[오스트리아] Carl Ditters von Dittersdorf[작위명:디터스 폰 디터스도르프]

 

Carl Ditters von Dittersdorf

 

 

 (2 November 1739 – 24 October 1799) was an Austrian composer, violinist and silvologist.

 

기악곡과 경가극을 작곡했으며 징슈필 형식을 창시했다.

어린시절부터 음악적인 재능이 뛰어났으며 12세 때 작센힐트부르크하우젠 공(公)의 오케스트라에서 연주한 것을 시작으로 그뒤에는 빈 오페라 오케스트라에서 연주했다. 크리스토프 글루크와 가깝게 지냈으며 1761년에 그와 함께 볼로냐에 가서 바이올린을 연주했는데, 이때 글루크의 음악은 상당한 명성을 얻었다.

1765년에는 그로스바르다인의 주교가 운영하는 오케스트라의 지휘자가 되었고 거기에서 첫 오페라인 〈음악을 위하여 Amore in musica〉를 작곡했으며, 첫 오라토리오 〈이사코 Isacco〉 또한 이 시기에 쓴 것이다.

1770년경에 그는 슐레지엔의 요하니스베르크에서 브레슬라우의 대주교인 샤프고트슈 백작 밑에 있었으며, 이때 〈Il viaggiatore americano〉(1770)를 비롯한 11편의 희가극과 1편의 오라토리오 〈Davidde penitente〉(1770)를 작곡했다.

 

1773년에 디터스 폰 디터스도르프라는 이름으로 작위를 받았다. 1779년경 요제프 하이든과 친해졌으며,

1783년부터 빈에서 모차르트와 함께 현악 4중주를 연주했고 그 이후로 많은 곡을 작곡했다. 오라토리오 〈Giobbe〉(1786)와 여러 편의 오페라를 작곡했으며, 그중 〈의사와 약제사 Doktor und Apotheker〉(1786)·〈구두쇠 히에로니무스 Hieronymus Knicker〉(1789)·〈빨간 모자 Das rote Käppchen〉(1790)는 크게 성공했다.

 

〈의사와 약제사〉는 특히 독일 징슈필의 고전적인 전형 중 하나가 되었으며 그는 또한 기악곡도 많이 썼다. 1795년 주교가 죽은 후 약간의 연금만을 받고 해직되었다. 가난하고 건강이 좋지 않았던 그는 보헤미아의 노이호프에 있는 슐로스 로틀호타에서 이그나츠 폰 스틸프리트 남작과 함께 일했다. 그는 임종시에 자서전을 구술했는데, 전문적인 내용은 아니지만 이 자서전은 18세기 음악을 연구하는 사람들에게는 매우 중요한 자료이다.

 

그는 빈 고전악파의 초기 작곡가 중 한 사람이었으며, 그의 교향곡은 매우 흥미진진하며 바이올린 협주곡은 연구할 만한 대상이다. 하프·플루트·하프시코드·더블베이스 등의 악기를 위한 협주곡은 많이 연주되고 음반으로도 나와 있다. 오페라 작곡가로서 경쾌하면서도 때때로 감상적인 징슈필을 주로 썼다.<다음백과>

 

Life<우리말 번역 참조: http://blog.naver.com/kalliope63/110096661202>

 

                                                             <작품 모음>

1739-1799

Dittersdorf was born in the Laimgrube (now Mariahilf) district of Vienna, Austria, as August Carl Ditters. His father was a military tailor in the Austrian Imperial Army of Charles VI, for a number of German-speaking regiments. After retiring honorably from his military obligation, he was provided with royal letters of reference and a sinecure with the Imperial Theatre. In 1745, the six-year-old August Carl was introduced to the violin and his father's moderate financial position allowed him not only a good general education at a Jesuit school, but private tutelage in music, violin, French and religion. After leaving his first teacher, Carl studied violin with J. Ziegler, who by 1750, through his influence, secured his pupil's appointment as a violinist in the orchestra of the Benedictine church on the Freyung.

