KARL DITTERS VON See also:

• KARL DITTERS VON DITTERSDORF (1739-1799)

DITTERSDORF (1739-1799)  , See also:

• AUSTRIAN

Austrian composer and violinist, was, See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna on the 2nd of See also:

• NOVEMBER (Lat. novem, nine)

November 1739, his See also:

• FATHER

father's name being Ditters . Having shown as a See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child marked See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent for the See also:

• VIOLIN

violin, he was allowed to See also:

• PLAY

play in the orchestras of St See also:

• STEPHEN
• STEPHEN (1097?-1154)
• STEPHEN (ISTVAN) BATHORY (1533-1586)
• STEPHEN, SIR JAMES (1789-1859)
• STEPHEN, SIR JAMES FITZJAMES, BART
• STEPHEN, SIR LESLIE (1832-1904)

Stephen's and the Schottenkirche, where he attracted the See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention of a notable See also:

• PATRON

patron of See also:

• MUSIC

music, See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

Prince See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick of See also:

• HILDBURGHAUSEN

Hildburghausen (1702-1787), who is also remembered as a soldier for his disastrous leading of the forces of the See also:

• EMPIRE

Empire at See also:

• ROSSBACH

Rossbach . The prince gave thtboy, now eleven years-old, a See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in his private See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra—the first of the See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind established in Vienna,—and also saw to it that he received an excellent See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• EDUCATION

education . The Seven Years' See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War proved disastrous to both music and morals; and See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young Ditters, who had fallen into evil ways, fled from Hildburghausen, whither he had gone with the prince, to avoid the See also:

• PAYMENT (Fr. paiement, from payer, to pay; Lat. pacare, to appease, pax, peace)

payment of his gambling debts . His patron generously forgave and recalled him, but soon afterwards gave up his orchestra at Vienna . Ditters now obtained a place in the Vienna See also:

• OPERA (Italian for " work ")

opera; but he was not satisfied, and in 1761 eagerly accepted an invitation to accompany See also:

• GLUCK

Gluck, whose acquaintance, as well as that of See also:

• HAYDN, FRANZ JOSEPH (1732–1809)

Haydn, he had made while in the service of the prince, on a professional See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey to See also:

• ITALY
• ITALY (Italia)

Italy . His success as a violinist on this occasion was equal to that of Gluck as composer; and on his return to Vienna he was recognized as the See also:

• SUPERIOR

superior of See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio Lolli, who as virtuoso had hitherto held the See also:

• PALM (Lat. palma, Gr. iraX6.jn )
• PALM, JOHANN PHILIPP (1768-1806)

palm . In 1764 he was again associated with Gluck in the musical See also:

• PART

part of the ceremonies at See also:

• FRANKFORT

Frankfort, attending the See also:

• CORONATION (Lat. corona, crown)

coronation of the See also:

• ARCHDUKE (Lat. archidux, Ger. Erzherzog)

archduke Joseph as See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King of the See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans . His next See also:

• APPOINTMENT, POWER OF

appointment was that of conductor of the orchestra of the See also:

• BISHOP (A.S. bisceop, from Lat. episcopus, Gr. irio-Korros, " overlooker " or " overseer ")
• BISHOP, ISABELLA (1832-1904)
• BISHOP, SIR HENRY ROWLEY (1786-1855)

bishop of Grosswardein, a Hungarian See also:

• MAGNATE (Late Lat. magnas, a great man)

magnate, at See also:

• PRESSBURG (Hung. Pozsony, Lat. Posonium)

Pressburg . He set up a private See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage in the episcopal See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace, and wrote for it his first " opera buffa," Amore in musica . His first See also:

• ORATORIO

oratorio, Isacco figura del Redenlore, was also written during this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time; but the See also:

• SCANDAL

scandal of performances of See also:

• LIGHT

light opera by the bishop's See also:

• COMPANY

company, even on fast days and during See also:

• ADVENT (Lat. Adventus, sc. Redemptoris, " the coming of the Saviour ")

Advent, out-weighed this pious effort; the empress Maria See also:

• THERESA, ST (1515-1582)

Theresa sharplycalled the worldly See also:

• PRELATE (Lat. praelatus, set above, from praefero, prefer)

prelate to See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order ; and he, in a huff, dismissed his orchestra (r76g) . After a See also:

• SHORT, FRANCIS JOB (1857– )

short interlude, Ditters was again in the service of an ecclesiastical patron, See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

count von Schafgotsch, prince bishop of See also:

• BRESLAU (Polish Wraclaw)

Breslau, at his See also:

• ESTATE (through O. Fr. estat, mod. flat, from Lat. status, state, condition, position, stare, to stand)

estate of Johannesberg in See also:

• SILESIA

Silesia .

