, K618 (1791)
St. Odilo Festival Choir
Litaniae Lauretanae, K109 (1771)
St. Odilo Festival Choir
Carolyn Stopka, Karyn Miller- Soprano Solos
Linda Andrejek, Doris Lucas, Rose Brannon- Alto Solos
Balthazar Aguirre- Tenor Solos
Henry Odum, Frank Brannon- Bass Solos
St. Odilo Festival Choir
Paul Rau- Director
Sopranos
Linda Andrejek
Joyce Benjamin
Carla Campagna
Karyn Zick Miller
Rosa Rendon
Mary Shine
Carolyn Stopka
Cathy White
Altos
Rose Brannon
Denise Little
Doris Lucas
Diana Malinek
Nancy Pudil
Debra Ryan
Susan White
Tenors
Balthazar Aguirre
Beatrice Campagna
Paul Rau
William White
Robert Wilson
Basses
Ralph Arnold
Frank Brannon
David Brent
Henry Odum
Joseph White
Frank Zidek
Salt Creek Synfonietta
Dan Pasquale D’Andrea- Director
Bassoon
Martha Cavander
Jie Chen
Rebecca Stadick
Cello
Nancy Moore, Principal
Dorothy Lund
Marion Sarkar
Sandra Wiedemeier
Clarinet
Fred Ruda
Michaela Tuminello
Double Bass
Kelly O’Malley
Devin Swearingin-Ross
Flute
Julie Cleff
Kathryn Witt Reinhard
Horn
Gary Greene
Carie Jancik
Liz Sack
Jerry Egan, Auxiliary
Sherri Seward, Auxiliary
Harpsichord/Piano
Kathryn Witt Reinhard
Oboe/English Horn
Lou Parker
Dean Sayles
Timpani
David Wiebers
Trumpet
Guy Clark
Laura Shea-Clark
Charles Kolar, Auxiliary
Viola
Karen L. Kramer
John Nelson
Barbara Rothrock
Barbara Walters
Violin
Barbara Sterba, Concertmaster
Corinne Brodick
Rose Deets
Dolores Hogan
Charlene Kubik
Lucretia Luscombe
Florence Naprstek
Stefanie Rembiszewski
Barb Rock
Karl Steigleder
Lennette Whitfield-Neal
Karen Youngdahl
Jerry Zitko
Meet the Conductor: Dan Pasquale D’Andrea
An "up and coming" conductor, recently praised 2 consecutive years by the
Illinois Council of Orchestras for outstanding programming, Music
Director/Conductor Dan Pasquale D'Andrea is music director of several
ensembles., including the Salt Creek Sinfonietta, Senior Suburban Orchestra,
College of DuPage Chamber Orchestra, and Combined Church Choir of
Itasca; he has also been assistant conductor with the Northern Illinois
University Philharmonic and Wind Ensemble, and has guest conducted area
ensembles.
An in demand adjudicator, Mr. D'Andrea has judged several area solo
competitions, and for 3 years has served on the peer review board of the
Hinsdale Center for the Arts. An Itasca native, he has received music degrees
from DePaul University (bachelors in music education - high honor), New
England Conservatory (master in bassoon performance) and Northern Illinois University (masters with
conducting emphasis), and his conducting teacher’s include Stephen Squires and Frank Battisti.
Also a harpsichordist and an award winning bassoonist, he has appeared as soloist with several
orchestras including the New England Conservatory Symphony Orchestra, and his solo honors include
co-winner of the 1990 National Association of Composers/USA Young Performers' Competition, semifinalist in the 1987 Fernand Gillet Young Artist Competition, and winner of the Double-Reed award at
the 1989 Kingsville International Young Performers' Competition. He is presently principal bassoon
with the Northwest Indiana Symphony Orchestra.
Gary A. Greene, Ph.D.
January 31, 2010
Salt Creek Sinfonietta Program Notes
W.A. Mozart
Symphony No. 40 in G Minor, K. 550
During the summer of 1788, Mozart produced his final three statements in the symphonic genre—his Symphony
No. 39 in E-flat Major, K. 543 (completed in June), No. 40 in G Minor, K. 550 (July), and No. 41 in C Major, K. 551
(August). There seems to be no connection between the three—no joint commission, no special non-musical
motivation to write the works across a six-week span—although Hans Keller has suggested a link between the
latter two works through an idea found in the slow movement of K. 550 and the last movement fugue subject in
K. 551. Mozart had been increasing the interval between symphonic creations: the first eight symphonies come
from the later 1760s, and the next 25 from the 1770s, then the last eight across the 1780s but with gaps. Then
nothing of the symphony for the remainder of his life. Perhaps he really had said all he had to say in this genre
by the final bar of K. 551.