 

Prince Joseph of Saxe-Hildburghausen soon noticed young Ditters, and on 1 March 1751 hired him for his court orchestra. Under princely auspices he studied violin with Francesco Trani who, impressed with the ability of his pupil in composition, commended him to Giuseppe Bonno who instructed him in Fuxian counterpoint and free composition. After a few years Prince Joseph disbanded the orchestra, since he had to leave Vienna to assume the regency in Hildburghausen, and the Austrian Empress hired Dittersdorf for her own orchestra through Count Durazzo, Theatre Director at the Imperial Court. In 1761 he was engaged as violinist in the Imperial Theatre orchestra, and in 1762 its conductor. It was during this period that he became acquainted with Christoph Willibald Gluck, who had just achieved greatness as an opera composer with the Vienna première of his Orfeo ed Euridice. In 1763 he traveled to Bologna with Gluck to see the opera Il trionfo di Clelia: an Italian tour that was to leave the greatest impression on his future work as a composer from both the Austrian Gluck and the contemporary Italian musical scene. In 1764 he traveled to Paris, a trip with only scarce and uncertain documentation. Back in Vienna in 1764, his contract with Count Durazzo expired that winter, but he met the great Joseph Haydn and became one of his closest friends.

 

1764–1774(25세~35세)

In 1764, Ditters assumed the post of Kapellmeister at the court of Ádám Patachich, Hungarian nobleman and Bishop of Nagyvárad (Oradea, Romania). The following year he was introduced to Philipp Gotthard von Schaffgotsch, the Prince-Bishop of Breslau, who was in the process of creating a cultural center around his court based at Château Jánský vrch (Johannesberg) in Javorník (today part of the Czech Republic). He accepted the post of Hofkomponist (court composer) in 1771, and it was during his tenure at Johannesberg that most of his creative output was produced.

 

Over the next twenty years he wrote symphonies, string quartets and other chamber music, and opere buffe. In 1773 the prince-bishop appointed him Amtshauptmann of nearby Jeseník (Freiwaldau), one of several measures to help entice the cosmopolitan composer to remain at isolated Johannesberg. Since this new post required a noble title, Ditters was sent to Vienna and given the noble title of von Dittersdorf. His full surname thus became "Ditters von Dittersdorf", but he is usually referred to simply as "Dittersdorf".Final years

 

Johann Baptist Wanhal was perhaps Dittersdorf's most eminent pupil. About 1785, Haydn, Dittersdorf, Mozart and Wanhal played string quartets together, Dittersdorf taking first violin, Haydn second violin, Mozart viola and Wanhal cello. Eminent Irish tenor Michael Kelly, for whom Mozart created the lyric tenor roles of Don Ottavio and Ferrando in his da Ponte operas Don Giovanni and Così fan tutte, was of the opinion that although they played well their performance as a whole was not outstanding; but the image of four of the greatest composers of their time joining in common music-making remains an unforgettable vignette of the Classical era (comprising the second half of the eighteenth century)

.

In 1794, after twenty-four years at Johannesberg, Dittersdorf, after a serious clash with von Schaffgotsch, was expelled from his palace. Sometime the following year, he was invited by Baron Ignaz von Stillfried to live in his spare château known as Červená Lhota, in southern Bohemia. His final decade was occupied with overseeing operatic productions in addition to compiling and editing his own music for publication.

 

He died at Nový Dvůr (Neuhof, or "New Court") where Château Červená Lhota stood, and was buried in the town of Deštná. He finished his autobiography just three days before his death.

Style and fame

The plaque for Karl Ditters von Dittersdorf in Jeseník

 

Ditters' early work laid the groundwork for his later more important compositions. His symphonic

and chamber compositions greatly emphasize sensuous Italo-Austrian melody instead of motivic development, which is often entirely lacking even in his best works, quite unlike those of his greater peers Haydn and Mozart.

 

Even with these reservations, Dittersdorf was an important composer of the Classical era. After some early Italian opere buffe, he turned to writing German Singspiele instead, with Der Apotheker und der Doktor (1786, generally known today as Doktor und Apotheker) in particular being a tremendous success in his lifetime, playing in houses all over Europe and recorded almost two centuries later.