Here he displayed so much skill as a sportsman, that the bishop procured for him the See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office of forester (Forstmeister) of the principality of See also:

• NEISSE

Neisse . He had already, by the same See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence, been made See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

knight of the See also:

• GOLDEN

Golden See also:

• SPUR (A.S. spura, spora, related to spornan, spurnan, to kick, spurn; cf. M.H.G. sporn, mod. Ger. Sporn)

Spur (1770) . At Johannesberg Hitters also produced a comic opera, Il Viaggiatore americano, and an oratorio, Davide . The See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title role of the latter was taken by a See also:

• PRETTY

pretty See also:

• ITALIAN

Italian See also:

• SINGER, SIMEON (1846-1906)

singer, Signora Nicolini, whom Ditters married . In 1773 he was ennobled as Karl von See also:

• DITTERSDORF, KARL DITTERS VON (1739-1799)

Dittersdorf, and at the same time was appointed See also:

• ADMINISTRATOR

administrator (Amtskauptmann) of Freyenwaldau, an office which he performed by See also:

• DEPUTY (through the Fr. from a Late Lat. use of deputare, to cut off, allot; putare having the original sense of to trim, prune)

deputy . In the same See also:

• YEAR

year his oratorio Ester was produced in Vienna . During the War of Bavarian See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

Succession the prince bishop's orchestra was dissolved, and Dittersdorf employed himself in his office at Freyenwaldau ; but after the See also:

• PEACE
• PEACE, BREACH OF THE

peace of See also:

• TETSCHEN

Tetschen (1779) he again became conductor of the reconstituted orchestra . From this time forward his output was enormous . In 1780 ten months sufficed for the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of his Giobbe (See also:

• JOB

Job) and four operas, three of which were successful ; and besides these he wrote a large number of " characterized symphonies," founded on the Metamorphoses of See also:

• OVID [PUBLIUS OvID1us NASO] (43 B.C.–A.D. 17)

Ovid . He was now at the height of his fame, and spent the See also:

• FORTUNE, ROBERT (1813-188o)

fortune which it brought him in much luxury . But after a time his patron See also:

• FELL
• FELL, JOHN (1625-1686)

fell on evil days, the famous orchestra had to be. reduced, and when the bishop died in 1795 his successor dismissed the composer with a small See also:

• MONEY

money See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift . Poor and broken in See also:

• HEALTH

health, he accepted the See also:

• ASYLUM (from Gr. b.-, privative, arid earl, right'of seizure)
• ASYLUM, RIGHT OF (Fr. droit d'asile; Ger. Asylrecht)

asylum offered to him by Ignaz Freiherr von Stillfried, on his estate near Neuhaus in Bohemia, where he spent what strength was See also:

• LEFT

left him in a feverish effort to make money by the See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of operas, symphonies and See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte pieces .

He died on the 1st of See also:

• OCTOBER

October 1799, praying " See also:

• GOD

God's See also:

• REWARD

reward " for whoever should See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save his See also:

• FAMILY

family from See also:

• STARVATION

starvation . On his See also:

• DEATH

death-See also:

• BED
• BED (a common Teutonic word, cf. German Bett, probably connected with the Indo-European root bhodh, seen in the Lat. fodere, to dig; so " a dug-out place " for safe resting, or in the same sense as a garden " bed ")

bed he dictated to his son his Lebensbeschreibung (autobiography) . Dittersdorf's See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief talent was for comic opera and instrumental music in the See also:

• SONATA (From Ital. sonare, to sound)

sonata forms . In both of these branches his See also:

• WORK

work still shows signs of See also:

