Again very entertaining magnificent music in this third "Ovid" sinfonia. The touching adagio with the great performance of the soloist is marvelous. Great upload !
Thank you so much for sharing this recording. I have such fond memories of listening to Dittersdorff's Ovid symphonies in the music library when I was studying medicine!
Hello dear friend and teacher. The Dittersdorf's biography is very interesting and his music is really beautiful. Best wishes for you. From Chile, Fernando.
Without embarrassment I pronounce DvD the squaring of the great 'Classic' triangle: FJH, LvB, WAM, DvD! It is like discovering Fasch, Graupner, Heinichen, and Graun. Such a splendid expansion of Europe's greatest gift: MUSIC!
Beethoven really should not be included as Classical along with Mozart and Haydn as is often carelessly mentioned in music histories. Mozart’s music is the child of the Ancien Regime, of the Age of Enlightenment, whilst Beethoven’s music is the product of the Age of Revolution; Haydn due to his longevity whilst largely the former, has a foot in the latter too. The music of all three composers cannot be divorced from the real world in which they existed, so I hope this little historical contextualisation helps to explain my problem with the nonsense of Beethoven being labelled Classical - something I feel is as unhelpful as it is misleading. Put another way, almost every Classical model created by Mozart and Haydn was studied carefully by Beethoven - then evolved radically. One of the keys to Beethoven’s greatness is to understand that from the high-water mark of Mozart and Haydn, he was able to take music in a new direction - in other words precisely because he was *not* Classical. Every step away from his two great predecessors was a step into the new world of Beethoven, but it was with works such as the Mass in C (with Haydn’s intimidating spectre hovering over him), and the c minor piano concerto (ditto Mozart K491) that Beethoven is at his least impressive, because he is too close to the recent past. Musically, whilst carrying on the older Classical forms on the surface, everything about Beethoven’s first published works - the Opus 1 piano trios, Opus 2 piano sonatas, Opus 18 string quartets, and Symphony 1 for example - are more radical-evolutionary than often credited. I prefer to label Beethoven as *post-Classical,* and would limit the Classical period aka The Age of Mozart and Haydn, to c.1750 - 1800.
@@elaineblackhurst1509 Personally the terms 'classical' and 'baroque' are terms that are applied thoughtlessly. EB, can you elaborate, at your leisure, your thoughts on these pigeon-holes? Thank you, as always
Ciao :) In questa e altre sinfonie di dittersdorf che hai caricato, ci sono delle differenze importanti rispetto a quello scritto dall'autore: passaggi aggiunti agli ottoni, passaggi aggiunti ai timpani, aggiunta di intere parti di percussioni, passaggi dei violini cancellati... Sai a cosa si deve? Grazie.
Again very entertaining magnificent music in this third "Ovid" sinfonia. The touching adagio with the great performance of the soloist is marvelous. Great upload !
Glad you enjoyed it!
maravillosa musica
Thank you for posting this underrated and touching composer. Best regards
I'm glad you like Dittersdorf music, thank you!
Thank you so much for sharing this recording. I have such fond memories of listening to Dittersdorff's Ovid symphonies in the music library when I was studying medicine!
Thanks! Classical music can awaken so many beautiful memories of our lives! It is awesome!
Dittersdorf, otro de las grandes. Gracias Sibarit101
What a delightful opening movement!
Hello dear friend and teacher.
The Dittersdorf's biography is very interesting and his music is really beautiful.
Best wishes for you.
From Chile, Fernando.
Thank you my friend, please receive all my good thoughts!
Plainly remarkable!
Grandissima musica per uno "stupefacente piatto musicale" preparato con la solita sapienza dalla nostra "Chef musicale" Sibarit 101!
Thank you again, Mauro Rocca!
Without embarrassment I pronounce DvD the squaring of the great 'Classic' triangle: FJH, LvB, WAM, DvD! It is like discovering Fasch, Graupner, Heinichen, and Graun. Such a splendid expansion of Europe's greatest gift: MUSIC!
Beethoven really should not be included as Classical along with Mozart and Haydn as is often carelessly mentioned in music histories.
Mozart’s music is the child of the Ancien Regime, of the Age of Enlightenment, whilst Beethoven’s music is the product of the Age of Revolution; Haydn due to his longevity whilst largely the former, has a foot in the latter too.
The music of all three composers cannot be divorced from the real world in which they existed, so I hope this little historical contextualisation helps to explain my problem with the nonsense of Beethoven being labelled Classical - something I feel is as unhelpful as it is misleading.
Put another way, almost every Classical model created by Mozart and Haydn was studied carefully by Beethoven - then evolved radically.
One of the keys to Beethoven’s greatness is to understand that from the high-water mark of Mozart and Haydn, he was able to take music in a new direction - in other words precisely because he was *not* Classical.
Every step away from his two great predecessors was a step into the new world of Beethoven, but it was with works such as the Mass in C (with Haydn’s intimidating spectre hovering over him), and the c minor piano concerto (ditto Mozart K491) that Beethoven is at his least impressive, because he is too close to the recent past.
Musically, whilst carrying on the older Classical forms on the surface, everything about Beethoven’s first published works - the Opus 1 piano trios, Opus 2 piano sonatas, Opus 18 string quartets, and Symphony 1 for example - are more radical-evolutionary than often credited.
I prefer to label Beethoven as *post-Classical,* and would limit the Classical period aka The Age of Mozart and Haydn, to c.1750 - 1800.
@@elaineblackhurst1509 Personally the terms 'classical' and 'baroque' are terms that are applied thoughtlessly. EB, can you elaborate, at your leisure, your thoughts on these pigeon-holes? Thank you, as always
Ciao :)
In questa e altre sinfonie di dittersdorf che hai caricato, ci sono delle differenze importanti rispetto a quello scritto dall'autore: passaggi aggiunti agli ottoni, passaggi aggiunti ai timpani, aggiunta di intere parti di percussioni, passaggi dei violini cancellati... Sai a cosa si deve?
Grazie.
The obligato flute in the second movement sounds a lot like Gluck's Dance of the Blessed Spirits.
Dance of the Blessed Spirits has influenced many composers, so yes, it is possible.
Reminiscent of Surprise Symphony..??? The way he used percussion 👍!
Dittersdorf wrote and presented his programmatic "Ovid" symphonies in 1784 -1785, Haydn wrote his "Surprise" in 1791.