Carl Ditters von Dittersdorf: Symphony in D Major, Oradea Philharmonic, Miron Rațiu (conductor)

Carl Ditters von Dittersdorf - Symphony in D Major, Chamber Orchestra of the Oradea Philharmonic, Miron Rațiu (conductor) I. Allegro Vivace – 0:00 II. Andantino. Chanson Populaire d’Elsass – 06:50 III. Menuetto. Non Troppo Presto. Alternativo I - Alternativo II – 10:41 IV. Finale. Molto Andante – 15:57 Carl Ditters von Dittersdorf (2 November 1739 – 24 October 1799) was an Austrian composer, violinist “Born simply Karl Ditters, was a contemporary of Haydn and one of the most popular composers in Europe in his day. As a virtuoso violinist and prolific composer he was a favorite of various court ensembles. His popularity was said to rival that of Haydn, Gluck, and Mozart. During his 60 years of life, he composed over 120 symphonies, 45 operas, a myriad of sacred and chamber works, and completed his autobiography two days before his death. Although his music had circulated all over Europe, he never found a source of stable patronage as Haydn did, and he reportedly died in dire financial straits. Ditters began his career as a violin virtuoso. Employed in a church orchestra at age 10 or 11, he moved on to the court orchestra of the Prince of Sachsen-Hildburghausen. There he studied composition under Giuseppe Bonno, the court composer and Kapellmeister. He also met Gluck, a fellow violinist, and Haydn. In 1761, at age 21, Ditters was appointed court violinist. Two years later, in 1763, he made his first trip abroad, traveling to Italy with Gluck and performing. Ditters left the imperial court in 1764 after a dispute. He became Kapellmeister for the court of the Bishop of Grosswardein, what is now in Romania, and produced mostly sacred music for five years. After a dispute with Empress Maria Theresia, the Bishop disbanded his chapel, leaving Ditters unemployed. The following year, Ditters became acquainted with the Prince-Bishop of Breslau, Schaffgotsch, who appointed Ditters court composer in 1770. The court was located in the small hamlet of Johannisberg, and to persuade Ditters to remain in such an out-of-the-way locale, the prince bestowed upon him many honors and titles, including the Order of the Golden Spur and the position of Overseer of Forests and Chief Magistrate. In 1772 Ditters gained noble status and appended “von Dittersdorf“ to his surname. During his years in Johannisberg, Ditters composed numerous symphonies, chamber works, and operas. This period is considered his most creative, and for a time he was in the running to succeed Gassmann as Kapellmeister at the court of Emperor Joseph II. In the middle 1780s, several of his compositions were performed in prestigious circumstances. The imperial palace was the venue for performances of six of his 12 “Ovid“ symphonies. As a symphonist Ditters gained a reputation for humor and formal inventiveness, and even today those adventurous musicians who unearth his works are likely to be delighted by those same qualities. Riding on a wave of popularity, Ditters composed eight more comic operas over the next five years, and these singspiele, works with spoken dialogue and folkish elements, proved extremely influential over the next half century. Among their direct successors was Mozart’s Die Zauberflöte. In the middle 1790s, Ditters’ employment with the Prince-Bishop Schaffgotsch came to an end. History is obscure about why, but the separation was caused either by the Prince’s death or by court intrigues that led to Ditters’ expulsion. Ditters’ popularity began fading as well. Facing an impoverished future, Ditters found another patron in Baron Ignaz von Stillfried, who in 1795 installed the composer in his castle in southern Bohemia. His final years were spent editing his works and writing his autobiographical Lebenbeschreibung (Leipzig, 1801).” (from ArkivMusic)