The Fortieth Symphony, at least the first movement, is fairly well known, having been a favorite of music
appreciation teachers over the years. And no wonder—the sonata form is crystal clear and there is the pervasive
and easily spotted rhythmic (two short values followed by a long)/melodic (stepwise descent then a repeated
pitch or one further step descent) motive throughout. Much there to grab hold of as a new listener, yet much to
savor by a connoisseur of craftsmanship and genius.
The later movements also have their salient features. The slow movement—also in sonata form—introduces the
first theme in imitative counterpoint and closes the exposition with some exquisite chromaticism. Then there is
the syncopation in the third movement (a Minuet); good thing, perhaps, that no couple would have embarrassed
themselves trying to dance to that! And he gives us more counterpoint with variations on that theme. In the
Finale, Mozart presents us with a “Mannheim Rocket” (a rapidly ascending arpeggio) to begin the last
movement, and he lays before us a virtuoso’s skill in the transition to the development section. On last curiosity:
The symphony comes to us in two versions—one is without clarinets and has a slightly altered slow movement
compared to the version typically performed.
Exsultate Jubilate, K.165
Mozart composed this cantata for high voice and orchestra during a stay in Milan as part of his last concert tour
when he could still be considered a child prodigy. The work was first heard there on 17 January 1773, virtually
atop his 17th birthday. It was composed for Venanzio Rauzzini, the castrato who had just served as primo uomo
in the 1772 premiere of Lucio Silla (which premiere was Mozart’s reason for being in Milan in the first place).
Mozart revised the workaround 1780, while in Salzburg, probably for the soprano Francesco Ceccarelli. The
revised versions substituted a pair of flutes for the pair of oboes in the original and included some changes in
the text.
Litaniae Lauretanae de Beata Virgine Maria in B-flat Major, K. 109
As a child and teenager, Mozart contributed to the family exchequer by touring Europe as a keyboard prodigy.
At the time of the writing of the present work, he had just returned to Salzburg from the last of the tours that
took him to Italy; these started in 1769. Mozart was about 15 when he composed his setting of this traditional
text, which age may explain why his manuscript preserves an envoi statement by his father, Leopold, rather than
himself: “Del Sgr: Cavaliere Amadeo Wolfgango Mozart in Salisburgo nel Mese di Maggio 1771.” These words
may not be the only connection between the two men regarding this work since Mozart père had composed a
setting as well though in F major. Mozart fils wrote four Litinae settings—two on this Loretan text that honors
Mary, and two on a text that honors the Blessed Sacrament.
K. 109 is a small-scale work, reflecting its use in the chapel of the Schloss Mirabell, Archbishop Colloredo’s
summer residence, rather than in the Cathedral of Salzburg. The Litany of Loreto, one of a number of Marian
litanies, was approved by Pope Sixtus V in 1587. Though some authors believe that it goes back some
centuries—speculation includes Pope Sergius I (687) among other sources—recent scholarly work seems to
establish the turn of the sixteenth century as the correct timeframe of composition, and the oldest extant printed
copy dates from 1558 in Germany. This text traveled widely, perhaps because of its association, beginning 1558,
with a particular shrine and thus becoming known to pilgrims. Since its first appearance, the Litany has seen
textual changes regarding the titles for the Virgin. Originally, there were titles such as Our Lady of Humility,
Mother of Mercy, and Queen of Disciples. The most recent contribution (”Mother of the Church”) was supplied
by Pope John Paul II.
Ave Verum, K. 618
The text for this motet comes from a 14th-century Eucharistic hymn attributed to Pope Innocent VI. It is found
in a manuscript from the Abbey of Reichenau on Lake Constance. During the Middle Ages, the text was sung at
the Elevation of the Host, and it was also used during the “Benediction of the Blessed Sacrament.”
The text has been set by a number of composers, including in more recent times William Byrd, Franz
Liszt, Camille Saint-Saëns, and Edward Elgar, but Mozart's treatment is the best known. Of the many
other settings of the poem, the best known are probably those by William Byrd and Sir Edward Elgar.
Poulenc included the text in his opera Dialogues of the Carmelites. Mozart's setting dates from 1791, and
an arrangement for instruments only was made Tchaikovsky in 1887 as part of his Mozartiana (Orchestra
Suite No. 4 in G Major, Op. 61).