 

Among his 120-or-so symphonies are twelve programmatic ones based on Ovid's Metamorphoses, although only six have survived (and have also been recorded). He also wrote oratorios, cantatas and concertos (among which are two for double bass and one for viola), string quartets and other chamber music, piano pieces and other miscellaneous works. His memoirs, Lebenbeschreibung ("Description of [My] Life"), were published in Leipzig in 1801. Some of his compositions, including the double bass concerto, were published in Leipzig by the Friedrich Hofmeister Musikverlag.^[2]

Works

Concertos

Tomb in Deštná

• Grosses Concert per 11 strum. (1766)
• 18 concertos for Violin
• 3 concertos for 2 Violins
• 5 concertos for Viola
• 1 concerto for Cello
• 2 concertos for Contrabass
• 1 concerto for Viola and Contrabass
• 1 concerto for Piano
• 5 concertos for Oboe
• 1 concerto for Oboe d'Amore
• 5 concertos for Harpsichord
• 2 concertos for Quartet
• 2 concertinos

Concertos: manuscripts

• Concerto for Oboe (in C major) (MS: Dittersdorf 32; now publ. Artaria)
• Concerto for Flute (in e minor) (MS: Dittersdorf 36; now publ. Artaria)
• Concerto for 2 Violins (in D major) (MS: mu6402.2532; now publ. Artaria)
• Concerto for 2 Violins (in C major) (MS: mu6402.2530; now publ. Artaria)

Concertos: selection of best known concerto

• Concerto for Oboe in G major (Breitkopf & Härtel)
• Concerto for Oboe in C major (The Danish Royal Library)
• Concerto for Oboe in D major L.25b
• Concerto for Oboe in C major L.39
• Concerto for Oboe in C major L.40a
• Concerto for Oboe in C major L.24
• Concerto for Oboe in G major L.42
• Concerto for Oboe d'Amore in A major L.43b
• Concerto for Flute in e minor (The Danish Royal Library)
• Concerto for Cello in D major (The Danish Royal Library)
• Concerto for Contrabass (Double Bass Concerto) No.1 in E major (The Danish Royal Library)
• Concerto for Contrabass (Double Bass Concerto) No.2 in D major (The Danish Royal Library)
• Concerto for Contrabass (Double Bass Concerto) in E flat major (The Danish Royal Library)
• Concerto for Contrabass, Viola and Orchestra (The Danish Royal Library)
• Concerto for Viola and Orchestra in F major (The Danish Royal Library)
• Concerto for Violin and Orchestra in C major (The Danish Royal Library)
• Concerto for Violin and Orchestra in G major (The Danish Royal Library)
• Concerto for Harp (The Danish Royal Library)
• Concerto for Cembalo/Harpsichord in B major (The Danish Royal Library)
• Concerto for 2 Violins in D major L.2
• Concerto for 2 Violins in C major L.4
• Concertino for 2 Violins, 2 Violas, 2 Oboes, 2 Horns, Basson and Bass

Symphonies

Dittersdorf left about 120 symphonies with solid attribution. There are about another 90 symphonies which may be Dittersdorf's work—according to the catalogue published by Helen Geyer, Torino

1985. Most of the symphonies are preserved only in manuscripts. Many manuscripts are inscribed di Carlo de Dittersdorf or similar, however they are copies of now lost original scores.

• Sinfonia nel gusto di cinque nazioni (Paris, 1767)
• 6 Symphonies Op. 1 (Amsterdam, 1768?)
• 6 Symphonies Op. 4 (Paris, 1769?)
• The Periodical Ouverture (London, 1769)
• 3 Symphonies Op. 5 (Paris, 1769?)
• Symphonies Périodiques (Amsterdam, 1770–72)
• 3 Symphonies Op. 6 (Paris, 1773?)
• 4 Symphonies Op. 7 (Paris, 1773?)
• 3 Symphonies Op. 8 (Paris, 1773?)
• 6 Symphonies Op. 13 (Paris, 1781)
• 3 symphonies exprimant 3 métamorphoses d'Ovide: Les 4 âges du monde, La chûte de Phaéton, Actéon changé en cerf (Wien, 1785)

