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

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 of the See also:

Romans. His next See also:

APPOINTMENT, POWER OF

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

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; 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 ; 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 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 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 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) 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 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 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 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'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 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 we see the popular conception of the See also:

MODERN

modern sonata and dramatic See also:

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) 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 for success in See also:

German comic opera on a small See also:

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, 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's See also:

DICTIONARY

Dictionary of Music and Musicians.

End of Article: DITTERSDORF, KARL DITTERS VON (1739-1799)

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