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Litaniae Lauretanae
Exultate Jubilate
Rejoice,
be
glad,
O you blessed souls,
Rejoice, be glad,
Singing sweet songs;
In response to your singing
Let the heavens sing forth with me.
The
friendly
day
shines
forth,
both clouds and storms have fled now;
for the righteous there has arisen an unexpected calm.
Dark night reigned everywhere ;
you who feared till now,
and joyful for this lucky dawn
give garlands and lilies with full right hand.
You,
o
crown
of
virgins,
grant us peace,
console our feelings,
from which our hearts sigh.
Alleluja
Ave Verum Corpus
Hail,
true
body
born of the Virgin Mary,
Who truly suffered, sacrificed
on the Cross for man,
Whose pierced side overflowed
with water and blood,
Be for us a foretaste
In the test of death.
Salt
Creek Sinfonietta Program Notes
Gary A. Greene, Ph.D.
W.A.
Mozart
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).
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 work around
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.
Meet
the
Conductor
of
the
Salt
Creek Sinfonietta
Dan D'Andrea
An “up and
coming” conductor, recently praised 3 out of 4 years by the Illinois
Council of
Orchestras for outstanding programming including winning the 2003-04
Chamber
Orchestra of the Year award with the
Salt Creek Sinfonietta and the 2006
Community Relations of the Year with the Senior Suburban
Orchestra,
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, Combined Church Choir of Itasca,
and
"Wind Harmonies" Wind Ensemble.
He has also been assistant conductor with 
the
Northern Illinois
University
Philharmonic and Wind Ensemble, and has guest conducted area ensembles,
including most recently the Wheaton Symphony Orchestra.
An in demand adjudicator, Mr. D’Andrea has
judged area solo competitions, and for 3 consecutive years had served
on the
peer review board of the Hinsdale Center for the
Arts.
A Chicago area native, he has received music
degrees from DePaul University (bachelors in music education--high
honor), New
England Conservatory (masters in bassoon performance) and Northern
Illinois
University (masters with conducting emphasis), and his conducting
teachers
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,
semi-finalist 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.
They might not be able to name that tune, but chances are everyone in the audience at Salt Creek Sinfonietta's pair of all-Mozart concerts have heard some of the songs before.
"It's almost Mozart's Greatest Hits," Director Dan D'Andrea said of the music chosen for last week's performance at Redeemer Lutheran Church in Hinsdale and the concert set for 3 p.m. Sunday, Jan. 31, at St. Odilo Roman Catholic Church in Berwyn.
The Jan. 31 performance will pair the musicians of the Salt Creek Sinfonietta with the talents of the St. Odilo choir, under the direction of Paul Rau.
This is the Sinfonietta's debut concert at the Berwyn church, and D'Andrea said the church's size and architecture will produce a sound that can't be achieved in the Sinfonietta's usual Hinsdale venue.
It's also a debut for the St. Odilo choir, which Rau formed from members of the church's three vocal ensembles. They'll be joined by other church members and vocalists in the community to form a 25-voice choir.
The joint concert will begin with the Sinfonietta's performance of Mozart's Symphony No. 40 in G Minor.
"It's one of his last symphonies," D'Andrea said, and one that is recognizable to many. "This is arguably Mozart's most famous symphony."
Vocal soloist Angela Presutti Korbitz of Woodridge will join the sinfonietta in Exsultate, Jubilate, a sacred work suitable for the concert's sacred venue, D'Andrea said. He said guests will recognize and enjoy the work's famous "Alleluia" ending.
The St. Odilo choir joins the Sinfonietta for the last two selections -- Ave Verum and Litaniae Lauretanae. Ave Verum is an often-performed work written in the last year of Mozart's life.
"It's all of like three or four minutes," D'Andrea said, but it's a moving piece that's a standard for vocal choirs.
Litaniae Lauretanae, a musical version of the Litany of Loreto, a Catholic devotion to Mary, was written when Mozart was just a teenager.
"We've been working on it since about September," Rau said.
Rau said the music has been a challenge for his singers, but a challenge that they've risen to and enjoyed.
"We're happy it's coming together so well," he said.
Rau approached D'Andrea more than a year ago with the idea of a concert at St. Odilo. Rau said it was D'Andrea who suggested that the St. Odilo choir join them, and Rau got to work finding singers.
"I hope it goes well enough that we can do the same thing every year," Rau said.
D'Andrea said the Sunday afternoon concert offers a break from the dreary outdoors and a chance to enjoy some quality music.
"There is no bad Mozart," he said.
The Salt Creek Sinfonietta has a pair of performances left in its 2009-10 season, titled The Mendelssohn and Schumann Bicentennials. The musicians return to Redeemer Lutheran in Hinsdale March 14 for their annual Women Composers Festival.
Although he's male, the performance will feature Schumann's Overture, Scherzo and Finale, op. 52, in honor of the 200th anniversary of the composer's birth.
The concert will continue with pieces by accomplished female musicians and will feature the talents of several local members of Sigma Alpha Iota, an international music fraternity.
The 2009-10 season culminates May 2 with a special performance by pianist Dennis Dorris a final tribute to Schumann.
Salt Creek Sinfonietta and St. Odilo Choir. 3 p.m. Sunday, Jan. 31 at St. Odilo Church, 2244 East Ave, Berwyn. $10. (708) 484-2161