Symphonies: manuscripts

• Grande symphonie: Le carnaval ou La redoute (MS)
• Symphony (in A minor) Il deliro delli compositori, ossia Il gusto d’oggidi’ (MS: Ser.H Fasc.34 Nr.317; now publ. Artaria)
• Symphony (in A major) Nazionale nel gusto (MS: Ser.H. Fasc.39 Nr.76; now publ. Artaria)
• Symphony (in D major) Il combattimento delle passioni umane (MS: Ser.H Fasc.34 Nr.315; now publ. Artaria)
• Symphony (in F major) (Grave F7) (MS: Ser.H Fasc.34 Nr.312; now publ. Artaria)
• Symphony (in D minor) (Grave d1) (MS: R.M.21.a.13.(3.); now publ. Artaria)
• Symphony (in G minor) (Grave g1) (MS: S.m.15957; Ser.H Fasc.33 Nr.293; now publ. Artaria)
• Symphony (in E major) (Grave E1) (MS: IV-A-39 / A- 3498; now publ. Artaria)
• Symphony (in E flat major) (Grave Eb9) (MS: IV-A-59 / A-3515; now publ. Artaria)
• Symphony (in F major) (Grave F4) (MS: IV-A-38 / A-3497; now publ. Artaria)
• Symphony (in D major) (Grave D6) (MS: IV-A-66 / A-3522; now publ. Artaria)
• Symphony (in D major) (Grave D2) (MS: IV-A-51 / A-3509; now publ. Artaria)
• Symphony (in D major) (Grave D2) (MS: IV-A-51 / A-3509; now publ. Artaria)
• Symphony (in A major) (Grave A6) (MS: Ser.H Fasc.33 Nr.298; now publ. Artaria)
• Symphony (in B flat major) (Grave Bb5) (MS: Ser.H Fasc.34 Nr.313; now publ. Artaria)

Symphonies: selection of best known symphonies

• Sinfonia Concertante in D major (Breitkopf & Härtel)
• Symphony in C major (Breitkopf & Härtel)
• Symphony in D major (Breitkopf & Härtel)
• Symphony in F major
• Symphony in D minor
• Symphony in G minor
• Symphony No. 1 after Ovid’s “Metamorphoses” (“The Four Ages of the World”)
• Symphony No. 2 after Ovid’s “Metamorphoses” (“The Fall of Phaeton”)
• Symphony No. 3 in G after Ovid’s “Metamorphoses” (“The Metamorphosis of Acteon Into a Stag”)
• Symphony No. 4 in F after Ovid’s “Metamorphoses” (“The Rescue of Andromeda by Perseus”)
• Symphony No. 5 after Ovid’s “Metamorphoses” ("The Transformation of the Lycian Peasants into Frogs")
• Symphony No. 6 after Ovid’s “Metamorphoses”
• Sinfonia Concerto for Viola, Contrabass and Orchestra in E flat major

Chamber music

• 15 Divertimenti (Il combattimento dell'umane passioni is in this collection)
• 5 Cassazioni (2 published: Paris, 1768; the other 3 are MS)
• 4 Serenate for 2 Horns and Strings
• 35 Partite for Winds Instruments
• Petit Ballet en forme d'une contredanse
• 24 dances for the Redoutensaal
• 6 String Quintets for 2 vl., vla., vcl., ctbs. (1782)
• Sonata da camera a 5 stromenti
• 6 String Quartets (1789)
• Quartet in E flat major
• 6 Sonatas for 2 vl. and vla. Op. 2 (Amsterdam, s. d.)
• 6 Trios for 2 vl. and b. op. 6 (Paris, 1771)
• Another 12 Trios (id.)
• 3 Trios for vl., vla. and vcl.
• Sonata for vl.
• 2 Duets for 2 vl.
• Duet for vla. and vcl. or ctbs. in E flat major
• 14 duets for vl. and bass
• 136 pieces for Piano
• Divertimento for two Violins and Violoncello in E flat major
• Notturno (in D) for 4 flutes

 

 

• Wenzel Müller
• Johann Baptist Wanhal