• LIFE

life, and it is of See also:

• GREAT

great See also:

• HISTORICAL

historical See also:

• INTEREST

interest, since he was not only an excellent musician and a friend of Haydn but also a thoroughly popular writer, with a lively enough musical wit and sense of effect to embody in an amusing and fairly See also:

• ARTISTIC

artistic See also:

• FORM (Lat. forma)

form exactly what the best popular intelligence of the times saw in the new artistic developments of Haydn . Thus, while in the amiable monotony and diffuseness of See also:

• BOCCHERINI, LUIGI (1743-1805)

Boccherini we may trace Haydn as a force tending to disintegrate the polyphonic See also:

• SUITE (Suite de pieces; Ordre; Partita)

suite-forms of instrumental music, in Dittersdorf on the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand we see the popular conception of the See also:

• MODERN

modern sonata and dramatic See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style . Yet, with all his popularity, the reality of his progressive outlook may be gauged from the fact that, though he was at least as famous a violinist as Boccherini was a violoncellist, there is in his See also:

• STRING

string quartets no trace of that tendency to See also:

• SACRIFICE (from Lat. sacrificium; sacer, holy, and facere, to make)

sacrifice the ensemble to an See also:

• EXHIBITION

exhibition of his own playing which in Boccherini's chamber music puts the See also:

• VIOLONCELLO (Fr. violoncelle, Ger. Violoncell, Ital. violoncello)

violoncello into the same position as the first violin in the chamber music of See also:

• SPOHR, LUDWIG (1784-1859)

Spohr . In Dittersdorf's quartets (at least six of which are worthy of their survival at the See also:

• PRESENT

present See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day) the first violin leads indeed, but not more than is inevitable in such unsophisticated music where the normal place for See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody is at the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top . The See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of greater vitality in the texture of Boccherini's quintets is produced merely by the fact that, his See also:

• SPECIAL

special See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument being the violoncello, his displays of brilliance inevitably occur in the inner parts . Six of Dittersdorf's symphonies on the Metamorphoses of Ovid were republished in 1899, the See also:

• CENTENARY (from Lat. centenarius, of or belonging to a hundred, from centeni, distributive of centum, hundred)

centenary of his death . In them we have an amusing and sometimes charming See also:

• ILLUSTRATION

illustration of the way in which at transitional periods music, as at the present day, is ready to make crutches of literature . The end of the See also:

• REPRESENTATION

representation of the See also:

• CONVERSION (Lat. conversio, from convertere, to turn or ,change)

conversion of the Lycian peasants into frogs is prophetically and ridiculously Wagnerian in its ingenious expansion of See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm and eminently See also:

• EXPERT (Lat. expertus, from experiri, to try)

expert orchestration . Every See also:

• EXTERNAL

external feature of Dittersdorf's style seems admirably See also:

• APT

apt for success in See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German comic opera on a small See also:

• SCALE
• SCALE (1) A

scale ; and an occasional experimental performance at the present day of his Doktor and Apotheker is not less his due than the survival of his best quartets .

See his Lebensbeschreibung, published at See also:

• LEIPZIG

Leipzig, 18or (See also:

• ENGLISH

English See also:

• TRANSLATION

translation by A . D . See also:

• COLERIDGE, HARTLEY (1796-1849)
• COLERIDGE, JOHN DUKE COLERIDGE, 1ST BARON
• COLERIDGE, SAMUEL TAYLOR (1772-1834)
• COLERIDGE, SARA (1802–1852)
• COLERIDGE, SIR JOHN TAYLOR (1790-1876)

Coleridge, 1896) ; an See also:

• ARTICLE (from Lat. articulus, a joint)

article in the Rivista musicale, vi . 727; and the article Dittersdorf in See also:

• GROVE (O.E. graf, cf. O.E. gr(efa, brushwood, later" greave "; the word does not appear in any other Teutonic language, and the New English Dictionary finds no Indo-European root to which it can be referred; Skeat considers it connected with " grave," to
• GROVE, SIR GEORGE (182o-1900)
• GROVE, SIR WILLIAM ROBERT (1811-1896)

Grove's See also:

• DICTIONARY

Dictionary of Music and Musicians .