A Dictionary of Music and Musicians/Dittersdorf, Karl Ditters von

DITTERSDORF, Karl Ditters von—whose original name was Ditters—distinguished violinist, and prolific composer in all branches of music, but specially esteemed for his German national operas; born at Vienna, Nov. 2, 1739. He soon outstripped his early teachers on the violin, König and Ziegler (not Zügler, as he calls him in his biography). Ziegler worked his pupil in the orchestra at St. Stephen's, and also in that of the Schottenkirche. Here Ditters was noticed by his chiefs, and on their recommendation was received into the private band of the Prince von Hildburghausen, who, being himself a man of high cultivation, looked after the general education of his young page (a lad of 11), and had him instructed in composition by Bonno, the court-composer, in the violin by Trani, and in foreign languages, fencing, dancing, and riding. The formation of his taste was much assisted by hearing Vittoria Tesi, who sang regularly at the Prince's concerts, and he soon formed an intimacy with Gluck and Haydn. When the Prince dismissed his band in 1759 he procured a place for Ditters in the Empress's opera, but wishing to see the world he started in 1761 with Gluck on a professional tour in Italy, where his playing was much admired. Meantime the famous Lolli had been performing in Vienna with great success, but Dittersdorf on his return vanquished him; the general verdict was 'Each has marvellous execution, but Ditters also speaks to the heart.' His intimacy with Haydn was of service to them both. 'Whenever we heard,' says he, 'a new piece, we went through it carefully together, doing justice to all that was good, and criticising what was bad in it'—an impartial course seldom pursued by young composers. In the early part of 1704 he went with Gluck and Guadagni to Frankfort for the election and coronation (April 3) of the Archduke Joseph as King of the Romans. He played twice at court with brilliant success, but his expectations were not otherwise fulfilled, and on his return to Vienna the rudeness of Count Wenzel Spork, the then manager of the theatre, made him gladly accept the post of capellmeister to the Bishop of Grosswardein, vice Michael Haydn departed to Salzburg. For his new master he composed symphonies, violin-concertos, string-quartets, and his first oratorio, 'Isacco figura del Redentore,' to a Latin adaptation of Metastasio by the Bishop himself. He also started a small theatre in the castle, for which he wrote several pieces, including his first comic opera, 'Amore in Musica.' But in 69 the Bishop received a rebuke from the Empress on the laxity of his life, and dismissed his whole band. At Troppau Dittersdorf made the acquaintance of Count Schafgotsch, Prince Bishop of Breslau, who invited him to his estate at Johannisberg, where he was living in retirement and disgrace. The versatile musician found means to cheer his master's solitude. He got together a band, engaged singers and musicians, set up a theatre, wrote operas and oratorios, and went out hunting, all with equal zest. In return for his services he was made, through the Bishop's influence (in 1770), Knight of the Golden Spur (a distinction enjoyed by Gluck and Mozart), and Amtshauptmann of Freiwaldau (1773), and received a title of nobility—'Ditters von Dittersdorf.' The oratorio 'Davide' and the comic opera 'Il viaggiatore Americano' belong to this period, and it was while rehearsing them that he fell in love with Fraulein Nicolini, whom he had engaged from Vienna, and married her. During a visit to Vienna he composed 'Ester,' words by the Abbé Pintus, for the concerts (Dec. 19 and 21, 1773) in aid of the widows' fund of the Tonkünstler Societät. Between the parts he played a concerto of his own, and so pleased the Emperor, that on Gassmann's death (Jan. 22, 1774), he wished to appoint him court-capellmeister, but Dittersdorf was too proud to apply for the post, and the Emperor was not inclined to offer it unsolicited. 'Ester' was repeated before the court in 1785; 'Isacco' was performed in Vienna (1776); and 'Giobbe,' also written for the Tonkünstler Societät, on April 8 and 9, 1786, one part each night, Dittersdorf himself conducting. In 1789 it was produced in Berlin with marked success. On another visit to Vienna, in 1786, he produced a symphony on Ovid's Metamorphoses at the morning concerts in the Augarten, and it was on this occasion that the often-quoted conversation with the Emperor Joseph II took place. 'Der Apotheker und der Doctor' (July 11), a lively, sound, though somewhat rough operetta, which has kept the stage to the present day; 'Betrug durch Aberglauben' (Oct. 3, 1786); 'Democrito corretto' (Jan. 24, 1787); 'Die Liebe im Narrenhause' (April 12), all at Vienna; and 'Hieronymus Knicker' (Leopoldstadt, July 1789), were brilliant successes, with the exception of 'Democrito.' In the meantime things had changed at Johannisberg. The Bishop's band, dismissed during the war, had reassembled after the Peace of Teschen, 1779. About 1790 Dittersdorf was obliged to attend to his duties at Freiwaldau, and during his absence his enemies slandered him to the Bishop. Dittersdorf nursed him devotedly during his long illness, but on his death (1795) was dismissed with 500 gulden, a sum soon exhausted in visiting the baths with a view to restore his health, shattered by his irregularities. His next asylum was at the house of Count von Stillfried at Rothlhotta in Bohemia, and here, in spite of constant suffering, he composed operas, symphonies, and innumerable pianoforte pieces, for which he in vain sought a purchaser. On his death-bed he dictated his autobiography to his son, and died two days after it was completed, Oct. 31, 1799. Dittersdorf was a thoroughly popular composer. He possessed a real vein of comedy, vivacity, and quick invention, bright spontaneous melody, original instrumentation, and breadth in the 'ensembles' and 'finales,' qualities which, exercised on pleasing librettos, made him the darling of his contemporaries. He held the same position in Germany that Grétry did in France, though inferior to Grétry in delicacy, spirituality, and depth of sentiment. His oratorios, much valued in their time; his symphonies, in the style of Haydn, though inferior to Haydn in grace and liveliness; his violin-concertos, string-quartets (of which 12 were published in 1866), duos, 'divertimenti,' a concerto with 11 instruments obbligato, masses, motets, and songs—all contributed to his fame, and if they did not survive him, were of moment in their day. Besides the operas already named he composed 'Lo sposo burlato' (1775); 'La Contadina fedele' (1785); 'Orpheus der zweite' (1787); 'Das rothe Käppchen' (1788); 'Der Schiffspatron' (1789); 'Hocus Pocus' (1790); 'Das Gespenst mit der Trommel' (1794); 'Gott Mars oder der eiserne Mann'; 'Don Quixotte'; 'Der Schach von Schiras' (all 1795); 'Ugolino,' grand 'opera seria'; 'Die lustigen Weiber von Windsor'; 'Der schone Herbstag' (all 1796); 'Der Ternengewinnst'; 'Der Mädchen-markt'; 'Die Opera buffa'; 'Don Coribaldi' (1798); 'Il Tribunale di Giove,' serenata (1788); and 'Das Mädchen von Cola,' a song of Ossian's, for pianoforte (1795). Of his symphonies, 'Six Simphonies à 8 parties'; 'Trois Simphonies á 4 parties obl., etc.'; and 'Simphonie dans le genre de cinq nations, etc.,' were published in Paris in 1770. On the title-page of the first set he is called 'first violin and maître de musique to Prince Esterhazy.' His autobiography (Leipsic 1801) forms the foundation of Arnold's 'Karl von Dittersdorf, etc. Bildungsbuch für junge Tonkünstler' (Erfurt 1810).

[ C. F. P. ]